Tag Archives: writing

Revisiting the Apostrophe #writing

Some questions have been raised in an online writing group about the use and abuse of apostrophes, so I thought this would be a good day to revisit a post from February of 2019. Nothing has changed, and apostrophes remain as useful and confusing for new writers today as they were then. Hopefully, this rant will clear the murky waters of one of the English grammar’s most useful punctuations, the apostrophe.


The apostrophe has many uses, but I will only delve into the most common ways we use it in creative writing today.

comma or apostropheIn creative writing, the apostrophe is a small morsel of punctuation that, on the surface, seems simple. However, certain common applications can be confusing, so as we get to those I will try to be as concise and clear as possible.

First up, we all know that we use the apostrophe to denote possession:

  • This is George’s cat. (George owns this cat.)
  • This is Jorgensen’s cat. (A person who is going by the surname of Jorgensen owns the cat.)

Where this gets a little tricky is in the possessive form of a surname when it refers to the whole family. In this case, you insert a grammatical article (the) and make the name plural, and then add the apostrophe:

  • This is the Jorgensens’ cat. (The Jorgensen family owns the cat.)

If the Jorgensen family have a sign made for their front porch, they would have it made to read “The Jorgensens’ Home” (not “The Jorgensen’s Home,” as that would imply that only one Jorgensen lives there, and his legal name is “The Jorgensen.”)

When two or more people (or other entities such as businesses) are described as separately owning something, each name should be in the possessive form:

  • “Ralph’s and Janet’s cars are the same model.”

However, if Ralph and Janet share a possession, include an apostrophe and an s after the last name only:

  • “Ralph and Janet’s car is a Prius.”

In some cases, we need to use plurals of abbreviations. In a military thriller, you might need to say, “They disarmed several IEDs.” (We would not use an apostrophe.)

Writing a year numerically has been an area of confusion for me. This is because I rarely have had to write years in this way until recently and the use of an apostrophe for this is now considered outdated. However, this is how they should be written:

  • The tavern culture of the 1600s was flourishing. (1600’s would not be considered incorrect, just old fashioned.)
  • Dresses in the 1960s were shorter than in previous years.

An apostrophe should follow a number only if it is possessive.

  • It was 1985’s worst storm. (Some editors feel this is awkward, but I let it stand when I see it in a client’s manuscript.)

Numbers are frequently written numerically when writing books for middle grade and YA readers, as these stories often center around schools and sports.

A single digit, such as 7, is made plural with the addition of an s: 7s

Insert an apostrophe to denote possession when you must use a number to stand in for a person in an article, such as when an athlete is identified by a uniform number:

  • Number 8’s tackle won the day.

Contractions can be confusing. Two words made into one word are joined by an apostrophe:

  • Do not = don’t
  • We are = we’re
  • You are = you’re
  • They are = they’re

And so on. A list of contractions to watch for can be found at the fount of all knowledge, Wikipedia: Wikipedia: List of English contractions

Conjunctions also can be tricky.  Simply add an s, such as in the phrase “There are no ifs, ands, or buts about it” or “A list of dos and don’ts follows.” We do keep the contractive apostrophe in don’t and simply add an s to make it plural.

Sometimes a single letter looks awkward when we just use an s to indicate plurality.

  • “How many h’s do you spell shh with?” (just writing “hs” would look odd and be confusing.)

When pluralizing capital letters, we don’t use an apostrophe: Mike earned three Ds in English this year but still passed the class.

In a narrative, the two most common missions that apostrophes have are to denote possession or indicate a contraction.

  • Who’s is the contraction of “who is” or, less commonly, “who has.”
  • Whose is the possessive of “who” or, somewhat controversially, “which.”
  • Their(s) is the possessive of “they.” (They’re proud to own it, it’s theirs, and it’s not there.)
  • Its is the possessive of “it,” and “it’s” is a contraction of it is.

Note that for both they and it, there is no apostrophe in the possessive form.

  • The texture of the wall —it’s rough. (contraction: it is rough.)
  • I scratched myself on its surface. (possession: the wall’s surface.)

In most English words an apostrophe indicates possession but can also indicate a contraction. The difficulty arises in the fact that both it and they are frequently part of contracted words.

In the effort to standardize English usage, early linguists made a choice to eliminate the apostrophe in the possessive form. They did this in the (futile) hope of ending confusion.

  • It’s is the contraction of “it is” and sometimes “it has.”
  • Its denotes possession: It owns it.
  • Their: they own it
  • They’re: they are

As with so many things that “seemed like a good idea at the time,” its and it’s will always cause problems for new and beginning writers. Inadvertent misuse happens even for old hands like me when I’m zipping along laying down the first draft of a manuscript.

We have to be vigilant and ensure we have looked for proper usage of its and it’s during revisions. Even the big traditional publishing houses admit sneaky errors like those like to go unnoticed until after publication.

In closing, the most common uses of the apostrophe aren’t too difficult once we learn the rules. Remember, apostrophes are integral parts of the traffic control system, signals that keep your words moving along at the right rate. Using them the way they are intended (and which readers expect) keeps the reader from throwing your book away.

I always suggest you set some time aside for writing new words every day, even if only for fifteen minutes. When we force ourselves to think about and use the basic rules of grammar regularly, we retain what we have learned.


This post first appeared on Life in the Realm of Fantasy on 13 Feb 2019 as The Apostrophe. https://conniejjasperson.com/2019/02/13/the-apostrophe-amwriting/

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English – a Language Full of Bothersome Words #writing

I love words. I love the way they rhyme, the way they sound, and the way they feel when they roll off the tongue of a gifted narrator. I love words that sound alike but mean different things, words that describe colors, smells, and sounds.

I love words.

MyWritingLife2021The English language is full of words that mean the same as other words. Even common names are like that. For instance, “Jones” is a surname of Welsh origin that dates back to the Middle Ages. It means “John’s son.” So, Jones is Welsh for Johnson, and the two usages evolved on the same island.

Who knew? Jones seems so dissimilar to Johnson that I (an American) would never have guessed.

In a strange twist of irony, English is also full of words that sound nearly alike and look very similar but mean very different things. Even though many of these words are often used interchangeably in casual conversation, they are NOT alike or similar in meaning.

I always notice when an author confuses near-homophones. That is the technical term for words that sound closely alike, are spelled differently, and have different meanings. When we read widely, we’re more likely to notice the difference between words like accept and except when they are written.

wordsThe different meanings of seldom-used sound-alike words can become blurred among people who have little time to read. They don’t see how a word is written, so they speak it the way they hear it. This is how wrong usage becomes part of everyday English.

