Category Archives: Writing Tip of the Week

In Dreams…Or How Ideas Come to Me

Posted on by Jinxie G

I like to keep a file or doc for ideas–blog ideas, book ideas, short story ideas–but today’s post comes from one I’d posted on another blog a couple of years ago. I’m revamping it a little to suit today’s needs, and I do apologize for the lateness of today’s post. I’ve been kind of busy stuck in editing Hell all . . . well, for the past week or so. I have yet to escape. This is but a small reprieve.

In dreams . . .

Ideas for stories, whether short or novel-length, can come from practically anywhere for me. Life around me is what usually inspires . . . a quote, a picture, something overheard at the cafe, the sky and its multitude of stars, especially right at dusk, a drive through barren desert, or the look in my Moon’s eyes, whom I miss very much. Her eyes held an ancient wisdom at times.

I’ve never claimed to have a muse, and my friends know how much I despise the term, but if I had to say I had one, I’d say it’s my vampire Shawn. When he’s not talking, no other characters will talk. The issue is that when he is talking, he tends to talk over the others.

Sometimes, I dream part of a story, or I dream about one of the characters. I include daydreams in that because I have a hyperactive imagination and it’s like constantly watching a movie in my head. Ideas come fast and hit me hard, usually in dialog(ue), and if I don’t write them down somewhere, they’re lost forever because I certainly won’t remember them again with my horrible memory, unless something specific triggers it. That’s happened very rarely. I’m thankful my phone has a memo pad. I just have to remember that it does.

Once, about 10 years ago, I had a nightmare. When I woke up, I grabbed my beautiful Italian leather journal and wrote him down. Him is one I call Daemon, and he scared the ever-living hell out of me. It took 10 years to get past him enough to use him in a story. He is an evil bastard and he always will be . . . and he still scares the ever-living hell out of me.

Sometimes I hate my dreams. Usually I’m being chased by zombies. Apparently, I need to write a zombie book (which I am), but I don’t think I could top The Forest of Hands and Teeth.

About dialog . . . or dialogue . . .

Dialog is always the first thing I hear. Yes, I hear it. Some random new character will start monologuing as soon as my head hits the pillow. It’s happened . . . several times. It’s also annoying as hell. The clearest one I’ve ever heard was Ezriel. He’s my seraphim vamp. Yep, you read that correctly. He started talking to me somewhere around 2004/2005 and I still don’t know his full story. He’s a bit shy about why/how he became a vamp. And I haven’t felt the need to pressure him just yet, but soon, he’ll have to talk. *contemplates chains*

For me, dialog is one of my strengths. I’d just like to get better at the initial detail, and I think I’m getting there. If you ever read one of my first drafts, you’ll see mostly dialog and very little detail. Although, I am getting better at it, since some of the newest stories have more detail weaving its way into the first drafts. *happy*

The idea doc . . .

It’s like an outline for me. I may loathe outlining novels, but I outline the rest of my life. Kind of sad, I know. I’m a control freak. Maybe that’s why I can’t outline the stories. I need that freedom somewhere. I think it has to do with my fading memory, though. In my mind, I’ll walk through the steps of my day the night before if I have important things to do. Of course, that’s me trying to control everything around me, and if I’ve learned anything at all in life, it’s that I can’t control the motions set in place that will fuck up my world entirely.

But I still try to control them. It’s my fatal flaw, I guess. You know every hero/heroine needs a fatal flaw, right? *winks*

One of these days, maybe I’ll figure out how to control Shawn . . . oh, never mind. That will NEVER happen.

Gemini Rising

Interviewing for a story: Data or Depth?

Posted on by Jinxie G

Dearest minions, please welcome Linzé Brandon, guest author of the week for my Writing/Editing Monday post. She has some great advice for you writers out there in regards to doing interviews for your research.

* * * * *

It was only recently when someone asked me during an interview where I get my inspiration for my books from, that I finally realised it: from other people. Sub-consciously, perhaps, I have been people watching for years. Noting the way they act, talk and interact with others. I am mostly a listener, or turned into one over the years, and people often feel comfortable telling you things that will not necessarily come up in normal office or social conversations. Unless you’re the greatest gossip, of course. Are all writers observers? To some extent I believe we are, and it is this behaviour that can help any writer in his or her writing.

