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: Muddling Through the Middle

Novels generally have a three-part structure: beginnings, middles, and ends.

Beginnings connect the reader to the main character, present the story world, establish tone, introduce the opposition, and compel readers to move on to the middle.

Endings wrap up all the strands of the story, give the outcome of the final conflict, and leave a sense of satisfaction and resonance.

Middles develop the confrontation between the main character and the antagonist, deepen character relationships, keep us caring about the main character, and set up the final conflict.

Middles keep the main character and the antagonist in conflict. If one or the other can simply walk away, there is no reason for the reader (or writer) to muddle through the middle. Duty can be the adhesive keeping them in conflict (a detective needs to solve a case). Moral obligation can be the adhesive (a character exacts revenge or a mother fights to save her child). Physical location can be the adhesive (a blizzard makes it impossible for the characters to leave a place).

Middles have a rhythm of action, reaction, more action, and how these beats are controlled determines the pace of the novel. Lots of action, little reaction gives a breathless pace. Little action, lots of reaction slows the pace.

Middles should have a sense of suspense, a sense of death hanging over the main character (can be physical, psychological, professional, or moral), and a sense of increasing risks and rising stakes.

Here are a few questions to keep in mind as you muddle through the middle of your novel:

What adhesive do you use to keep your characters from being able to walk away?

How do you vary the rhythm of action and reaction to create the pace of your novel?

Does your novel have suspense, some question to be resolved, something that will keep readers paging through the middle?

Do you have a sense of death hanging over your main character?

How do you keep increasing the risks for your character?

How do you keep raising what is at stake for your character?

Write Lofty and Carry a Big Chisel

Like other construction worker, we creators of word worlds own toolboxes filled with necessary implements. We have hooks to hook the reader, glue to glue their attention, a feather or two to tickle their funny bones.

We find nails to nail our points and hammers to hammer them home. We find nuts and bolts to connect our story elements and trowels with which to lay a concrete foundation. And we find pliers for getting the attention of agents and editors, because we all know that task is as difficult and painful as pulling out our own teeth. (Word of caution: Do not use pliers on said agents/editors. They might take offense and refuse to look at your work.)

We need awls and augers (maybe even augurs) to poke holes in our inflated prose, and we need saws to cut away the deadwood. And we definitely need screwdrivers to screw up our courage and we need screwdrivers to drown our sorrows when agents/editors/critics shoot us down again. (A bulletproof vest would also come in handy, but they are too bulky to fit in the box, and besides, they make our clothes fit funny.)

But the most important and versatile tool of all is the chisel. We can use it to knock the chip off our shoulders. Perhaps you’re right and agents/editors are idiots who can’t recognize good prose. But perhaps they are idiots who can recognize good prose, and you’re not writing it yet. (Notice I say you? I, of course, write excellent prose. Agents/editors just don’t recognize my good prose when they see it.)

Chisels will help keep criticism and compliments at more than arm’s length. Too much criticism can kill creativity; too many compliments may keep us from improving. And we can all improve.

A chisel will help pare away verbiage, those superfluous words and elements that blunt the clear lines of our prose. For example, I chiseled away excess from the phrase excess verbiage, since it’s redundant. Verbiage by definition is excess.

And a chisel will help us shape our story into a world so vital and inviting readers won’t be able to tear themselves away.

So, let’s open our toolboxes and get to work

You first.

What Is Writing Like For You?

For me, writing is like the world’s longest crossword puzzle, one that takes a year to complete. I like playing with words, finding their rhythm, and getting them to behave the way I want. I like being able to take those words and create ideas, characters, and emotions. Amazing when you think about it, how we can juggle twenty-six symbols in different ways to create words, sentences, paragraphs, worlds. And what one person writes, another can read.

For you, writing is like . . .

Writing Is No Laughing Matter

I posted “The First Commandment of Writing” (Thou shalt not bore thy readers) last year, and it engendered a discussion on the importance of conflict. Several days ago, someone left a comment I thought too important to bury in an old post:

Okay guys it depends on the audience a person is appealing to on whether or not she has the right hooks or not but what do i know i am 14 and was looking stuff up about The Old Man and the Sea and this popped up but seriously, does it even matter? who cares about all this? you actually came publically to discuss this? ha! i find that almost Hilarious.

Ignoring the issues of why Google indexed an obscure comment left on my blog seven months ago, and why the commenter tried to find the antagonist of the Old Man and the Sea on the internet instead of in the book, the comment still surprised me.

What’s more important to discuss than writing?

Politics? Without writers, politicians would be speechless.

Celebrities? Without scripts and scripted sound bytes, they’d be as lumber-tongued as the rest of us.

Social ills and climate changes? Without writing, who would be aware of them?

Movies? Without writers, films would be nothing more than demolition derbies.

Music? Without writers, there would be no song.

The Internet, instant messaging, email? Without the ability to write, none of those would be of any use.

And without writers, there would be no novels, and hence no way to delve into what makes us human beings.

Hilarious? Perhaps. But it does matter.

Kamikaze Editing

In giving my manuscripts their yearly tune-up, I discovered that I use and overuse many unnecessary words, such as little, somewhat, rather, quite, very. A little noisy, somewhat noisy, rather noisy, quite noisy, very noisy. In each case, the modifier blurs the word noisy, rendering it almost meaningless. (Almost is another word I use too much.) So I went on a search and destroy mission to sharpen my prose.

I know I overuse only and just, but I hadn’t realized just how often I use them. They should only be used a few times, just to give emphasis, and only when needed. I ended up deleting about a hundred justs and onlys, though I kept almost as many because I couldn’t figure out how to say what I wanted without them.