For this reason, new and beginning writers often don’t realize the ways in which they habitually misuse common words until they begin to see the differences in how they are written.

Let’s look at two of the most commonly confused words: accept and except. People, even those with some higher education, frequently mix these two words up in their casual conversation.

Accept (definition) to take or receive (something offered); receive with approval or favor.

  • I accept this award.
  • We should accept this proposal.

Except (definition) not including, other than, leave out, exclude.

  • We’re old, present company excepted.
  • Everyone is welcome, with the exclusion of drunks and other miscreants.

Used together in one sentence, they look like this:

We accept that our employees work every day except Sunday.

The following quote is one I have used before, but it’s a good one, so I’ll just repeat myself here.

Farther vs. Further: (Grammar Tips from a Thirty-Eight-Year-Old with an English Degree | The New Yorker by Reuven Perlman, posted February 25, 2021:

Farther describes literal distance; further describes abstract distance. Let’s look at some examples:

  • I’ve tried the whole “new city” thing, each time moving farther away from my hometown, but I can’t move away from . . . myself (if that makes sense?).

  • How is it possible that I’m further from accomplishing my goals now than I was five years ago? Maybe it’s time to change goals? [1]

Consider these three very different words:

  • Ensure
  • Insure
  • Assure

Ensure: When we use these sound-alike words, we want to ensure (make certain something happens) that we are using them correctly.

ozford-american-writers-thesaurusInsure: We insure our home and auto. In other words, we arrange for compensation in the event of damage or loss of property or the injury to (or the death of) someone. We arrange for compensation should the family breadwinner die (life insurance). Also, we arrange to pay in advance for medical care we may need in the future (health insurance).

Assure: We assure our listeners that everything is correct. In other words, we explain things in a way that dispels any doubts our listeners may have. If we have to, we reassure them by explaining it twice.

It never hurts to have a wide vocabulary, but we must know the meaning and correct uses of words. For the moment, let’s not worry about grandiose (magnificent, complex, ostentatious, pretentious) words that only inflate our prose. We who write must learn how to use all our words accurately and in a context that says what we mean.

The words listed in the following image are often used interchangeably in common speech, and while it may sound normal when your friend says persecute when she means prosecute, incorrect usage conveys the wrong meaning.

Homophones and near homophones

I think it helps if a writer is also a poet. When writing a narrative, we have room for a lot more words, which can lead to inflated prose. But when writing poetry, we must do more with less, so the words we choose must have a visual, sensory impact.

Isn’t that what we hope to achieve with all our work?

I have one manuscript in the final revision stage and am working on shrinking the prose while conveying the story. The real struggle for me is achieving uninflated yet visual prose.

oxford_synonym_antonymI have a lot of words to choose from, and the Oxford Dictionary of Synonyms and Antonyms to help me out. It’s full to overflowing with lovely, visual, sensory words, and like an addict, I have the urge to use them all.

But I won’t. Today, I will write lean, descriptive prose. If I don’t, my editor will ensure that I pare the fluff down.

Discipline feels good.


Credits and Attributions:

[1] Farther vs. Further: (Grammar Tips from a Thirty-Eight-Year-Old with an English Degree | The New Yorker by Reuven Perlman, posted February 25, 2021 (accessed 18 May 2024).

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When life hands you lemmings #writing #Parkinsons

Forget the lemons—anyone can make lemonade. Lemons arrive one or two at a time.

Lemmings arrive in droves.

MyWritingLife2021BWhen your spouse has Parkinson’s, problems tend to arrive en masse, like an unstoppable horde of lemmings. Dealing with life’s lemmings requires a bit more creativity than merely making a cool, relaxing drink. While you may never gain control of the migrating mob, you must somehow steer them in the right direction.

Lemmings are interesting little creatures who sometimes migrate collectively—herds of cute, furry rodents naïvely leaving home in search of better pastures. And just like the historical myths about wolves, the lore about them contains as much misinformation and downright cruelty as it does truth.

Herd_Mentality_1Wikipedia says:

Lemmings have become the subject of a widely popular misconception that they are driven to commit mass suicide when they migrate by jumping off cliffs. It is not a deliberate mass suicide, in which animals voluntarily choose to die, but rather a result of their migratory behavior. Driven by strong biological urges, some species of lemmings may migrate in large groups when population density becomes too great. They can swim and may choose to cross a body of water in search of a new habitat. In such cases, many drown if the body of water is an ocean or is so wide as to exceed their physical capabilities. Thus, the unexplained fluctuations in the population of Norwegian lemmings, and perhaps a small amount of semantic confusion (suicide not being limited to voluntary deliberation, but also the result of foolishness), helped give rise to the popular stereotype of the suicidal lemmings, particularly after this behaviour was staged in the Walt Disney documentary White Wilderness in 1958.

The misconception itself is much older, dating back to at least the late 19th century. In the August 1877 issue of Popular Science Monthly, apparently suicidal lemmings are presumed to be swimming the Atlantic Ocean in search of the submerged continent of Lemuria. [1]

Thus, some 19th-century scientists were quite imaginative as storytellers and got their fantasy stories published that way. If only it was so easy today!

herd_mentalityBut back to the lemmings. We know how mob mentality works in humans, and it seems to happen in other creatures.

Events in life sometimes occur the way that an unsafe crowd surge at a concert does. Events and incidents pile up and press you, requiring more time and attention than one person has available. I suspect that sometimes, the unfortunate lemmings in the front of the pack are inadvertently shoved into danger by the unstoppable crush of the crowd behind them, and the rest follow, unaware of their peril.

For the caregiver, living with Parkinson’s is like that. It’s difficult to watch someone you love experience a series of declines that you are helpless to avert. Incidents happen that must be handled, and everything takes twice as long as we think it should.

When it’s all-hands-on-deck, everything else gets kicked to one side.

Here at Casa del Jasperson, giving my husband the assistance he needs has become a lot more involved than it was a year ago. Rising above the landslide of suggestions and well-meaning advice from friends and acquaintances that has become a buzz of white noise, I frequently hear the mantra, “Take care of yourself too.”

Sure. Thank you for that observation. Self-care is easier said than done, but lightening my commitment load will help.

medical symbolTwo weeks ago, my husband fell, sustaining a minor injury. Two days later, he was fighting off an infection, and we spent last Saturday in Urgent Care from 8:00 am to 7:00 pm. Rather than put him in the hospital, we were given the chance to participate in the “Hospital at Home” program.

