How Do You Choose? Or Why I Wrote This Novel

DeLauné Michel, author of Aftermath of Dreaming and The Safety of Secrets, has graciously agreed to guest host my blog today. Michel says:

I was at a dinner party once when someone threw a question out to the group, “If you were stranded on a deserted island, would you rather be stuck with a man or a woman?”

My first response was, “A man, of course.” But then I started to think about it. And as much as I love my husband, I can talk to my best friend in a way that I never can with a man because I know she has felt exactly the way I have. But I still need my husband, so whom would I chose?

After I got married, a significant friendship in my life underwent a shift. It was as if just by signing that paper and walking down that aisle, things with my friend had changed, even though I really hadn’t, other than the option of Mrs. that I didn’t even use! As my friend and I struggled to get our friendship back, and to redefine what it meant, it forced me to think about that question, about being torn between a husband and a best friend. I wondered what sort of situation would make a woman be more loyal to her best friend than to her husband. Maybe a childhood trauma locked away with a life-long pact to never tell? And what if a woman lied to her husband to protect that secret? Could that ever be okay?

I realized that I didn’t know the answers to those questions, and that’s when I knew that they were the basis for my second novel. I wanted to explore deep-rooted loyalty between women, and how sometimes it can be a sword that cuts both ways, opening up whole worlds of safety within the friendship while exacting a price, as well.

When I started looking at loyalty, I also had to look at betrayal. And it occurred to me that one currency of intimacy in a best friendship is shared secrets, so I wanted to see what would happen to that relationship when its most powerful secret is given away, and given away thoughtlessly, like so many pennies dropped on the floor. There is such stark and deep knowledge of one another in an ages old friendship that I wondered about how some secrets are used to protect ourselves, while others are used to try to continue to be the person we think our best friend needs.

Then I realized that if there is any world in which secrets are at a premium, it is Hollywood. All of that shielding and hiding are essential tools in that town. I think one trait that distinguishes stars from other actors is their ability to appear completely exposed while in fact they presenting only and exactly what they want us to see. I felt that making my main characters, Fiona and Patricia, actresses in LA (though part of the novel occurs in flashbacks in south Louisiana where they grew up; I can’t let go of my roots!) would deepen their connection to secrets and revealing truths. Besides, my first novel, Aftermath of Dreaming, was mostly set in Los Angeles, and after living there for so long, I wasn’t ready to leave such a rich and provocative backdrop yet.

By working through Fiona and Patricia’s friendship in The Safety of Secrets, I learned a lot about loyalty and secrets between women. But I still have more to go. If you get a chance to read it, I’d love to hear what you think about how those issues play out in the book and in your own life.  And if I’m in your area on my book tour, come by and tell me in person. I’m traveling to Portland, LA, Albuquerque, Santa Fe, pretty much all of Louisiana, Jackson MS, Natchez, Memphis, Boston, Newburyport, and the New York area. The tour schedule is on my gather page.

Oh, and who would you chose for that desert isle, a woman or a man? Or is it a secret you’ll never tell?

On Writing: Food

Sex and violence are visceral activites, but so is eating. Food is at once primitive and sophisticated, animalistic and human. We need to eat, but to a great extent we get to choose what we eat. And we get to choose for our characters. In fact, the characters of our characters lie in that choice. Are they vegan, omnivore, or something in between? Do they binge out or are they ascetic? When alone, do they take the time to cook a meal for themselves, or do they eat it standing over the sink? For me, a big question is what characters do with leftovers. Whenever characters in books throw away perfectly good food, I lose all sympathy for them and start rooting for the villains. Even in a world of abundance, food is precious. Or should be.

Wasted food gripes the heck out of me; I despise real and fictional food fights. Shows disrespect for life, a total lack of sensitivity, and people who never knew want. Another movie/book scene I absolutely hate is when a guy proposes to a woman by putting a ring in her drink, in a desert, or any other comestible. All I can think of is broken teeth when she bites into it or a punctured gut when she swallows it. Very romantic!

Besides describing character, food can be used as a theme, a plot point, a symbol. Food can be used to define the emotion of a scene or to delay the action and add suspense. Food helps create a setting in historical novels. The way a person eats tells a lot about character. You don’t need to describe food. Everyone knows what hamburger tastes like, or ice cream or jello. The whole ambience of food is much more important. I have one character who chews each mouthful of food exactly twenty-five times. His fiance finds herself counting his jaw movements, and by that you can tell that there relationship is doomed.

Just think of all the conflict attached to a family feast, such as a Thanksgiving dinner. The drama of several women competing to make their own favorite dressing, the trauma of a burnt pumpkin pie, the complication of children running underfoot, the conflicts of . . . You know the story. You’ve been there.
 
Movies and television shows are filled with great food scenes. The best Golden Girls shows were the ones where they sat at the kitchen table eating everything in sight, and talking about their lives. And who can forget the breakfast scene in My Stepmother Was an Alien, where she cooked up an entire menu. Or the breakfast scene in Uncle Buck when John Candy made pancakes as big as a table and used a snow shovel as a turner. All great food visuals, but also much going on beneath the scene.  

What role does food plays in your novels, in novels you have read, or in movies you have seen?

