Diatribing Show-n-Tell — My opinion on writing

Karl C. Klein, today’s guest blogger and the author of Unnatural Girl, soon to be published by Second Wind Publishing, has consented to show and tell his views on writing:

I’m new to writing. I don’t have the benefit of a formal education. I’ve not been writing since before I born, having grabbed the doctor’s pen soon after sliding into the world, scribing some Hemingway-ese prose on my swaddling blanket.

I’m a newbie, a neophyte, a rookie, a babe, a novitiate, a novice, newcomer, fledgling, tenderfoot and a greenhorn.

I’m wet behind the ears.

I’ve been reading many critiques over the past couple years to the point where my teeth want to turn around in my head and eat my brain. (Normally I say “until my eyes bleed,” but since I’m going to climb all over cliches, I thought I’d use something fresh).

If we feel the need to suggest that someone not ‘tell’ but rather ‘show’ his or her story, he or she is not to have clue what we’re talking about. (Remember, I’m a neophyte, an outsider who doesn’t know the jargon.)

“Critics too often forget they’re supposed to help, not hurt.” Lewis Black, from his book.

“Show not tell” has become a cliche, something else a writer should avoid. On some critiques, I can see the critic with her chin raised, slashing at the air like swatting flies.

I have never in any of my critiques used the expressing in any way: “show not tell,” or in any form.

I think the writer, when told something like this, should ask: “Why?” and get a better answer than: “Agents and Publishers say so.” We can and should ask why if we don’t understand and we should demand an answer.

Here’s my general advice to writers seeking their voice (when we begin writing, that’s what we do in a long, painful process — we seek our voice, which is not to be mistaken with the generic voice ‘agents and publishers’ would like to mold their writers)

This applies to third person, but much to first person, too.

Let me get this out of the way:

Don’t preach — ever. If you want to make some spiritual, religious or social point, write an essay. It’s fine for your characters to have a point of view, but keep it real. (Which is not to say the story shouldn’t make a point — even my parabolic stories look like the message is incidental).

(here’s the show and tell in a way that’s easily understood):

Let your characters tell the story. In third person, I don’t want to hear nothing from the narrator. No opinions and no hyperbole. Nothing will set my teeth on edge quicker than in 3rd person the narrator stating: “She was beautiful!”

I think in the million and a half words I’ve committed to manuscript, I’ve used ten exclamations marks. Again, ‘showing.’

If you unfurl your scene clear and sharp, the characters should show the reader everything the reader needs to know without ‘stage direction’ (telling) or what I call “movie scripting.”

I say it this way: Have faith in your reader.

1) Don’t preach
2) Let the characters tell the story
3) Have faith in the reader
4) Avoid movie scripting
5) Avoid wordiness
6) Don’t default (assuming stereotypes as universal concepts)

Telling:
John walked into the room, approached the table, greeted Sally and sat on the chair. Sally greeted him back and asked if he’d had breakfast. John wasn’t one for breakfast, but knew it was polite to accept something offered. He told her no. She asked if he wanted eggs.

Better:
“Hi, Sally.” John dropped to the chair.
“Good morning. Had breakfast?”
“Nope.”
“Eggs?”
“Love ’em?”
“How do you like them?”
“Hell, I like ’em fine!.”

There’s a best kept secret rule in writing:.

Only one point-OH-view per paragraph. If you keep this rule in mind, you can cut out 96% of your ‘saids, asks, questioned,’ etc. Why do you wish to do that? I’m glad you asked.

If you look at the dialog above, you that see no ‘saids’ are needed. The quotes indicate direct speech and the way I laid this out, it’s obvious who’s saying what. Said’s would merely be wordy and get in the way. When reading, MOST people skip them anyway.

next line:

Sally got up from her chair.

“from her chair” is wordy. We can have faith in the reader to know she was sitting on a chair.

Sally stood.

When I do a critique, if I find the writing heavy with movie scripting, I’ll copy-n-paste a few paragraphs and mark in red what I find wrong, then rewrite the section, explaining each suggestion and why I feel it makes the writing better.

Needless to say, I invest a great deal of time in my critiques.

Good writers work in groups. Great writers work alone.

Free Exclamation Points for Everyone!!!

In celebration of National Punctuation Day (it was four days ago, but who’s counting?) I’m giving away exclamation points to everyone to use as you wish. Or better yet, to not use.

During an online discussion about punctuation, a participant said she wanted one basic rule for exclamation points. My response: “If you want just one rule for exclamation points? Don’t use them.” We get so used to flinging exclamation points around in online comments and emails that we think they belong everywhere, but an exclamation point is often an unnecessary elbow nudge.

“Oh, how fun.”

“Oh, how fun!”

“Oh, how fun,” he exclaimed.

“Oh, how fun!” he exclaimed.

The exclamation in the first example is understood, so a period works just fine. The middle two examples are gramatically correct, though they do tend to poke you in the side to make sure you get the point. The exclamation point in the fourth example is redundant if you use the speaker attribute. And the speaker attribute is telling something we already know if you use the exclamation point. Of course, pointing this out will not change your ways; despite rules and helpful hints, we all have our own quirks when it comes to punctuation, and as I learned during the discussion, we will argue our points even when proven wrong.