Hospital-at-home enables some patients who need acute-level care to receive care in their homes rather than in a hospital. This program reduces costs, improves outcomes, and is much easier on the patient. So, we were at home, but he was on intravenous antibiotics, and nurses came and went with comforting regularity.

Thus, I didn’t have time to write my posts in advance the way I usually do. Wednesday and Friday’s posts were great examples of what happens when I rush to get a post up on schedule. I corrected the problems as soon as they were pointed out, but I’d prefer to not have to do that.

virtually golden medallion of mayhem copyNo one is perfect, but I like to do my best work. I’ll admit that publishing a post discussing a picture but with no image of that art piece is a humorous blooper. We did get a laugh out of it.

But it’s not “best” work.

Greg is now on the mend and slowly regaining the ground that he lost. His strength is gradually returning, and he is suffering fewer moments of confusion.

In the meantime, Life in the Realm of Fantasy is trimming back to two posts a week instead of three.

On Mondays, we will discuss the craft of writing and how it fits into my life. Sometimes, we’ll talk about the books I’m reading, and sometimes we’ll interview friends about their books.

On Fridays, I will share the images I find on Wikimedia Commons and talk about what I like about that painting or photograph.

8ce052b8e7c8182a51dc4999859c1061I try to write my posts on Saturdays and proof them on Sundays, so having only two to deal with will allow me time to proofread them and work on my other creative writing projects.

And so, my friends, I’ll see you next on Friday, when I feature an example of the mad, fantastic art of Hieronymus Bosch.


Credits and Attributions

[1] Wikipedia contributors, “Lemming,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Lemming&oldid=1221843458 (accessed May 3, 2024).

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#FineArtFriday: Bavarian Landscape by Albert Bierstadt

Bierstadt_Albert_Bavarian_LandscapeArtist: Albert Bierstadt  (1830–1902)

Title: Bavarian Landscape

Genre: landscape art

Date: possibly between 1853 and 1857

What I love about this painting:

Albert Bierstadt is one of my favorite artists. He loved the power of nature. His colors are strong, and he employs contrast to good effect. In this painting of cattle in a field, he manages to make even the simplest scene feel epic.

This is one of his earlier works, but the sky is pure Bierstadt—immense, powerful, the vaults of heaven reigning over the world below.

We see a lush, fertile farm with healthy cattle in the foreground. The dark clouds in the distance tell us a summer storm looms, but for us, the sun still shines overhead.

About the artist, via Wikipedia:

Albert Bierstadt (January 7, 1830 – February 18, 1902) was a German American painter best known for his lavish, sweeping landscapes of the American West. He joined several journeys of the Westward Expansion to paint the scenes. He was not the first artist to record the sites, but he was the foremost painter of them for the remainder of the 19th century.

Bierstadt was born in Prussia, but his family moved to the United States when he was one year old. He returned to study painting for several years in Düsseldorf. He became part of the second generation of the Hudson River School in New York, an informal group of like-minded painters who started painting along the Hudson River. Their style was based on carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. Bierstadt was an important interpreter of the western landscape, and he is also grouped with the Rocky Mountain School.

In 1851, Bierstadt began to paint in oils. He returned to Germany in 1853 and studied painting for several years in Düsseldorf with members of its informal school of painting. After returning to New Bedford in 1857, he taught drawing and painting briefly before devoting himself full-time to painting.

Bierstadt’s popularity in the U.S. remained strong during his European tour. The publicity generated by his Yosemite Valley paintings in 1868 led a number of explorers to request his presence as part of their westward expeditions. The Atchison, Topeka, and Santa Fe Railroad also commissioned him to visit and paint the Grand Canyon and surrounding region.

Despite his popular success, Bierstadt was criticized by some contemporaries for the romanticism evident in his choice of subjects and for his use of light, which they found excessive.

Some critics objected to Bierstadt’s paintings of Native Americans based on their belief that including Indigenous Americans “marred” the “impression of solitary grandeur.”


Credits and Attributions:

IMAGE: Wikimedia Commons contributors, “File:Bierstadt Albert Bavarian Landscape.jpg,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:Bierstadt_Albert_Bavarian_Landscape.jpg&oldid=823443562 (accessed May 2, 2024).

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Active prose #writing

Verbs are the engines that power our prose. They can push the action outward from their nouns or pull it back inward. Verbs show the action but have shades of mood and tone.

Verbs there is no tryWhen I am writing poetry, I look for words that contrast vividly against each other. I choose action words that begin with hard consonants and emotion words that begin with softer sounds.

If I can do this for poetry, I should be able to do this for narrative prose. Unfortunately, my poetic brain goes on vacation when I am trying to write a first draft.

Writing the first draft is difficult enough, but when that draft is finished, the real work begins. At that point, I must turn a choppy mess of a manuscript into something worth reading. There will be good passages, but they are interspersed with bald statements of action and response.

This stage of the process involves working on several layers:

  • prose
  • plot
  • character arc

So, besides ironing out plot holes, beefing up scene transitions, and fine-tuning character arcs, I must focus on the prose. I must use my words as creatively as possible to show the most with the least.

oxford_dictionaryVerb choices and the use of contrast in descriptors are crucial at this stage.

Power verbs push the action outward from a character. Other verbs pull the action inward. The two forces, push and pull, create a sense of opposition and friction. Dynamism in word choices injects a passage with vitality, vigor, and energy.

When we employ verbs that push the action outward from a character, we make them appear authoritative, competent, energetic, and decisive.

Conversely, verbs that pull the action in toward the character make them appear receptive, attentive, private, and flexible.

Concise writing can be difficult for those of us who love words in all their glory. So, I must use action words to set the mood. To do that, I must use contrasts.

  • dwell on / ignore
  • embrace / reject
  • consent / refuse
  • agony / ecstasy

A part of my life was burned away. I was destroyed, but now I was reborn in ways I’d never foreseen.

My action words are burn, destroy, and birth. The above character’s entire arc is encapsulated in those three words. In the opening pages, his verbs are darker, his actions more inward, and his demeanor sometimes brooding.

ozford american writers thesaurusAt the end of his story, events and interactions have changed him despite his wish for a calm life. His journey through the darkness brings about a renaissance, a flowering of the spirit.

Many power words begin with hard consonants. The following is a short list of nouns and adjectives that start with the letter B. The images they convey when used to describe action project a feeling of power:

  • Backlash
  • Beating
  • Beware
  • Blinded (adjective)
  • Blood
  • Bloodbath
  • Bloodcurdling (adjective)
  • Bloody (adjective)
  • Blunder

Some of the nouns are also verbs, such as beating or blunder.