Fun food related websites:

The Food Time Line

History and Legends of Favorite Foods

History of Food and Food Products

Food History Resources

Food and Drink in Regency England

Medieval Recipes

To Outline or Not Outline

Dellani Oakes, today’s guest blogger, is the recently published author of Indian Summer, a unique regency novel of a young girl’s coming of age. Dellani says:

I continue to be amazed by people who make outlines of their stories, know where the story line is going and most of all know the ending before even writing the book. Who are these godlike folk and why am I not like them? I am a very off the cuff writer, I don’t know where the story is going to go, although I like to have a general idea before I begin. I usually start with an idea or, more often than not, a sentence that seems to resonate in my mind until I get it down on paper. Novels and short stories start the same way, a compelling first sentence.

When I was a member of the Science Fiction and Fantasy Writers, I read an article in the newsletter that caught my interest. It was an interview with Tim Powers. I read snippets to my husband asking him (like he knows), “How can he do that? How can anyone do that?” Outlines? Those are things you write after a term paper is written and only because the teacher requires it. If they had a crown for that, I’d be Queen.

I rarely know where my stories are going. I don’t always know what I’m going to do with a character after I’ve introduced him, but I know he’d not be there if he weren’t important in some way. For me, writing is an exploratory process. I can’t sit down knowing what will be, I have to let it unfold. I think the idea of outlines is very intimidating for some writers, especially new ones. To know everything in advance takes some of the fun out of my process. Don’t misunderstand, I think it’s marvelous that some people can do that. I find it incredible that they are organized enough to work their way through the entire book before actually writing it. It is a matter of preference and personality.

Having tried the outline, I can honestly say it doesn’t work for me. I can’t even write a short synopsis of a book because I put in too much detail. I got half way through my first outline and thought, “If I am going to spend this much time on it, I might as well just write the book.” The outline hit the trash and I put all that creative energy into the novel instead.

What I think I was trying to say when I started is this: Don’t be intimidated by the idea that you must outline. Don’t think you can’t start the novel you’ve been dreaming about because you have no clue how it’s going to end. Go with what is comfortable for you and find your way. By all means, try outlining because it is a wonderful tool, but don’t lock yourself into the thinking that you have to follow it once it’s there. Nothing is cast in stone, everything is malleable Thenwhen the creative juices flow and the words pound at the inside of your skull demanding to be set free, you can give them the outlet they need, hammering away at your keyboard or pouring from your pen. Whatever you do, just keep writing and let the outlines take care of themselves.

Indian Summer is available from Second Wind Publishing.

The Very First Book. The Very First Time.

Claire Collins, author of Fate and Destiny and Images of Betrayal, writes across many genres. She loves reading when she gets the time around her family and her work schedule. Collins, my guest blogger, speaks of how it feels to hold your published book in your hands for the first time:

The very first book…
 
Years of hard work, my heart and soul translated into words on a page, open for the world to see. This is the leap of faith for a writer. A manuscript is a very private thing until I let that first person read it. After the first person, I allowed other eyes to see my words. With encouragement and tons of edits, my private world that I created is sent out into the world. I almost cried when it made its debut on Amazon. I hadn’t even seen a copy of the book yet and I couldn’t control myself. Before I even knew what I was doing, I was clicking the “Complete order” button with overnight shipping. I paid full price plus expedited shipping for a book that I would soon receive multiple copies of thanks to my publisher. My friends laughed at me sympathetically but they all nodded with understanding. Most of them would do the same thing.
 
I was at work when my skinny little box arrived from Amazon. My family could hardly contain themselves as they waited at the front door for me to come in the house. They presented the box to me like it was a priceless family heirloom, meant to be handled with care. I tore the box open and held my book in my hands. A tear slid from the corner of my eye, but I was laughing at the same time. Those were really my words on the pages I flipped through. That was my title, my photo, my blurbs. This was my book. My husband was downright giddy watching me hold my book. It was better than Christmas. He got the camera and took a picture of me holding my book. In the quiet evening after the excitement died down and the children wandered off, I sat looking at my book, flipping through the pages. What if people hated it? Then again, what if people loved it? Since I am a first time author with a small publisher, most people will never even see my book or know it exists. Maybe when I write the fiftieth novel, people will be clamoring to own these first novels. I don’t know what the future holds in terms of book sales. I only know that nothing will ever replace the feeling of opening the box and seeing the very first copy of my book.

Claire Collins’s books are available from Amazon and Second Wind Publishing.

I Do Not Have Writer’s Block

My hero is running from a volcano and has been running from the dang thing for at least three months. I can hear him panting from exhaustion, but I sit at the computer and spend my words writing articles, leaving comments, sending emails. I have no words left to get him out of his predicament.

In the end, that’s why I write. Not for the fulfullment, not because of a compusion, but because the words gang up on me, using all available brain space. The only way to free myself is to let the words out. But the words I’m letting out now have to do with the mechanics of writing, and so my poor hero runs. And runs.

I thought for sure by getting guest bloggers to do my work for me that the words would begin to weigh heavy on my mind, but I wasted those words on other websites. And I used to be such a thrifty sort. 

I did come up with another idea for getting me back on track with my WIP: start another blog, one just to let my hero run free. Maybe I’ll post my research, notes on character, anything that pertains to the WIP. It seems like such a great idea, but here I am, planning to waste more words while not writing my novel.