So, use or do not use your free exclamation points. They are yours. A gift from me.

Would You Like Me to Interview Your Characters?

I am starting a new blog, Pat Bertram Introduces . . .  where I will be posting interviews with fictional characters. The first interview has been posted: Pat Bertram Introduces Siegfried Marggrander, close friend and brother-in-law of Gus LeGarde, of the LeGarde Mystery series, written by Aaron Lazar.

If you wish a character to be interviewed by Pat Bertram, please answer fifteen to twenty questions from the Character Questionaire Page and submit them in the comment section along with whatever links you’d like included. Be sure to answer in your character’s voice, and be sure you mention the title of the book and who wrote it. If an answer to a question is yes or no, please explain why. (Example: Do you run away from conflict? Yes. Why? I don’t like fighting. See, there was this time in third grade where I got in a fight and . . .) Feel free to include your own questions. The character interviewed does not have to be the hero. Even if you don’t want your character interviewed, you can ask your characters these questions to help you profile them.

  1. What is your story?
  2. Who are you?
  3. Where do you live?
  4. Are you the hero of your own story?
  5. What is your problem in the story?
  6. Do you have a problem the wasn’t mentioned in the story?
  7. Do you embrace conflict?
  8. Do you run from conflict?
  9. How do you see yourself?
  10. How do your friends see you?
  11. How do your enemies see you?
  12. How does the author see you?
  13. Do you think the author portrayed you accurately?
  14. What do you think of yourself?
  15. Do you have a hero?
  16. Do you have a goal?
  17. What are your achievements?
  18. Do you talk about your achievements?
  19. Do you keep your achievements to yourself?
  20. Do you have any special strengths?
  21. Do you have any special weaknesses?
  22. Do you have any skills?
  23. Do you have money troubles?
  24. What do you want?
  25. What do you need?
  26. What do you want to be?
  27. What do you believe?
  28. What makes you happy?
  29. What are you afraid of?
  30. What makes you angry?
  31. What makes you sad?
  32. What do you regret?
  33. What is your biggest disappointment?
  34. What, if anything, haunts you?
  35. Are you lucky?
  36. Have you ever failed at anything?
  37. Has anyone ever failed you?
  38. Has anyone ever betrayed you?
  39. Have you ever failed anyone?
  40. Have you ever betrayed anyone?
  41. Do you keep your promises?
  42. Are you honorable?
  43. Are you healthy?
  44. Do you have any handicaps?
  45. Do you have any distinguishing marks?
  46. What was your childhood like?
  47. Do you like remembering your childhood?
  48. Did anything newsworthy happen on the day you were born?
  49. Did you get along with your parents?
  50. What in your past had the most profound effect on you?
  51. What in your past would you like to forget?
  52. What in your past would you like others to forget?
  53. Who was your first love?
  54. Who is your true love?
  55. Have you ever had an adventure?
  56. What is the most important thing that ever happened to you? Why?
  57. Was there a major turning point in your life?
  58. Was there ever a defining moment of your life?
  59. Is there anything else about your background you’d like to discuss?
  60. What is your most closely guarded secret?
  61. What is your most prized possession? Why?
  62. Do you have any hobbies?
  63. What is your favorite scent? Why?
  64. What is your favorite color? Why?
  65. What is your favorite food? Why?
  66. What is your favorite beverage? Why?
  67. What is your favorite music? Why?”
  68. What is your favorite item of clothing? Why?
  69. Name five items in your purse, briefcase, or pockets.
  70. What are the last five entries in your check registry?
  71. What are the last three books you read?
  72. If you were at a store now, what ten items would be in your shopping cart?
  73. If you had the power to change one thing in the world that didn’t affect you personally, what would it be?
  74. What makes you think that change would be for the better?
  75. If you were stranded on a desert island, would you rather be stranded with, a man or a woman?
  76. How do you envision your future?

Writing Dialogue

Dialogue is not conversation. It is an artificial construct that gives the impression of spontaneous and realistic speech without the ums and ers and repetition and stuttering and sidetracks into inanity that characterizes normal conversation. Dialogue shows the relationship between characters, and ideally should be so effective that any analysis of the relationship is unnecessary. 

Elizabeth Bowen, a British author, writes: “What are the realistic qualities to be imitated (or faked) in novel dialogue? Spontaneity. Artless or hit-or-miss arrival at words used. Ambiguity (speaker not sure, himself, what he means.) Irrelevance. Allusiveness. Erraticness, unpredictable course. Repercussion. 

“What must novel dialogue, behind mask of these fake rrealistic qualities, really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique. Since the last confrontation, something has changed, advanced. What is being said is the effect of something that happened; at the same time, what is being said is in itself something happening, which will, in turn, leave its effect.” 

Dialogue also characterizes the speaker; we can tell who a character is by what that character says and how he or she says it. Each character the main character interacts with should bring our a different facet of the character. You generally don’t speak the same way to your boss and your best friend, your mother and your spouse. 