When things get tricky, and the characters are working their way through a problem, verbs like stumble and blunder offer a sense of chaos and don’t require a lot of modifiers to show the atmosphere.

When you incorporate any of the above “B” words into your prose, you are posting a road sign for the reader, a notice that ahead lies danger.

Quill_pen smallIf I want to create an atmosphere of anxiety, I would use words that push the action outward:

  • Agony (noun)
  • Apocalypse (noun)
  • Armageddon (noun)
  • Assault (verb)
  • Backlash (noun)
  • Pale (modifier)
  • Panic (verb or noun)
  • Target (verb)
  • Teeter (verb)
  • Terrorize (verb)

If I want to show the interior workings of a character without resorting to a dump of italicized whining, I could write their internal observations using words that draw us in:

  • Delirious (modifier)
  • Depraved (modifier)
  • Desire (verb)
  • Dirty (modifier)
  • Divine (modifier)
  • Ecstatic (modifier)

So why are verbs so crucial in shaping the tone and atmosphere of a narrative?

Think about this sentence: Selwyn walked away.

We have three words indicating someone has departed, but they don’t show his mood.

Selwyn is a person (noun). He performs an action (verb).

steampunk had holding pen smallThat action affects both Selwyn and his objective: leaving. Away is an adverb (modifier) denoting distance from a particular person, place, or thing. It modifies the verb, giving Selwyn a direction in which to go.

We can write it several different ways still using only three words, and each indicates that Selwyn has left the scene. Each time we substitute a synonym for the word walked, we change the atmosphere of that scene.

  • Selwyn sauntered away. (He departed in a carefree, leisurely manner.)
  • Selwyn strode away. (He walked decisively in a particular direction.)
  • Selwyn stomped away. (Selwyn left the scene in a bad mood.)
  • Selwyn ambled away. (He walked slowly.)
  • Selwyn slogged away. (He departed but had to work at it.)
  • Selwyn slipped away. (Selwyn departed in a stealthy manner.)

Many verbs cannot impact a character or object directly. These are called intransitive verbs. They are as crucial as transitive verbs because they show a mood or condition, a state of being, or a reflex (automatic response).

Consider the word “mope.” Mope is an intransitive verb that means discouraged and apathetic. It’s an action word that goes nowhere.

  • Selwyn moped. (He was dejected and apathetic.) (Boring.)

We can have our character in a bad mood but with variations:

  • Selwyn pouted. (He was whiney, and we don’t want to read anything more about him.)
  • Selwyn languished. (He did nothing and stagnated, and we still don’t care.)
  • Selwyn sulked. (He was angry and self-pitying, and we will close the book on him.)
  • Selwyn fretted. (He was in a neurotic mood, and we tell our friends the book sucks.)

Some intransitive verbs in the family of “mope” are more robust and carry greater force:

  • Brood (a dark, obsessive mood.)
  • (Obsessively thinking about it, suffering.)

We can perk Selwyn up when we add a strong intransitive verb to a powerful transitive verb. Then, we have action and mood:

  • Selwyn strode away, brooding. (He left the scene, and someone will suffer.)

So, verbs and nouns must have modifiers and connectors to show a scene in the most visual and evocative way possible.

oxford_synonym_antonymThe trick is to choose the descriptors and the verb forms that have the most impact. The selection of modifiers and connecting verbs can enhance contrasts or weaken a sentence.

Making revisions is a lot of work. But taking the time to examine the layers of plot, prose, and character arc is required to take your manuscript from first draft to finished novel.

I suggest keeping a thesaurus on hand. I also have a dictionary of synonyms and antonyms because I want my words to say what I envision. Having a list of word forms and their synonyms enables me to express my ideas with fewer modifiers.

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Modifiers, descriptors, and crutch words #writing

Note to self: write dynamic prose and avoid crutch words.

MyWritingLife2021BOne thing I notice when listening to an audiobook is crutch words. One of my favorite authors uses the descriptor “wry” in all its forms, just a shade too frequently. As a result, I have scrubbed it from my own manuscript, except for one instance.

Wry is a modifier. It means using or expressing dry, especially mocking, humor: “a wry smile.”

“Sardonic,” a word he also uses a bit too frequently, is a relative of the word “wry” and means grimly mocking or cynical.

Both are good words, but they are easily overused when we are trying to show a character’s mood in a bleak situation.

Grin and smile are also first draft crutch words we use to show a mood. I do a global search and then tear my hair out trying to show my protagonist’s mood without getting hokey.

The way we use modifiers and descriptors (and their frequency) plays a significant role in how our work is received by a reader.

Use Active ProseThe words authors choose add depth and shape their prose in a recognizable way—their voice. They “paint” a scene showing what the point-of-view character sees or experiences.

And yes, in order to do that, they must use modifiers and descriptors, also known as adjectives and adverbs.

Modifiers are like any other medicine: a small dose can cure illnesses. A large dose will kill the patient. The best use of them is to find words that convey the most information with the most force.

What do we mean when we refer to modifiers?

A modifier is any word that modifies (alters, changes, transforms) the meaning and intent of another word. These words change, clarify, qualify, or limit a particular word in a sentence to add emphasis, explanation, or detail.

Some of these words are useful as conjunctions, words to connect thoughts: “otherwise,” “then,” and “besides.”

poetry-in-prose-word-cloud-4209005What are descriptors? Adverbs and adjectives, known as descriptors, are helper nouns or verbs—words that help describe other words.

What is a quantifierThey are nouns (or noun phrases) meant to convey a vague number or an abstract impression, such as very, a great deal ofa good deal ofa lot, many, much. The important word there is abstract. It is a thought or idea describing something without physical or concrete existence.

Modifiers, descriptors, and quantifiers are easily overused, so these words are often reviled by authors armed with a little dangerous knowledge.

One of the cautions those of us new to the craft frequently hear are criticisms about the number of “ly” words we habitually use. The forms we use can weaken our narrative.

First, examine the context. Have you used the word “actually” in a conversation? You may want to keep it, as dialogue must sound natural, and many people use that word when speaking.

490px-2014-10-30_11_09_40_Red_Maple_during_autumn_on_Lower_Ferry_Road_in_Ewing,_New_JerseyHowever, if you have used “actually” to describe an object, take a second look to see if it is necessary.

  • The tree was actually covered in red leaves.