But it could work. Especially if I can put one of those widgets on the site that shows how much of the book I’ve finished. Could shame me out of my not writer’s block.

On Writing: Choosing Your Subject Matter

Warren Adler has generously consented to host my blog today and to share his expertise. Adler is the world famous author of 30 novels, including The War of the Roses and his latest, Funny Boys. Adler says:

Subject matter is an important element in novel writing.  What, who and when are issues that can determine the impact a novelist makes on the publishing community. For a publisher, marketing issues are paramount. Since the public is notoriously fickle in its interests, the publishing marketer often has to anticipate what will most engage the public mind in the twelve to eighteen months it will take for a mainstream publisher to produce and market a book. For non-fiction it is a lot easier to anticipate. For fiction, publishers need to consult a psychic. 

It is an antiquated system and much debated, but not on trial in this space. For the novelist, basing one’s work on marketing prognostications, can, I suppose, be useful for one’s career prospects. I wish I could be helpful in this regard, but, alas, I admit surrender. Unfortunately, I have taken the path less traveled. I guess my compass is not set to the magnetic north of commercial blockbusting. 

Getting published and staying publishable is based primarily on other issues. A publisher’s first question is “will a title sell?” At times he will base his bet on what has sold before or check the computer numbers of an author’s track record assuming that after one or two outings a novelist who has not developed a base of readers will never find a niche. It is highly unlikely that a publisher will nurture a novelist through more than two, maybe three, books if he or she does not meet the bean counter’s goals. To a publisher a book is a commodity and we all know that a commodity, a product, must make a profit. I am not being critical of the process, merely realistic. 

The fact is that I cannot write a novel based on a publisher’s marketing systems. My choices of subject matter are too eclectic. I write what I must write, based on my own instincts and inner navigational system. Since I believe that writing is a calling, I heed the clarion of my interior compass. I write to meet my own needs to tell stories and base the menu of my choices on the bedrock proposition that human nature is constant and unchanging and real stories cannot be made to measure.

Nevertheless, by dint of pluck and luck, I have managed to attract publishers to 27 novels, with translations in 30 foreign languages so far and through my pioneering electronic publishing enterprise, I hope to expand my coterie of devoted readers. I ply my merry way, having stumbled upon a comfortable place for such a counter intuitive writing journey. 

For the budding novelist hungry for fame and fortune, I am probably not a very good role model. Forgive me not providing a magic bullet for recognition and mass readership. And who knows? Lightening might strike, and you will find that your novel fulfills your hopes and dreams for recognition and, with luck, lots of money. 

Indeed, the most commercially successful novelists have branded themselves by hewing to the boundaries of various genres. Writers have made millions following the rules of creating stories that fit into preordained slots. Sometimes they have invented new slots such as “the woman in jeopardy,” a genre pioneered by Mary Higgins Clark, or “the good lawyer,” a genre practically invented by John Grisham or the “strong woman family dynasty,” genre stumbled upon by Barbara Bradford Taylor. Or the wildly successful Christian based series Left Behind. Cheers and congratulations to them. They have found the secret of a successful and sustained novel writing career. 

My effort here is far more parochial, advising how to create a novel that is as important to its creator as it is to the potential reader. Above all, the reader must be engaged, from beginning to end of the writer’s effort. I am assuming, of course, that a pipeline from storyteller to story reader exists. Constructing that pipeline is a related subject that will be dealt with in another time and place. My website is a prime example of finding an alternative road to readership. 

Thus, you will find my discussion about subject matter for a novelist inconclusive. I will not resort to clichés about writing what you know, since intuition often trumps experience. Having written what many have cited as the most realistic and accurate divorce novel in recent memory, The War of the Roses, the point is made. I have never been divorced and am happily married to the same lady since I was barely out of adolescence. But whatever the subject be sure to choose wisely before too much effort is expanded on the work. 

Sometimes it takes writing many words before a novelist can be comfortable about the story path he has chosen. I have often abandoned an effort after a hundred or more pages, having discovered that the subject, the plot, the characters, the emotional mood, the idea itself can no longer engage my interest. 

My advice is to think long and hard before choosing the subject matter of your novel. I have found that a story grows in one’s mind like a potato in a water glass, creating many sprouts that are always popping up. Indeed, even as the novel takes shape on the page, ideas continue to sprout setting off new paths to revision and rewriting. I will often think about every element of the story long before I begin the act of creation. Even then, the work might pale as it progresses. 

The trick is to embark upon a writing road that sustains your interest and keeps you excited and engaged throughout the process. If you can’t wait to get down to work every morning and approach your composition with excitement and enthusiasm you are on the right track. If not, as the saying goes, don’t give up your day job.

Writing to the Extremes

It is not necessarily true that a picture is worth a thousand words. It takes only a few words, if they are the right words, to create vivid portraits. The secret is to choose significant details — details that mean something, that promote the story, that evoke emotion — rather than to write long passages of trivia. By writing to the extremes (the extremities, I mean) we can bring our characters to life in a new way.

In The Blue Nowhere, Jeffery Deaver tells us about Wyatt Gillette, a computer wizard, by focusing our attention on Gillette’s hands. Gillette has thick yellow calluses on the tips of his muscular fingers, and even when Gillette is not at a computer, his fingers move constantly as if typing on an invisible keyboard. I know somewhere in the novel Deaver described Gillette, but did he really need to? Don’t we get a feeling for the character from those two significant details?