Another thing I came to like is doing interviews. And my blog is evidence of that, but doing an interview purely to gain information is something different. Of course, research can be done on the internet or from books or articles, but the human element is missing from that. I got an idea for a story about a metal working artist. I wrote down the basic plot, but had little “feel” for the metal work occupation of my male character, until I remembered that I actually know someone who does. He may not consider himself to be an artist, but he has the skills to work with metal – he makes swords and knives as a hobby, albeit a very serious one. So enters my interview opportunity. Very excited, I cornered him and asked.

Then he let air out of my bubble. This deflation, required a different strategy. He was willing to talk to me, but there were limits as to what we could discuss. This was an important lesson – talking to people to gain information is more than just about the why’s and how’s. Privacy and respect for a point of view, especially if it is different from your own, could make or break the success of the interview. How deep do you dig? Where do you draw the line? These questions have been plaguing me as I contemplated the questions that I wanted to ask. Of course I want to know about the metal, and how its worked and forged, or whatever, but can I ask about why he chose that particular hobby? Or what inspired him to do it in the first place? If you know the person, you can ask, but can you use the information? Will they want to see your interview/article/book before you make it public? In this hacked-up, public-information digital world we live in today, these are very valid concerns that you need to address when approaching someone for an interview.

How about a sensitive subject? Or something very intimate, like sex? Now you might rightly wonder where that came from. To be honest, I have no interest in any one else’s sex life, but I am reading a book about the history of the Kamasutra right now, and I happen to know a practitioner of the “art” if you want to call it that. Asking such a person to be interviewed, will need a lot of preparation, and sensitivity to his or her beliefs that may not be inline with your own. Preparation in understanding includes what it would mean to be a practitioner, and how the underlying belief system could come into play. Coming across as judgmental or prejudiced should be avoided at all cost. Rather stay away if a subject makes you uncomfortable, do impersonal research or get someone else to do the interview on your behalf. Sensitive subjects can encompass a wide variety of things, including abuse, divorce, addiction, etc. Not everyone will be comfortable in talking about their personal experiences and you need to determine that before you jump in.

Prepare your questions ahead of time and send them to your potential interviewee. Stick to those questions, unless the person opens up and allows you more information. This amounts to a lot of trust and a compliment of your skills as an interviewer. But, be careful of crossing that line at all times. Offer to show them the article/interview before publishing it, even if they don’t ask. Respect their wishes for privacy and anonymity if necessary, and keep the end result as objective as you possibly can. It will also add to your credibility.

You know many more interesting people than you think you do, and can often learn much from any one of them. You don’t need to be a professional interviewer or journalist to conduct a successful interview, but if you remember the humanity of your subject, you will go far in obtaining useful information and insight directly from the horse’s mouth.

* * * * *

Linzé Brandon is the pen name of a South African engineer and project manager who taught herself to read before she went to school. She started writing in a time period of her life when she was self-employed as an export consultant, and had much better time management skills. Focusing on writing what she loves to read, fantasy and paranormal romance, she does dabble in SF, erotica and erotic romance when writing short stories. It is her dream to write novels full time, but until then she divides her time between her writing, marketing her writing, cross-stitch, archery and painting mixed media abstracts. And believe it or not – she starts plotting for NaNoWriMo in July. “By the time November rolls around, I am ready to write and cannot wait to dig into the next installment of my fantasy series.”

* * * * *

That is some great advice, Linzé. Thank you! I have had experience with the interviewing process for one of my novels, and learned there are certain things in some cultures that cannot be divulged to outsiders.

You can find Linzé around cyberspace at the following links:

Blog (Butterfly on a Broomstick)
Facebook author page
Facebook profile page
Twitter

And here’s her book info too, for Géra’s Gift:
T’ara frowned.
Uneasy, he elected to increase the size of his barrier. She fired a high-powered redfire-strike at him, knocking him over. Calling on the skills of the ancient martial arts he had studied, he rolled over, dived to one side, and flipped on to his feet all in one continuous movement. Since Lord Aidan said there would not be any interruptions, he had to be ready in case she struck at him while he was down. She didn’t.
Electing to use high-powered strikes was a risky choice, but it would guarantee that he reciprocated in equal measure. Knowing how adaptable he could be when faced with an unusual battle strategy, she had to rely on his skills to end this quickly.
He moved silently to his right. She looked distracted, but he knew it might be another tactic, so he watched her carefully. The next moment, he was struck from behind with a shock wave that sent him sliding and rolling on the ground. He grimaced as he tried to control his fall. She used the previous attack to distract him, then hid behind an invisibility barrier so she could strike at him from behind. Before he even came to a standstill, he retaliated with a redfire-strike and two fire-balls. By the time he had his body under control and ready again to defend himself, the arena had gone deathly quiet. He only heard his own breathing.
He spun around and saw T’ara lying on her back, not moving. Lord Aidan reached her a moment before he did. He fell to his knees beside her.
‘Oh no.’