Would the sentence be stronger without it?

  • Red leaves covered the tree.

Some descriptors are easy to spot, especially those ending in “ly.” When I begin revising a first draft, I do a global search for the letters “ly.” A list will pop up in my lefthand margin. My manuscript will become a mass of yellow highlighted words.

This is where I look at each instance because “ly” words are code words the subconscious mind uses in the first draft. They are a kind of mental shorthand that tells us what we need to expand on to fully explore the scene we envisioned.

Or they tell me something needs to be cut.

Context is everything. Please take the time to look at each example of the offending words and change them individually. I’ve said this many times, but I like to nag: You have already spent months writing that novel. Why not take a few days to do the job well?

Sentence structure mattersThe placement of an adjective in relation to the noun it describes affects a reader’s perception. Modifiers often work best when showing us what the point-of-view characters see, hear, smell, touch, and taste.

Sunlight glared over the ice, a cold fire that cast no warmth but burned the eyes.

In the above sentence, the essential parts are structured this way: noun – verb (sunlight glared), adjective – noun (cold fire), verb – adjective – noun (cast no warmth), and finally, verb – article – noun (burned the eyes).

So, we try to lead with the action or noun, followed by a strong modifier (one without the “ly” ending). The sentence conveys what is intended. It has modifiers but isn’t weakened by them.

ok to write garbage quote c j cherryhThe scene I detailed above could be shown in many ways. I took a paragraph’s worth of world-building and pared it down to 19 words, three of which are action words.

So, now you know what occupies most of my attention during revisions.

As writers, we all want to be accepted and have others like our work, which means we must meet our reader’s expectations.

Writers must write from the heart, or there is no joy in writing.

That means using modifiers, descriptors, or quantifiers when they are needed. It’s a balancing act. We must be mindful of the form and the context of how a modifier fits into our phrasing.

Below are two images. They are lists of code words I seek out and re-examine when I begin revising a first draft. Some words are quantifiers. They are adverbs of degree, words that describe how much of something, such as “I’m dreadfully unhappy.” Quantifiers (also known as adverbs of degree) have their place but can weaken a sentence. So, they are code words for you to look closely at when you get to the revision stage.  

Adverbs_of_degree

“Adverbs of manner” are qualifiers, words that “qualify the manner of what we are talking about.” They can intensify or decrease the degree of something, such as “I rarely go out.”

Adverbs_of_Manner

It seems like an overwhelming task, but it isn’t. I look at each instance of a modifier and see how it fits into that context. If a word or phrase weakens the narrative, I rewrite the sentence. I either change it to a more straightforward form or remove it. For example, bare is an adjective, as is barely. Both can be used to form a strong image, depending on the words we surround them with.

I have found that participating in a critique group has been crucial to my growth as an author. Most writing groups are made up of people who love reading and want your work to succeed. They won’t micromanage your manuscript because they are aware that too much input can remove the author’s unique voice from a piece.


Credits and Attributions:

IIMAGE: Wikimedia Commons contributors, “File:2014-10-30 11 09 40 Red Maple during autumn on Lower Ferry Road in Ewing, New Jersey.JPG,” Wikimedia Commons, https://commons.wikimedia.org/w/index.php?title=File:2014-10-30_11_09_40_Red_Maple_during_autumn_on_Lower_Ferry_Road_in_Ewing,_New_Jersey.JPG&oldid=751843290 (accessed April 28, 2024).

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My #Writing Life – Forest Fires, Prose, and W.B. Yeats

Spring has sprung, and the world here in the Pacific Northwest is turning green. We have rain today, and should for the next few days, but so far, April has been unusually dry. Drought this early doesn’t bode well for summer. Snowpack levels are currently at 68% of normal.

MyWritingLife2021We rely on water generated by glaciers on Mount Rainier and the Cascade Mountains in general, so the low snowpack means trouble later down the road.

Dry forests in this part of the world mean dry underbrush—if we remain in drought conditions, we could have a repeat of 2018’s West Coast Wildfires. 2018 Washington wildfires – Wikipedia.

That August, one couldn’t escape the smoke. We thought we would find fresh air by going to the beach, but it was just as bad there. The following is an image I shot on August 23, 2018, in Cannon Beach. That year, smoke from wildfires burning all over the West was so thick one could barely see the water from our beachfront condo.

Sun_in_Smoky_Haze_Cannon_Beach_08212018_©Connie_Jasperson_All_Rights_Reserved

At the time the photo was taken, the sun was still an hour above the horizon, and it should have been full daylight instead of noxious twilight.

The brown haze was so dense that the above image appears grainy and overexposed. But as you can see by the red sun, brownish-gray smoke obscures the view of the ocean, hiding the rocks of Tillamook Head. The temperature had risen to 90 degrees at the surf’s edge, an unheard-of temperature for that area of the Northern Pacific coast. Those of us with asthma suffered, as the sun was obscured for most of the day, with intense humidity not helping.

In so many ways, the scene in Cannon Beach that day was unreal, apocalyptic.

The following image is the same view of Tillamook Head as seen from the same condo on August 13, 2016. That was a year of fabulous sunsets, deep blue skies, and perfect kite-flying winds.

2016-08-12 21.26.16

Sunset at Tillamook Head, Copyright 2016 Connie J. Jasperson

But spring always brings the hope that better days are ahead, that the rain will fall, and that the traditional methods of forest fire management as practiced by our tribes will keep our forests safe. Indigenous Fire Practices Shape our Land – Fire (U.S. National Park Service) (nps.gov)

Drought is something thing I can’t change. It’s a thing to consider for world building, a distraction for when life gets crazy here at Casa del Jasperson. Some medications my husband has been taking are not working as well as we wished, and some have caused severe problems. He’s improving since we stopped the offending meds, so life is good.

Writing happens in short bursts. I have several manuscripts in the works so I work on whichever one interests me. I have basically scrapped one novel that had too many storylines. I’m parting it out into several novellas, which has rekindled my inspiration.

Alas, poetry has infiltrated my senile brain again, my secret love affair. I love the many ways words can be manipulated on a blank page. To me, poetry is something beautiful and visually simple, a thing that looks like it should be uncomplicated. But nothing could be farther from the truth.

Yeats Mural and quoteI grew up in an isolated rural environment, and summers could be lonely. My sister and I would get away from family dynamics by reading. My favorite “We Don’t Have Anything to Read” book was the volume of collected works by William Butler Yeats. That book shaped my view of poetry and literature in general.