By describing a character’s hands, we can describe the character. A man with manicured and buffed fingernails is different from one with grime permanently etched into his cuticles. A woman with bitten fingernails is different from one with dirty, broken nails, and both are different from a woman wearing designer acrylic nails. The color of nail polish a woman chooses tells us about her character. And clear nail polish on a man would tell us about his character.

We can describe hands in many ways: claw-like, thin, scrawny, big-knuckled, blue-veined, plump, fat, chubby, arthritic. Characters can have tattooed hands. They can wear gloves, a simple wedding band, or multiple rings on each finger.

Hands also do things. They wave, point, gesture, touch chins or noses, and each of these gestures and mannerisms tells us about the character.

And don’t forget fingers and toes. What is there to say about toes? Think about a woman who wears severe suits and a severe hairstyle but paints her toenails crimson. That contradiction makes us want to know more about her. Or think about a man with a mincing walk stemming from shoes so small they pinch his toes.

Do you remember to use the extremities in your novels? How do you use them? What ways can you use them, but don’t? Can you think of ways to describe characters by their extremities alone? What gestures or mannerisms can define characters? What gestures or mannerisms can characters use that may be fresh and not trite? (For example, restless feet can denote lying, or a desire to be somewhere else, or boredom.) What other example can you think of (or have already written) where a character’s extremities play a significant role? Is it better for the extremities to match the character or contradict it? Shoes are a significant fact of life; how do shoes figure into your novel?

On Writing: Deconstructing Descriptive Passages

A. F. Stewart, author of Inside Realms, has accepted my invitation to be a guest host. Stewart is from Nova Scotia, and writes fantasy stories and poetry. Stewart tells us:

Wandering through cyberspace’s social networking, I have come across many an aspiring writer eagerly posting their work for comments and critiques.  As a result I have learned two things:  that the internet is alive with writers with notable, appealing ideas and many of these aspiring writers have problems creating a good descriptive scene.   These would-be writers either construct a simple methodical listing of the scene’s surroundings or they fill a scene with unnecessary detail punctuated with fluffy adjectives/adverbs.  Both of these ways of writing a narrative scene can render a piece of work tedious and mediocre.

The straight descriptive technique reads like an inventory list, is a quick way to lose a reader to boredom, and buries talent in uninspired prose.  Never write is an illustrative scene where you simply tick off the surroundings in an orderly fashion.

Here is an example of a list-like description:

Butch was standing on the back porch, staring at the garden.  To his right were the red rose bushes, beside the pink azalea bushes.  The two cedar trees were at the back, along the stone garden wall, and the cobblestone path ran through the middle of the garden.  To his left were the lilac bushes and the lilies.

Now that described the garden well enough, but did you care?  Did you feel like you were there with Butch, or would like to be?

Now this passage:

 Butch was standing on the back porch, in the fading light, staring at the early summer garden.  He could smell the heady scent of rose bushes wafting on the slight breeze.  He turned his head to the right, noticing how well their deep red colour mixed with the pink of the nearby azalea bushes.  Movement by the back stone wall caught his attention; he chuckled as a squirrel raced up one of the two cedar trees that grew against the wall. 

He could hear the drone of the hummingbirds and the sweet chirping of the sparrows, and spied them flitting among the lilies and white lilac bushes that bloomed in the left side of the garden.  There were chickadees feeding on the winding cobblestone path; Jessica had most likely thrown them some seeds earlier.

It is far more expressive, isn’t it?

A good descriptive scene invokes the visual, but also other sensory input such as sounds, smells, tactile feel, even a character’s memories.  The best writing tries to recreate how a real person would experience the event. 

Now cramming every tiny detail into scenes doesn’t work either, because you veer into the comical and absurd.  It screams amateur to readers, as does using unusual adjectives/adverbs to illustrate and emphasize.

I shall demonstrate:

Jessica was sitting harshly, rigidly, upright at her very murky, black, baby grand piano that her most beloved grandmother had happily given her for her sixteenth birthday four years ago; the very antique piano that had once belonged to her grandmother.  She had been staring exceptionally hard for more than fifteen minutes at the vaguely spider-webbed cracked, ebony-black, ivory keys that just lay there like a stiff, solid, bit of off-white fishbone that had the last of the flesh scraped off it.  She could not focus her scattered thoughts on the sheets of music that were laid out most carefully in front of her on the shiny, shadow black music rack that was attached to the piano.  She was certainly supposed to be practicing Chopin’s Raindrop Prelude , a piece of music she thoroughly treasured and often played, but her thoughts and feelings would not depart the memory of Butch leaving her this morning to sail far away across the deep ocean to Cornwall, England.  His face still bounced in her memory; his thick, shiny, exuberant, wood-brown hair, his sparkling, sassy, intelligent emerald green eyes, his sculptured, firm, Roman nose, his warm, full, soft, exquisite mouth.

Now that was a passage just brimming over with description, and confusion. 