Sometimes when people talk to others, especially when they accuse the other person of doing or behaving in a certain way, they are talking to themselves. So, in effect, what a character says to another or about another reveals the character’s inner thoughts. Like dreams. Didn’t Freud say that all characters in a dream are facets of the dreamer? 

So how do you write good dialogue? 

Make speeches short.
Have speakers cut in on one another.
Answer a question with a question.
Ignore questions, or answer it after another exchange of words.
Instead of a character answering a question directly, have him tell why it was done: “Did you eat the cookie?” “They looked so good.”
Have characters play tug-of-war with words, each trying to get something from the other.
When editing, review every snippet of speech and ask yourself, “Is this the best, the wittiest, the most dramatic thing the character can say?” Dialogue is not life. In life, most of us can’t think of the perfect response until it is way too late. But in writing you can take your time and make each bit of dialogue a jewel. 

A perfect bit of dialogue from the seventh century: 

A foreign conquerors sent the Laconians a message: “If I come to Laconia, not one brick will stand on another.” 

The laconic reply? “If”.

Where Do You Insert Dialogue?

Someone asked me where they should insert dialogue into the novel they were writing. I went blank for a moment, unable to comprehend the question. Insert dialogue? To a great extent, dialogue is the story.  The most personal way people interact is by dialogue, and a story is or should be about people interacting,  about relationships. Even  action-oriented stories come down to a basic relationship: the hero vs the villain. 

A better question might be where to insert exposition, but even that is a specious question. Nothing in a novel should be inserted. Each element should flow one into the other, making a cohesive whole. I’ve heard people say that they’ve finished writing their novel, now all they have left is to go back and insert the symbolism. If you have to insert something for the sake of inserting it, it’s better to leave it out. Symbols, like other elements should flow out of the story. 

Novels need to balanced. Dialogue interspersed with exposition or action makes for a more interesting story than dialogue or exposition or action alone. A novel that is mostly dialogue seems lightweight; a novel with too much exposition feels heavy-handed; a novel that is all action gets boring after a while. 

One way to make sure the elements flow together is to know what you are trying to accomplish. What kind of story are you writing? What is your story goal? What is your premise? What is the core conflict? Once you know the core of your story, you can make sure every element connects to it. Sometimes you won’t know the core until you’ve finished the first draft. In which case, just write, let the words flow out of you and into the story. Then, when the draft is finished, read it to see what you have. Do any themes jump out at you? What is the gist of the story (the core conflict)? How can you use the various story elements help you bring out that conflict? Does every action have a reaction? Does every reaction have a cause? Which element will bring the conflict into sharper focus? If a particular conflict is a physical one, then action interspersed with terse comments is best. If a particular conflict is personal, then dialogue interspersed with bits of action is best. 

Where to insert dialogue, then, is not the real question. The real question is what do you want to say, and how do you want to say it?

Critiquing: How to Critique Another Writer’s Story

Kim Smith, today’s guest blogger, is the author of Avenging Angel, a Shannon Wallace Mystery coming soon from Enspiren Press. Smith writes:

So you are going to critique another writer’s story? How do you feel about this?

Do you feel you have the ability to be non-personal, and give them the sort of information they will need to be a better writer? Or do you worry that you may say something that will turn them against writing for all time? It’s okay to feel all of this. Hopefully by the end of this article you will believe you can do this critique thing with no fear, or worry. 

A good first question to ask is why am I doing this? 

We all as writers need someone to look at our work and give it an overall opinion as to whether it is good or not. We all need improvement, and a helpful crit can get us to the next level with our writing.

Critting also helps the critter, too. You have an easier time seeing your own little problems when you correctly find it in another’s work. And oh yes, we all have issues. 

Of course, you want to keep your critique along the lines of helpful

A negative critique should always be directed toward the writing, not the author. Leave your personal attitude at the door, people. I mean no one wants a sarcastic, nasty crit that smacks of personal attack. No room for that at the table, not even when trying to make a valid point. It should rest with the author as to whether your advice is taken. So, in essence, critique as you would have them critique you. 

Now of course, the writer also plays a part in the critiquing effort, and that is, he or she should be willing and able to accept the critique offered.

Listen, this critiquer is giving you all of his or her knowledge, maybe your book DOES need the change. Don’t toss the baby out with the bathwater. 

How you go about giving a critique is as individual as the books are.

You can do a complete read through and go back and make comments. You can do a line-by-line as you read, and you can always combine those two, or come up with your own method. No one cares HOW you do it as much as the fact that it is useful and correct. 

Correctness is a matter to consider also, critiquers.

You must research your own opinions, too. Google that historical fact, make sure it is accurate. One time I had written something about a “red-light district” in a Civil War novel. Of course, that would have been completely impossible, because electric lights such as I had implied didn’t exist yet,. and my critters called me on it. 

Finally, think through your critique and put it into a good format for your writer.

If they need a line number to go to or a chapter place to go to, put it in the crit so they can find where you are telling them the problem is. A writer sometimes cannot see the forest for the trees, so it is good to have reference points. 

I hope this has helped you in your efforts to give and receive a critique of your work.

“Critiquing” by Kim Smith ©2008

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