Yeats was an unconventional person. His penchant for finding romance in most things meant his personal life and politics were sometimes messy. And yes, his love affairs were famous, especially his enduring but unrequited love for the Irish revolutionary/actress Maud Gonne.

Some might call that an obsession.

Yeats was probably not an appropriate literary hero for a ten-year-old girl in 1963, but he was just that to me.

As I grew into young adulthood, I admired how he struggled against the conventional morality of his day, as did all free-thinking artists and writers. It seemed as if his troubles and those of his contemporaries powered their writing.

Yeats’s poetry has rhythm and rhyme, and some consider it too old-fashioned. But while modern poetry doesn’t always rhyme, it must have tempo and rhythm.

Some might ask, “If it doesn’t rhyme, what makes poetry ‘poetic?'” It is prose with syllabic tempo and visual words. It conveys images, both auditory and visual.

manfred-lord byronSometimes, poetry is long, even epic in length. The epic poem, Manfred, by George Gordon, Lord Byron clocks in at around 250 pages and contains supernatural elements, as ghost stories were popular in England at the time. It is a Romantic-era closet drama, a play that is intended to be read aloud by one narrator rather than performed.

Poetry is a primal form of communication in the human species. It’s a literary invention that emerged as soon as we had words. Before we had written languages, poetry preserved our thoughts and feelings. It conveys them in an abstract way, passed down verbatim from generation to generation.

Our species remembers the words and the stories our ancestors told. Nowadays, we consider those sagas of the gods and heroes as allegories to explain historical natural occurrences.

We who write fantasy draw upon and recreate those stories in our image.

poetry-in-prose-word-cloud-4209005Poets select words for the impact they deliver. An entire story must be conveyed using the least number of words possible. Choices are made for symbolism, power, and syllabic cadence, even if there is no rhyme involved.

I try to do the same when I get to the revision process, eliminating weak passages and strengthening others. Sometimes, I have better results than others, but I keep trying.

So, now you know where I’m at in my writing life, the worries and little things that either hinder or spur creativity. I hope your writing is going as well as mine is.


Credits and Attributions:

Images © 2018-2024 Connie J. Jasperson, All Rights Reserved

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Self-editing – a 3-step process #writing

As an editor, I saw every kind of mistake you can imagine, and before that, as a writer, I made them all. This is why I rely on an editor for my work. Irene sees the flaws that my eye skips over.

WritingCraft_self-editingWhen prepping a novel to send to Irene, I use a three-part method. This requires specific tools that come with Microsoft Word, my word-processing program. I believe these tools are available for Google Docs and every other word-processing program. Unfortunately, I am only familiar with Microsoft’s products as they are what the companies that I worked for used.

What follows are three steps that should eliminate most problems in a manuscript.

Part one: Beta Reading is the first look at a manuscript by someone other than the author. I suggest you don’t omit this step unless you can find no one who understands what you need. A good beta reader is a person who reads for pleasure and can gently express what they think about a story or novel. Also, look for a person who enjoys the genre of that particular story. Your beta reader should ask several questions of this first draft (feel free to give them the following list).

beta read meme 2Part two: Once I have ironed out the rough spots noticed by my beta readers, this second stage is put into action. Yes, on the surface the manuscript looks finished, but it has only just begun the journey.

In Microsoft Word, on the Review Tab, I access the Read Aloud function and begin reading along with the mechanical voice. Yes, the narrator app is annoying and mispronounces words like “read,” which sound different and have different meanings depending on the context. However, this first tool alerts me to areas that were overlooked in the first stage of revisions.

ReviewTabLIRF07032021The most frustrating part is the continual stopping, making corrections, and starting.

I use this function rather than reading it aloud from the monitor, as the computer screen tricks the eye. I tend to see and read aloud what I think should be there rather than what is.

  • I habitually key the word though when I mean through or lighting when I mean lightning. Each is a different word but is only one letter apart. Most (but not all} miss keyed words will leap out when you hear them read aloud.
  • Most but not all run-on sentences stand out when you hear them read aloud.
  • Most but not all inadvertent repetitions also stand out.
  • Most of the time, hokey phrasing doesn’t sound as good as you thought it was.
  • Most of the time, you hear where you have dropped words because you were keying so fast you skipped over including an article, like “the” or “a” before a noun.

This is a long process that involves a lot of stopping and starting. It takes me well over a week to get through an entire 90,000-word manuscript. I will have trimmed about 3,000 words by the end of this phase. I will have caught many typos and miss keyed words and rewritten many clumsy passages.

But I am not done.

Part three: the manual edit. This is where I make a physical copy and do the work the old-fashioned way.

Everything looks different when printed out, and you will see many things you don’t notice on the computer screen or hear when it is read aloud by the narrator app.

  • Houghton_Typ_805.94.8320_-_Pride_and_Prejudice,_1894,_Hugh_Thomson_-_Protested

    Illustration by Hugh Thomson representing Mr. Collins protesting that he never reads novels.

    Open your manuscript. Make sure the pages are numbered in the upper right-hand corner.

  • Print out the first chapter and either staple it together or use a binder clip. If I drop it, the pages will all be together in the proper order.
  • Turn to the last page. Cover the page with another sheet of paper, leaving only the final paragraph visible.
  • Starting with the final paragraph on the last page, begin reading, working your way forward.
  • With a yellow highlighter, mark each place that needs revising.
  • With a red pen/pencil, make notes in the margins to guide the revisions. (Red is highly visible, so you won’t miss it when you are putting your corrections into the digital manuscript.
  • Put the corrected chapter on a recipe stand next to your computer. Open your manuscript and save it as a new file. (ManuscriptTitle_final_Apr2024.docx.) Begin making the revisions as noted on your hard copy.
  • Do the same for each chapter until you have finished revising the entire manuscript.

I look for info dumps, passive phrasing, and timid words. They are signs that a section needs rewriting to make it visual rather than telling. Clunky phrasing and info dumps are signals telling me what I intend that scene to be. Many times, I must cut some of the info and allow the reader to use their imagination.

I will have trimmed another 3 to 4,000 more words from my manuscript by the end of this process.

By the time we begin writing, most of us have forgotten whatever grammar we once knew. But editing software operates on algorithms and doesn’t understand context.

to err is human to edit divineI am wary of relying on Grammarly or ProWriting Aid for anything other than alerting you to possible problems. Look at each thing they point out and decide whether to accept their recommendation or not. They are AI programs and have no real-life experience to draw on.