Here’s something showing less is more:

Jessica was sitting stiffly at her baby grand piano, the antique her grandmother had given her for her sixteenth birthday.   She stared yet again at the slightly cracked keys, knowing that she could not focus her thoughts on her music.  She was supposed to be practicing Chopin’s Raindrop Prelude, but her thoughts kept wandering to the memory of Butch’s leave-taking this morning.  His face still haunted her memory; his thick, brown hair, his sparkling, green eyes, and his warm, exquisite mouth.  Now he was sailing from her, to Cornwall, England. 

A writer must be careful about use of details, too many spoil the mix.   Also beware the overuse of adjectives and adverbs, and make certain you match the adjective/adverb with the mood of your narrative passage.

Remember to keep it simple, evocative and never tell your reader everything at once.  Feed your reader details like crumbs, making a trail through your story. 

When creating a scene or description, you are trying for atmosphere, to make a reader feel they are within your words.  A writer has to set the scene, and strike a balance between doling out the details and going overboard with the wordage.

For more information, see Stewart’s Squidoo lens: How to Write a Fantasy Novel.

Savor the Moment: Inspiration for Writers

Aaron Paul Lazar has graciously consented to be a guest host on my blog today. The author of LeGarde Mysteries and Moore Mysteries, Lazar enjoys the Genesee Valley countryside in upstate New York, where his characters embrace life, play with their dogs and grandkids, grow sumptuous gardens, and chase bad guys. Visit his websites at www.legardemysteries.com and www.mooremysteries.com and watch for his upcoming release, MAZURKA, coming in 2008. Lazar says:

It’s the last week of August. Autumn has already stretched tentative tendrils toward us, cooling the evenings and drenching the morning with heavy dew. Today, as I rounded the top of a hill overlooking the valley, my breath caught in my throat. Before me lay the snaking path of the Genesee River, previously hidden from casual view behind fields and woods. Nebulous clouds of fog hovered above, revealing the river route that quietly meanders out of sight most of the year.

My soul exploded with a sensation of splendor best described by the Japanese philosophy, wabi sabi*. This was indeed a wabi sabi moment, a fraction of time linking nature and man, steeped in intense sensual beauty…so full of wonder it transports you to a moment of spiritual enlightenment.

In addition to the vapor-bound river, the countryside lay punctuated with farmers’ ponds, exposed via banks of fog steaming overhead. Normally hidden by tall fields of grass or corn, the wisps of moisture called attention to the quiet shallows, home to frogs and watering holes for livestock.

Stunned by the beauty, invigorated beyond belief, I continued on the drive that I’d taken thousands of times before. Heading north on River Road, whispers of “Thank you, God,” floated in my brain. Still and amorphous, the words vibrated in syncopation with stirring grasses.

Once again, nature presented a feast so lovely I choked with emotion. There, to the east, clusters of wheat waved in the sunlight with heavy heads bowed under the weight of soaking dew, their curvatures swan-like as they moved in glistening silence.

The ephemeral nature of this phenomenon is part of the allure. That precise moment of intense immersion, that amazing connection with nature, will never repeat. The sun’s rays may not hit the grass with exactly the same angle or intensity. The grass will change tomorrow, perhaps drier, taller, or shorn. This transient moment of staggering beauty must be absorbed and cherished.

What path do writers take to experience this? How do they open the channels in the brain that might have been content to listen to Haydn’s 19th Symphony in C Major, but blind to nature’s offerings? (this was playing on the radio when I delighted in these visions today.)

First of all, one must be a “visualist.” That isn’t a real word, but it describes what I mean. A person who is stunned by physical natural beauty (certainly not at the exclusion of aural, tactile, or emotional stimuli) possesses visual aqueducts to the world through his or her eyes. Infinitesimal flashes of stunning images move him beyond belief. These impressions are captured in his mind’s eye, never to be lost, forever to be savored. And often, when this type of writer is creating, they see the “movie in their mind,” pressing from within, allowing readers to feel intimate and involved in a scene.

What type of a reader are you? Do you soak up scenes written by others? Imagine them for days on end? Find choice gems of passages that affect you for life? Do you want your readers to feel this way about your own prose?

It is this deeply felt appreciation for nature, for life, for wonder, that promotes a good writer to potential majesty. Perhaps not to best-seller status – that illusory fate is in the hands of a publishing industry often not tuned into art, but focused solely on profit. Try to ignore that aspect when you are creating your next masterpiece. In time, if the stars are aligned and you achieve this pinnacle of greatness, it may happen.

Open your eyes. Reel it in. Absorb the beauty around you, whether it is the flash of love in an old woman’s eye, or the fragile petal of a tiny orange cinquefoil. Allow yourself to be in that moment, record it in your soul, and play it back for your readers for the ultimate connection.

* Wabi Sabi for Writers, by Richard Powell, Adams Media.

You can find Aaron Paul Lazar at: www.legardemysteries.com www.mooremysteries.com www.aplazar.gather.com www.aaronlazar.blogspot.com www.murderby4.blogspot.com

Grammar Guide for Self-Editing

My guest host today is Paul Allen Leoncini. He is the author of the epic novel Conjuroravailable at Barnes&Noble, Bordersbooks, Ingram books and http://www.PublishAmerica.com as well as bricks and mortars book stores. Leoncini writes, Once upon a time a dear Agent offered me some advice, and this is what she said:

Grammar Guide For Self-Editing or Groups by Kelly Mortimer (2/10/08)

A – Awkward Sentence StructureRearrange, rephrase, or try deleting unnecessary words.

