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

Draggy Dialogue? Reeking Repartee? Why the Chit-Chat Can’t Be Idle

Tracy Fabre is guest hosting my blog today. Fabre is the author of Evan’s Castle, available from Amazon, Barnes and Noble, and Stonegarden Publishing. Fabre says:

Dialogue (unless your novel manages to avoid it entirely) is something both difficult and essential to get right.  It serves two key purposes in fiction: it furthers the plot, and helps the author build the characters.  (It can also entertain, frighten and inform, as characters joke, threaten, and sometimes pontificate, but we’ll keep it simple for this post.)

Here are a few things which must be taken into consideration as you write your dialogue.

It must be believable and natural.  It must be plausible that your character would speak, shout, wheedle, cajole, or threaten with the words you choose for him.  Are you writing about a twelfth century cleric?  Then he’d better not say, “Dude, that habit is, like, so five minutes ago.”  Are you writing about a teenaged NYC prostitute?  Then she’d better not say, “Fain would I fathom the nature of a bespectacled pigeon, forsooth.” 

It must fit the scene, and the words you use to describe how it is uttered.
        “I am so extremely happy,” Lulella intoned.
But intoned implies dull, flat, ponderous–okay, so does her speech–so if you were trying to show she’s actually happy, none of it works.
        Roderick stated, “I love you.”  Does that seem right?  No.  Stated is another word which implies flat, dull, boring; if that’s not how you meant him to sound, you need a new qualifier.  I could write a whole book on how said is really the perfect word, much more so than physiological impossibilities such as:
        He smiled, “Hello!”  
                No, he didn’t.  He said it.  He smiled while he was saying it.
        “Baby,” he rushed into the room carrying vermicelli, “you’re here!”
               No, he spoke as he was rushing; there’s a difference.
Don’t be afraid to use said.  It becomes invisible, and the speech itself takes precedence, as it should.  There are places where other impossibilities such as purred and barked do work, but limit your use of qualifiers such as laughed and smiled because, kiddo, you can smile your dialogue all you want but it’s just going to sound like a buncha mumbling.

Don’t feel you must use any variation of said at all if the speech explains itself.  
           “I think I’m going to have to slather you with butter.” He smiled.
           She smiled back.  “I think that would be very interesting.”
I think we know what’s going on there… unless of course he’s really about to kill her, in which case I’m sure you’ve written the rest of the scene to show her being brave and clever and escaping unbuttered.

Make it clear who’s speaking, but don’t over-do it in a heavy-dialogue scene. 
         “I don’t like gazpacho.”
         “You’ve never had gazpacho.”
         “Yes, I did, in Boise,” Velmarine insisted.
         “I don’t remember that.”
         “You weren’t there. It was a Tuesday.  Where’s the butler?”
         “What butler?” Claude looked around, puzzled.
         “The one I hired last Tuesday to clean the gutters.”
         “We don’t have gutters. This is a condo.”
         “Oh, that explains the snooty people in the lobby.”  She sipped her tea.
Also, make sure the first pronoun to follow a bit of dialogue refers to the person who spoke.  In the above lines, it should be clear that Claude said “What butler?” and Velmarine mentioned the snooty people, without a single said being present.  Remember that readers generally take things literally, in order, so keep your curve balls to a minimum.

Say it out loud.  Really.  If you know your characters well (as you should), then say their dialogue out loud to make sure it sounds right.  It’s okay, you can whisper it; no need to alarm the neighbors.  But say it. 

Cut what you don’t need.  Some dialogue isn’t necessary: you don’t need every greeting, every farewell; you need to concentrate on the key elements of plot advancement and character development.  You may have written some incredibly profound bit of pontification but if it doesn’t fit the scene or the character and adds nothing to the plot, cut it.  You may have written the funniest freakin’ bit of repartee the literary world has ever known, but unless you need it… erm… you don’t need it. 

Speaking of cutting, I’ll stop here. 

What have your challenges been as you write dialogue? 
What do you consider your successes? 
Would you be willing to post to the discussion short samples of your dialogue which you either love or hate?

On Writing: How To Use a Character Profile

Lately I’ve been coming across many different character-building worksheets, both online and in how-to-write books, but one point most fail to mention is how to use the biographies you create.

Knowing your characters’ families, friends, education, jobs, hobbies, strengths, weaknesses, goals, regrets, fears, desires, needs, might help you define your characters, but the real benefit of character biographies is to help you create the story.

It’s not enough simply to know what your hero believes, for example. If the belief doesn’t add anything important to the development of the story or the development of the hero’s character, it’s hardly worth mentioning. It’s not enough simply to know the hero’s background. If it isn’t important for the reader to know, if nothing is gained by its inclusion, if nothing is lost by its omission, then that, too, is barely worth mentioning.

On the other hand, if your story goes stale halfway through the book, you can mine both the hero’s beliefs and background for additional conflicts.

More than that, though, a well-constructed character biography can tell you what your story is and where it is going.

When you know your hero’s main goal, you will find the beginning of a plot line. When you know what will make the goal’s attainment the most difficult for the hero, you will find the central obstacle in the story. And when you know your hero’s greatest strength, you can figure out how your hero will eventually overcome the obstacle.

By exploiting your character’s greatest fear, you will be able to draw the most depth from your character because, of course, your hero must confront this fear or else you miss the point of your own story.

Through knowing your character’s weaknesses, regrets, needs, desires, vulnerabilities, you will find inner conflicts, subtexts, subplots, and all the bits of drama that pull readers into your world.

As your story progresses, you may find in your hero’s biography untapped wells of strength, previously undisclosed facts that might alter the situation, even characters from the hero’s past who might take unexpected and relevant action.

Most of all, a biography can help keep you focused on your character’s goals. It can help you avoid annoying little inconsistencies such as hazel eyes on page ten and blue or brown on page one hundred and ten. It can help you create a character arc because you will know which traits are static (an intelligent person doesn’t suddenly become stupid for no reason), and you will know which traits can show the character’s growth (perhaps a fear of commitment that becomes a willingness to commit).

But most of all, the biography tells you the story because character is so entwined with plot that it’s impossible to create one without the other.

Click here for a character questionaire to help you create a profile for your character.

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