You’ll get into trouble if you assume the AI editing programs are always correct. Remember, they don’t understand context. Good writing involves technical knowledge of grammar, but voice isn’t about algorithms.

Novels are comprised of many essential components. If one element fails, the story won’t work the way I envision it. It’s been months since a beta reader saw this mess and much has changed. I take a hard look at these aspects:

  • Characterization – are the characters individuals?
  • Dialogue – do people sound natural? Do they sound alike, or are they each unique?
  • Mechanics (grammar/punctuation flaws will be more noticeable when printed out)
  • Pacing—how does it transition from action scene to action scene?
  • Plot – does the story revolve around a genuine problem?
  • Prose – how do my sentences flow? Do they say what I mean?
  • Themes – What underlying thread ties the whole story together? Have I used the theme to its best potential?

Being a linear thinker, this process of making revisions works for me. It can take more than a month, but when I’ve finished, I’ll have a manuscript that won’t be full of avoidable distractions. It will be something I can send to my editor. And because I have done my best work, Irene will be able to focus on finding as much of what I have missed as is humanly possible.

Editors_bookself_25May2018If you read as much as I do (and this includes books published by large Traditional publishers), you know that a few mistakes and typos can and will get through despite their careful editing. So, don’t agonize over what you might have missed. If you’re an indie, you can upload a corrected file.

We are all only human, after all.

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Self-editing part 2: rare beasts – ellipsis, em dash, hyphen, and ?! #Writing

The mechanics of writing are the framework that makes a story readable. Every language has specific rules for managing grammar. The language I work in is English, so if you also write in another language, you have my profound respect. You have double the work ahead of you.

MyWritingLife2021BLast week, we talked about how punctuation is the traffic signal that keeps our words flowing smoothly.

Ellipses, em dashes, hyphens, and semicolons are rare beasts in the punctuation realm. Authors who rely on spellcheck may be getting the wrong advice when it comes to the use of rare punctuation.

For instance, Microsoft’s editor app sometimes tells us to use a comma to join two independent clauses when they don’t relate to each other. Microsoft is wrong. That creates a comma splice. The comma splice is a dead giveaway that either the author has skimped on editing their work or they’re not well-versed in grammar. (See Monday’s post, Self-editing part 1 – seven basic rules of punctuation, for a better explanation of comma splices.)

So, let’s talk about ellipses. Many authors use them incorrectly or inconsistently. This is because ellipses are not punctuation and shouldn’t be used as such.

The ellipsis is a symbol that represents omitted words and is not punctuation. The Chicago Manual of Style says that when the conversation trails off, we must add ending punctuation.

Groundfall apples, bruised and over-ripe, lay scattered across the ground. But the apple orchard is across the road, so how did they…?

Hyphens are usually not necessary, although my first drafts are often littered with them. If the meaning of a compound adjective is apparent when written as two separate words, a hyphen is not needed.

  • bus stop

hyphenated wordsIf the meaning is understood when two words are combined into one, and common usage writes it as one word, again a hyphen is unnecessary.

  • afternoon
  • windshield

Some combinations of “self” must have a hyphen:

  • self-editing
  • self-promotion

Dashes are not hyphens and are used in several ways. One kind of dash we frequently use is the ‘en dash,’ which is the width of an ‘n.’

En dashes join two numbers written numerically and not spelled out in US usage.

  • 1950 – 1951

To insert an en dash in a Word document, type a single hyphen between two words and insert a space on either side (word space hyphen space word). When you hit the space bar after the second word, the dash will lengthen a little, making it slightly longer than a hyphen. UK usage often employs the en dash in the place of the em dash.

Em dashes are the width of an “m” and are the gateway to run-on sentences. To make one, key a word, and don’t hit the spacebar. Hit the hyphen key twice, then key another word, and then hit the spacebar: (word hyphen hyphen word space) word—word.

Authors sometimes use emdashes without thinking. Too many em dashes—like salt—ruin the flavor of the prose. It often works best to rephrase things a little and use a comma or a period.

interrobangBut what about !?  These mutant morsels of madness are called “interrobangs.”

Writers of comics frequently employ interrobangs to convey emotions because they have little room for prose in each panel.

More than one punctuation mark at the end of a sentence is not accepted in most other genres. Editors working in the publishing industry will tell you that the interrobang is not an accepted form of punctuation unless you write comic books, manga, or graphic novels.

It’s your narrative, so you will do as you see fit. However, interrobangs are a writing habit writers should avoid in novels and short stories if they want to be taken seriously.

Readers expect words to flow in a certain way, but no one gets it right all the time. If you choose to break a grammatical rule, be consistent about it. Voice is how you break the rules, but you must understand what you are doing and do it deliberately.

Most readers are not editors. They will either love or hate your work based on your voice, but they won’t know why.

Craft your work to make it say what you intend in the way you want it said. Sometimes, you will deliberately use a comma in a place where an editor might suggest removing it. You should explain that you have done this to make something clear. Conversely, you might omit a comma for the same reason.

The editor you hired might ask you to change something you did intentionally. You are the author, and it’s your manuscript. If you know the rule you are breaking, you will be able to explain why you are doing so.

Most editors will do as you ask and will gladly ensure that you break that rule consistently.

Sometimes, the stories we consider powerful writing violate accepted grammar rules. Readers fall into the rhythm of the prose as long as the choices made for punctuation remain consistent throughout the manuscript.

AnneMcCaffrey_DragonflightOne of my favorite authors, Ann McCaffrey, set off telepathic conversations with both italics and colons in the place of quote marks.

:Are you well?:

Spoken conversations in her books are punctuated using standard grammar and mechanics.

Hemmingway used commas but often connected his clauses with conjunctions.

The world is a fine place and worth the fighting for and I hate very much to leave it.

As readers get into a story, they become habituated to the author’s style and voice. They overlook grammar no-nos because the story captivates them.

I love a good story, but more than that, I enjoy seeing how other authors write, how they think, and how their voice comes across in their work.

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Self-editing part 1 – seven basic rules of punctuation #writing

Many authors are just starting out and have never written anything longer than a memo or a tweet. Once that first manuscript is finished, they will self-edit it. But what if they didn’t have the luxury of a college education in journalism? Many new writers don’t know how to write a readable sentence or what constitutes a paragraph.

MyWritingLife2021I certainly didn’t. If these authors hope to find an agent or successfully self-publish, they have a lot of work and self-education ahead of them.

Most public schools in the US no longer teach creative writing. While some do have some writing classes, the majority of students leave school with a minimal understanding of basic grammar mechanics.