Aa – Additive Adjunct – No comma before “too” when it’s the last word of a sentence, and “too” means also. Ex: “She graduated from high school too.” Use a comma when “too” appears elsewhere and still means also. Ex: “She, too, graduated from high school.”

Aw- A while vs. AwhileNever follow a preposition with the word “awhile.” “Awhile” is an adverb that means “for a while.” Ex: “Stay awhile” means “Stay for a while.” A while” is a noun phrase that follows a preposition like “for” or “in.” Ex: “Stay for a while.”

B – Blond/BlondeBlond is an adjective used to describe. Ex: “She has blond hair.” Blonde is a noun. Ex: “She’s a tall blonde.” (The “e” is rarely used when referring to men.)

Bc – Because When possible delete “because” and form two sentences. Subordinate conjunctions can annoy readers if overused.

Bg – Began/Begin/StartedWhen does beginning become doing? Immediately! Ex: Correct: “He walked toward the door.” Incorrect: “He began to walk toward the door.” (There are exceptions.)

Bi – Backstory or Internal ThoughtDon’t write long paragraphs of internal thought or backstory to “info dump” every detail of a character’s past. Break it up. Change to dialogue or action whenever possible. No backstory allowed in the first chapter (at least).

Bs – Be SpecificForget it. Forget that. Forget this. Huh? Be more descriptive. Ex: Bad: “He handed it to her.” Better: “He handed her a drink.” Best: “He handed her a frosty mug of root beer.” You can use unspecific words in the second part of a sentence if the first part is specific. Ex: “She took off the necklace and put it away.”

C – Contractions Without contractions, writing is clunky. Read both sentences aloud. Ex: “I have hurt my knee and cannot exercise, but do not let that stop you.” Better: “I’ve hurt my knee and can’t exercise, but don’t let that stop you.” Exception: a character’s speech pattern.

Cd – Character DescriptionWhen a character is in their POV, they shouldn’t describe themselves. Bring out features through another character’s eyes. Ex: “Amanda grabbed her brush and tugged it through her golden brown hair.” Correct: “Amanda grabbed her brush and tugged it through her hair.”

Cl – Colors – Instead of using an ordinary color, choose a more vivid word. Ideas on last page.

Cq – Colloquialism – Using two possessives to modify one noun. Ex: Her friend’s dad’s car is old. Correct:  Her friend’s dad has an old car.

Cs – Comma in a Series – (1) Place a comma before the “and” in the last element in a series to prevent ambiguity. Ex: “I’m going to the park, the school, and the store.” (2) If the last element has a pair of words joined by “and,” the comma goes before the first “and,” but not the last. Ex: I’m going to the park, the school, and the store to buy eggs and milk.”

D – Dash – Shows interruption (in dialogue). Don’t overuse! No spaces before or after a dash.

D/t — Day / Time – Avoid starting paragraphs with the day/time. It’s telling! Exs: “The next morning…” (or) “Two hours later… ”

Dss – Delete Extra Space – One space after ending punctuation.

E – EllipsesShows hesitation, a pause, or omitted words. Don’t overuse! Spaces before and after mid-sentence ellipses. Regular punctuation for ellipses at the end of a sentence.

Ex – Exclamation PointsUse when a character shouts, or the mental equivalent! Use SPARINGLY! If not, the exclamation point loses its effect!!!!!

F – Farther vs. Further – “Farther” describes distance, literally. Ex: I can’t walk any farther. Use “Further” in a figurative sense. Ex: I don’t want to research the subject any further.

H – Hyphenate(1) Hyphenate when modifying a noun. Ex: She has a five-year-old child. (or) She has a five-year-old. (child is implied) Incorrect: Her child is five-years-old. (2) Don’t hyphenate after a “ly” word. Ex: She walked into a brightly lit room.

I – IntensifierEmphasizes the word it modifies. Use a stronger word instead of a weak one plus an intensifier. Ex: Monday turned frigid.   Incorrect: Monday turned really cold. Other Examples: very, totally, quite, extremely, severely, etc. (There are exceptions.)

Ia – It and As – Avoid starting sentences with the words “it” or “as.”

Iu – Intended UseUse words for their intended purpose. Ex: “She has pretty hair.” Incorrect: “She arrived pretty late.” (or) “She has a little dog.” Incorrect: “Her dog ate little.”

Iw – It was/wasn’t – Be specific on what “it” is, or if the sentence makes sense without, delete.

Lo – Locution – Delete phrases like “she wondered” by rephrasing into a question. Ex: She wondered why her sister always cut her hair. Correct: Why did her sister always cut her hair?

Lp- Long Paragraph – Break it up. Readers like to see some white space on a page.

Ls – Long SentenceBreak it up. If you have to pause to take a breath, the sentence is too long.

Ly – Use of “LY” AdverbsThese sneak emotions into attributes, or weaken a sentence. Ex: “You’re not nice,” she said angrily. Correct: “You’re despicable.” (There are exceptions.)

M – MediaItalicsMovies, TV shows, books, book-length poems, magazines, plays, radio shows, works of art, instrumentals, operas, and ships/boats (I know vessels aren’t media). Quotation MarksTV episode titles, songs, stories, articles, poems, and photographs.