Another word I overuse is up: he washed up, stood up, raised up. Also down: sat down, crouched down, squatted down. At least those were easy to get rid of, a quick click of the delete key and poof. No ups and downs. Just cleaner prose.

And then there are all those adverbs I really use too often that add practically nothing, particularly when they are basically used to modify verbs that hardly need modifying. Yep: practically, particularly, basically, extremely, hardly, really all have to go. I’m also overfond of barely, but I could barely stand to part with all of them so they still litter my prose. But just barely.

More Rejections

I’ve been sending out queries lately, so I’ve been getting rejections. I think I would be more accepting of the situation if there was a consensus as to why agents and editors are turning down my work. One rejection letter said that my writing was good and the premise intriguing but the book leaned too far toward science fiction to be a good fit. Another letter I received the same day for the same novel said that she was immediately impressed but that there weren’t enough science fiction elements for their list.

Oddly enough, I never considered the book to be science fiction at all — I thought it was more of a thriller, except that it’s not thrilling enough to be classified as a thriller. And if not a thriller, then a mystery, though it doesn’t quite fit into the mystery/suspense category, either.

I can’t imagine what reasons they will give for rejecting my work in progress, assuming I ever get the book finished. (For some reason I can’t write during the summer, so it’s really a work in stagnation.) But the book defies any sort of classification. Well, there’s no point in worrying about that now. I have four completed novels that are racking up the rejections, and that’s about all I can handle for now.

As I was writing this, I received another rejection in the mail. Lucky me! This one said “The concept of the novel is intriguing and the ominous and tense tone of the writing reflects the mood of the protagonist fairly well. Unfortunately, due to the confusing nature of the plot, it’s not right for our current list.” Confusing? I thought that was the point — keep the reader confused until the end when all is made clear and they become unconfused.

I’m used to rejection, of course. It’s all part of the submission process. But oh, how marvelous if just once in my life I had to get used to acceptance!

Coloring Your World

Color is an important part of life, and we should honor that importance in the stories we write. Although we can simply name any color for our characters’ bedrooms or the clothes they wear, by choosing a specific color, we can add layers of meaning to our stories and even to the personalities of our characters. We can add mood, symbolism, theme, even emotion. But first, we need to know what the colors mean.

What Colors Mean:

Black — Evil, falsehood, error, grief, despair, death.
Blue — Chastity, loyalty, fidelity, faith, modesty, eternity, immmortality.
Green — Love, joy, abundance, hope, youth, mirth, gladness, resurrection, spring.
Purple — Temperance, royalty
Red — Magnanimity, fortitude
White — Purity, truth, innocence, hope.
Yellow — Faith, constancy, wisdom, glory, jealousy, inconsistancy.

What Your Favorite Color Reveals About You:

Red — Ambitious, energetic, extroverted
Pink — Affectionate, compassionate, romantic
Maroon — Sensuous, friendly, emotional
Orange — Fun-loving, action-oriented, competent
Peach — Gentle, charitable, enthusiastic
Yellow — Optimistic, expressive, people-oriented
Mint green — Modest, insightful, kind-hearted
Apple green — Innovative, adventuresome, self-motivated
Green — Benevolent, service-oriented, scientific
Teal — Idealistic, faithful, sentimental
Light blue — creative, perceptive, imaginative
Dark Blue — Intelligent, responsible, self-reliant
Mauve — Delicate, reserved, sensitive
Purple — Intuitive, spiritual, insightful
Beige — Practical, well-adjusted, steadfast
Brown — Down to earth, honest, supportive
Black —  Disciplined, strong-willed, opinionated
White —   Individualistic, lonely, low self-esteem
Gray —  Passive, noncommittal, stressed
Silver —  Honorable, chivalrous, romantic
Gold —  Idealistic, noble, successful

More about color:
The Meaning of Your Car Color
Everything You Always Wanted to Know About Green and More

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Pat Bertram is the author of Grief: The Inside Story – A Guide to Surviving the Loss of a Loved One. “Grief: The Inside Story is perfect and that is not hyperbole! It is exactly what folk who are grieving need to read.” –Leesa Healy, RN, GDAS GDAT, Emotional/Mental Health Therapist & Educator.

De-was-ing My Manuscripts

I don’t seem to be able to write during the summer. The heat fries my creativity, or at least stifles it, so I use the time to send out query letters and edit my novels. For this current edit, I’m going through and de-was-ing my manuscripts. I have no objection to the word “was,” but it seems to be falling out of favor. Too passive, perhaps, and too weak. And I use it a lot; I have found pages that have six or seven wases.

Sometimes it’s easy to remove a was. I just replace it with another verb. He was still handsome becomes He still looked handsome.

Sometimes I find it more difficult, and have to rewrite the entire sentence. It was a nice day becomes The sun shone. The warm air smell of just mowed grass. Not brilliant prose by any means, but at least the was is gone, which satisfies the point of the edit, though I don’t see what was wrong with the first version. It might be bland, but it’s also the character’s opinion. By describing the day, it seems less personal; nevertheless, I made the change.

And then there are all those sentences that I can’t figure out how to rewrite. He was out of the habit of talking might become He’d lost the habit of talking, but it seems too severe for the casual comment I intended. In the end, I left it out. It might change the character’s motivation for not responding to a direct question, but at least I got rid of the was.

I’m having a problem with a few other sentences, too. He was a lawyer can become he worked as a lawyer, but that’s not the same connotation at all. Nor is She was in love the same as She loved him. And what about What was she doing here? Or He was her grandfather. Simple, ordinary sentences that became convoluted any way I try to change them. So I left them as is. If an editor or agent rejects my work because of a few stray wases, then they wouldn’t have been worth dealing with.

Or so I tell myself.