  • They know when they read something that is poorly written, but they don’t know what grammar error makes it wrong. It just feels awkward, so they stop reading.

We who love to read know good writing when we read it. We might have the idea for the best story and the dedication and desire to write it.

However, getting our thoughts onto paper so other readers can enjoy it is not our best skill—yet.

But it soon will be. First, we must think of punctuation as the traffic signal that keeps the words flowing and the intersections manageable.

Trying to learn from a grammar manual can be complicated. I learned by reading the Chicago Manual of Style, which is the rule book for American English. Most editors in the large traditional publishing houses refer to this book when they have questions.

chicago guide to grammarIf you are writing in the US, you might consider investing in Bryan A. Garner’s Chicago Guide to Grammar, Usage, and Punctuation. This is a resource with all the answers to questions about grammar and sentence structure. It takes the Chicago Manual of Style and boils it down to just the grammar.

There are other style guides, each of which is tailored to a particular kind of writing, such as the AP manual for journalism and the Gregg manual for business writing. The CMoS is specifically for creative writing, such as fiction, memoirs, and personal essays, but also includes business and journalism rules.

However, the basic rules are simple.

Punctuation seems complicated because some advanced usages are open to interpretation. In those cases, how you habitually use them is your voice. Nevertheless, the foundational laws of comma use are not open to interpretation.

Consistently follow these rules, and your work will look professional.

First, commas and the fundamental rules for their use exist for a reason. If we want the reading public to understand our work, we need to follow them.

Wrong-Way-Traffic-Sign-K-101-1Let’s get two newbie mistakes out of the way:

  1. Never insert commas “where you take a breath” because everyone breathes differently.
  2. Do not insert commas where you think it should pause because every reader sees the pauses differently.

Second: How do we use commas and coordinating conjunctions?

A comma should be used before these conjunctions: and, but, for, nor, yet, or, and so to separate two independent clauses. They are called coordinating conjunctions because they join two elements of equal importance.

However, we don’t always automatically use a comma before the word “and.” This is where it gets confusing.

Compound sentences combine two separate ideas (clauses) into one compact package. A comma should be placed before a conjunction only if it is at the beginning of an independent clause. So, use the comma before the conjunction (and, but, or) if the clauses are standalone sentences. If one of them is not a standalone sentence, it is a dependent clause, and you do not add the comma.

Take these two sentences: She is a great basketball player. She prefers swimming.

  1. If we combine them this way, we add a comma: She is a great basketball player, but she prefers swimming.
  2. If we combine them this way, we don’t: She is a great basketball player but prefers swimming.

The omission of one pronoun makes the difference.

You do not join unrelated independent clauses (clauses that can stand alone as separate sentences) with commas as that creates a rift in the space/time continuum: the Dreaded Comma Splice.

Comma Splice Meme

Boris kissed the hem of my garment, the dog likes to ride shotgun.

The dog has little to do with Boris other than the fact they both worship me. The same thought, written correctly:

Boris kissed the hem of my garment.

The dog likes to ride shotgun.

The dog riding shotgun is an independent clause and does not relate at all to Boris and his adoration of me. It should be in a separate paragraph. If you want Boris and the dog in the same sentence, you must rewrite it:

Boris and the dog worship me, and both like to ride shotgun.

Third, a semicolon in an untrained hand is a needle to the eye of the reader. Use them only when two standalone sentences or clauses are short and relate directly to each other.

Some people (including Microsoft Word) think a semicolon signifies an extra-long pause but not a hard ending. The Chicago Manual of Style and Bryan A Garner say that belief is wrong. Don’t blindly accept what Spellcheck tells you!

Semicolons join short independent clauses that can stand alone but which relate to each other. When do we use semicolons? Only when two clauses are short and are complete sentences that relate to each other. Here are two brief sentences that would be too choppy if left separate.

  • The door swung open at a touch. Light spilled into the room. (2 related short standalone sentences.)

  • The door swung open at a touch; light spilled into the room. (2 related short sentences joined by a semicolon.)

  • The door swung open at a touch, and light spilled into the room. (1 compound sentence made from 2 related standalone clauses joined by a comma and a conjunction.) (A connector word.)

strange thoughts 2All three of the above sentences are technically correct. The usage you habitually choose is your voice.

I generally try to find alternatives to semicolons. they’re too easily abused because Microsoft Word and most people don’t know how to use them.

Fourth: Colons. These head lists but are more appropriate for technical writing. Colons are rarely needed in narrative prose. In technical writing, you might say something like:

For the next step, you will need:

  1. four bolts,
  2. two nail files,
  3. one peach, whole and unpeeled.

Technically speaking, I have no idea what they are building, but I can’t wait to see it!

Fifth:  Oxford commas, also known as serial commas. This is the one war authors will never win or find common ground, a true civil war.

When listing a string of things in a narrative, we separate them with commas to prevent confusion. I like people to understand what I mean, so I always use the Oxford Comma/Serial Comma.

If there are only two things (or ideas) in a list, they do not need to be separated by a comma. If there are more than two ideas, the comma should be used as it would be used in a list.

We sell dogs, cats, rabbits, and picnic tables.

Why do we need clarity? You might know what you mean, but not everyone thinks the same way.

I accept this Nebula award and thank my late parents Irene Luvaul and Poseidon.

That sentence might make sense to some readers, but not in the way I intended. The intention of it is to thank my late parents, my editor, and the God of the Sea. If I don’t thank Poseidon, he’ll pitch a fit.

I accept this Nebula award and thank my late parents, Bob and Marge, my editor Irene Luvaul, and Poseidon, the God of the Sea.

Sixth: We use a comma after common introductory clauses.

After dark, Boris would change into his bat form and go hunting for enchiladas.

Seventh: Punctuating dialogue: All punctuation goes inside the quote marks.

  1. A comma follows the spoken words, separating the dialogue from the speech tag.
  2. The clause containing the dialogue is enclosed, punctuation and all, within quotes.
  3. The speech tag is the second half of the sentence, and a period ends the entire sentence.

The editor said, “I agree with those statements.”

If the dialogue is split by the speech tag, do not capitalize the first word in the second half.

“I agree with those statements,” said the editor, “but I wish you’d stop repeating yourself.”

stoplightWhy are these rules so important? Punctuation tames the chaos that our prose can become. Periods, commas, quotation marks–these are the universally acknowledged traffic signals.

If you follow these seven simple rules, your work will be readable. If your story is creative and well-written, it will be acceptable to acquisitions editors.

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