Mm – Misplaced Modifier – Placement of a word, phrase, or clause that modifies an unintended word, causing ambiguity. Ex: “Slim and beautiful, the crowd applauded for the new Miss America.” This reads “the crowd is slim and beautiful.” Correct: “The new Miss America was slim and beautiful, and the crowd applauded for her.”

Mr – Motivation/Reaction Problem Putting the character’s reaction before what motivates him/her to react. Ex: She shivered with fright as footsteps sounded on the stairs. Correct: Footsteps sounded on the stairs and she shivered with fright. (or) Footsteps sounded on the stairs. She shivered with fright. Check sentences with “as” in the middle. Switch the sentence around, ditch the “as,” and add “and,” or make two sentences with the motivator first.

Np – New Paragraph – New speaker, new subject, or use a one-sentence paragraph to make the sentence more dramatic.

Nu – Negation Use – Phrasing your sentence in the negative. Ex: The park isn’t more crowded on a Sunday than a holiday. Change to positive by deleting “no, not, never, etc.” Correct: The park is as crowded on a Sunday as a holiday.

Op – Omniscient POVAlso called Author Intrusion. The author is talking to the reader. Ex: She prayed for her friends. If she could’ve predicted the future, she’d have prayed for herself.

P – Passive vs. Active Sentence StructureActive structure is “A” does to “B.” Passive structure is “B” is done by “A,” or, the subject of the sentence is acted upon. Ex: Passive: “The soup was stirred by Jane.” Active: “Jane stirred the soup.” Watch for the word “was” before words ending in “ed.” Check: that, had, and forms of “to be” as well.

Pl – Pleonasm – Redundancy. A phrase or word that repeats itself. Ex: Twelve noon (noon), one a.m. in the morning (one a.m.), round in shape (round), I saw it with my own eyes, (I saw it)

Pov – Point of View Problem(1) If you switch to another character’s POV, show the break with an extra space or start a new scene/chapter. (2) Your character can’t see certain things in their POV. Ex: “She turned her back on him and he frowned.” She can’t see a frown if she turns her back. (3) Your characters can’t see themselves. Ex: Her face turned bright red. Correct: “Heat rose to her cheeks.” (4) Avoid: he saw, she heard, he knew, etc., when in that character’s POV. We know who’s seeing, hearing, knowing, etc. Ex: She saw him moving across the room. Correct: He moved across the room.

Pp – Purple/Poetic Prose – A stylistic device. Flowery, poetic speech. Lengthy descriptions and/or too many metaphors. Stay away from this!

Pq – Punctuation for QuotesFor single and double quotes used for emphasis, both the period and the comma go inside the quotation marks, all other punctuation goes outside.

Pr – Progressive PastWatch for “was” and “were” before words ending in “ing.” Ex: Progressive Past: “Jane was running.” Simple Past (usually preferred):  “Jane ran.” Sentences require progressive past if something interrupts an action. “Jane was stirring the soup when the doorbell rang.”

Q – QualifierAn unnecessary word that blurs your meaning and weakens your sentence. Something is, or it isn’t. Ex: “It was a bit cold outside.” Correct: “It was cold outside.” Other examples: rather, a little, a lot, seemed, only, slightly, just, almost, nearly, sort of, kind of, etc. Exceptions: a character’s speech pattern or speculation on what another character is thinking.

R -RepetitionRepeating the same words or phrases too often.

Rd – RedundancyTelling us something again, even in a different way or with different words.

Rp – Reflexive PronounOnly use pronouns ending in “self,” when the pronoun refers back to the subject. Ex: “I hit myself.” Don’t use “own” in conjunction with a pronoun when referring back to the subject. Ex: “My own sister died.” Correct: “My sister died.”

Sa – Simultaneous ActionCommon when a sentence starts with a word ending in “ing.” Having a character do something that’s physically impossible/doing two things at the same time. Ex: Pulling out of the driveway, he drove down the street. Correct: He pulled out of the driveway then drove down the street. (or) He pulled out of the driveway, then drove down the street. 

Sd – Said(1) One can’t: bark, growl, snap, chuckle, howl, grimace, roar, smile, or snarl, etc., a word. These are sounds or facial expressions. Use “said,” and eliminate “said” adverbs. Dialogue should carry the emotion, not an adverb shoring up “said.” (2) Don’t reverse to read, “said she.” Save that for the kiddy books. Ex: “See spot run,” said Jane.

Si – Split InfinitiveAn infinitive is the form of the verb that comes after “to.” A split infinitive is when another word comes between “to” and the verb. Ex: Jane seems to always wear her hair that way. Better: Jane always seems to wear her hair that way. (Not a must rule.)

Sm – Simplify – (1) Use simple, normal, phrases/words. Ex: Buying new clothes improved Jane’s old wardrobe. Incorrect: Jane ameliorated her obsolescent attire, augmenting it with additional purchases. (2) Use as few words as possible to get your point across.

T – That“That” is often a throwaway word. If the sentence makes sense without it, delete.

Tl – Telling(1) Words like: after, as, when, during, until, before, with, and while at the beginning of a sentence is often telling and unnecessary. (2) Watch forms of “to be” and “felt,” as well. Ex: He felt angry. Correct: He clenched his fists so hard, his knuckles turned white.

Tmi – Too Much Information(1) Don’t write long paragraphs with lengthy descriptions of scenes or rooms, etc. Break them up. (2) Don’t go into detail about what your characters’ actual positions are. This makes it harder to picture the scene. Ex: He held the man’s right arm with his left hand, and then kicked with his right foot to the man’s left side. Correct: He held the man’s arm, then kicked him in the side.

Tw – That vs. WhichUse that” to introduce a restrictive (defining) relative clause. Identifies what/who is referred to. Ex: I want to buy a book that has large print. That has large print is the restrictive clause explaining what kind of book I want to buy. “Which” is used with non-restrictive (non-defining) clauses. Ex: The students complained about the textbook, which was hard to understand. The clause which was hard to understand is non-restrictive because it doesn’t point out which book the students complained about. (There are exceptions.)

Uw – Unnecessary Words and PhrasesOmit extra words and phrases. Write each sentence with as few words as possible. Phrase Offenders: the fact that, all of a sudden, at the very least, in spite of, if nothing else, etc. Ex: By the way, I just wondered if you think that this dress looks good on me. Correct: Does this dress look good on me? Word Offenders: that, perhaps, however, although, over, under, up, down, even, quite, rather, suddenly, etc. Ex: Suddenly, I thought that perhaps she should go over there and sit down up on top of the fence. Correct: She should sit on the fence.

W – Walked/Ran – Boring! Options: advanced, ambled, boogied, darted, dashed, drifted, glided, hastened, hiked, jogged, loped, lurched, marched, meandered, minced, moseyed, moved, paced, paraded, patrolled, plodded, pranced, raced, rambled, roamed, roved, rushed, sashayed, sauntered, scampered, schlepped, scurried, scuttled, shuffled, sidled, slogged, slinked, sprinted, staggered, stepped, strode, strolled, strutted, swaggered, tip-toed, toddled, traipsed, tramped, traveled, tread, trooped, trudged, waddled, wandered.

 

Color Options: If a date follows the color, the word wasn’t in use before that date.

Black: onyx, anthracite, inky, black pearl, blue-black, coal, jet, ebony, obsidian, raven, soot/sooty, midnight, shadow, pitch, sable, tar, licorice

Blue: azure (1300), periwinkle, wedgewood, delft, neon, electric, cornflower, turquoise (1350), royal, powder, cobalt (1683), teal, navy, sky, robin’s egg, baby, peacock, lapis, indigo (1555), steel, sapphire (1200), federal, aquamarine, aqua, ultra marine, midnight, blue-green, blue-gray, denim, cadet, cerulean, ocean

Brown/Beige: earth, nutmeg (1400), cinnamon (1300), chocolate (1604), cocoa (1788), tan, chestnut (1300), bay, tawny, roan, mahogany (1660), pecan, rosewood, maple, taupe, coffee, toffee, cafe au lait, mocha, tortoise shell, ginger, walnut (1100), brunette, espresso, ecru, mushroom, fawn, buckskin, nut brown, umber, saddle, raisin, khaki, drab, bronze, copper, tanned, foxy, sandy almond (1300), oatmeal, tumbleweed, sienna, sepia

Gray/Grey: smoky, pearl, charcoal, ash, silvery, dove, gunmetal, steel, sooty, hoary (no wisecracks!), chrome

Green: jade (1585), emerald, malachite, kelly, leaf, moss (1880), celadon (grayish yellow-green-1768), seafoam, hunter, lime (1650), forest (1800), olive, pistachio, grass, pea, mist, chartreuse, verdant, celery, mint, apple, hazel, green-blue, shamrock, avocado, spring, asparagus, pine, seaweed

Orange: apricot, rust(y), peach, tangerine, persimmon, orange-red, shrimp, salmon, terra cotta, auburn, burnt orange, mandarin, copper, nectarine

Pink: petal, neon, blush, carnation, rubescent (blushing-1725), hot, electric

Purple: amethyst, violet, lavender, heliotrope (reddish-lavender), mauve, plum, wood violet (pale purple), lilac, orchid, fuchsia, tyrian (1586), grape, wisteria, royal

Red: ruby, poppy, scarlet, garnet, red-amber, rose, dusky rose, crimson, cinnabar (bright red), wine, claret, cerise (deep red), russet, burgundy, henna, ox-blood, carmine (strong or vivid red), apple, cherry, tomato, red-orange, brick, cardinal, rubicund (ruddy), vermillion, cochineal (vivid), maroon, strawberry, raspberry, blood, candy apple, beet, currant, titian (reddish-brown), lobster, fire engine, coral (reddish-yellow), flame, cranberry

White/OffWhite: milky, quartz, white jade, moonstone, ivory, creamy, snow, pearl, alabaster, opal, magnolia, vanilla, chalky, oyster, marble, bone, cadmium (1822- whitish-blue metallic), eggshell, parchment, lily, porcelain, bleached linen, buff

Yellow: fool’s gold, gold(en), goldenrod, blond, ash blond, platinum, burnished, brassy, amber, palomino, honey, primrose (pale), daffodil (1548), jonquil (1664), butter, buttercup (1777), lemon (1400), dun, tawny, flaxen, sandy, straw, hay, citron (pale), canary (1584), topaz, ochre, sulfur (greenish tint), mustard, butterscotch, yellow-green, dandelion