 

Characters and Characterization

Posted on by Jinxie G

“Characterisation or characterization is the process of conveying information about characters in narrative or dramatic works of art or everyday conversation. Characters may be presented by means of description, through their actions, speech, or thoughts.” – Wikipedia (link at the bottom of this post)

Characters

On rare occasion, a character will develop completely within my imagination—everything about them from looks, personality, and morals to attitudes and actions—all manufactured in my mind. They just appear out of the blue, sometimes with a smile and a nod, other times by talking, telling me their tale. I call that monologuing, and it’s hysterical, but not at 3AM when I have to be awake at a respectable hour.

But, I find more often than not that reality truly is stranger than fiction and people in my reality or real life become the basis for my characters. Better watch out if you actually know me. =)

Sometimes, I combine two or three people into one character, pulling only those traits I need to make the character whole, providing I intend to go that in depth with them. Sometimes, all I need is just how the person looks. My friend Grant will deny this and tell you that it’s him in The Vampyre Prophecy. In all honesty, I just really liked his name—Grantlund. Cool name, huh?

Other times, the trait is a tic the person has or their thought processes:

  • Did he really just jerk his head to the side three times while talking to me? This actually happened to me. I ignored it, but I remembered it. It’s a good character tic.
  • Is the man a man-whore, sleeping with anything and everything that crosses his path, and why does he do that? How many of you know this man?
  • Does the woman have a propensity to jump from one relationship to another without taking time for herself, perhaps because she’s afraid of being alone? How many of you know this woman?
  • Does this person know when to stop pushing buttons, even when joking, or does common sense fail them? Um, yeah, these people drive me insane.
  • Is this person bi-polar, or do they have borderline personality disorder? There’s a vast difference between the two and they should be researched if you’re going to use either one. I, unfortunately, can pull either of these from experiences in reality.
  • Is this person always so damn bubbly? I can’t stand bubbly people most of the time. If there’s a high-pitched voice attached to it, I have to walk away.
  • What about the melancholy one? What’s their deal? Never happy? I mean, NEVER?
  • Does the man have an amazing ability to calm people down with mere words, regardless of his size?
  • Is the woman a drama queen? Oh, come on, you ALL know at least ONE of these. I’ve known more than a few, so let’s discuss this one.

Sometimes, the drama queen is coupled with the previously mentioned bi-polar or BPD. Have you ever witnessed a bi-polar switch? Very creepy and totally throws you for a loop. But in fiction, it’s, well, drama. We need drama in fiction, and because people tend to believe fiction is reality after hearing stories and watching television and movies, drama becomes reality because they feel the need to emulate fiction. I mean, let’s face it, reality is actually quite mundane compared to fiction, and this is why we have stories.

So all those people you know with a flair for the dramatic and exaggerate the hell out of life? Good writing fodder for your characters. It doesn’t matter if they believe you’re using them or not. There’s this wonderful little disclaimer at the front of your book that states otherwise.

With exception to the epic fantasy I’m working on, nearly everything I’ve written to date has a character based on someone I know or have met briefly. Eventually, some of the characters grow and become something greater than what I’ve started with, but there’s always been that base in reality.

Characterization

Nemy, from my book Nemesis, is a strong character who sticks to her beliefs and values regardless of her family upbringing. She essentially took over the story, which was exactly what I wanted her to do because it’s written in first person point-of-view (POV), present tense. I kept her in line a bit, but it’s all her voice so I had to let her go some. Here’s a snippet of the first three paragraphs to show you a bit of characterization:

Tall, dark, and damn scary walks into The Fox Den. I wish it were a joke. He steps right up to my bar and leans forward, resting his thick arms on the hard black laminate surface. I haven’t wiped that down yet, so I hope it’s sticky because he leers at me until I make my way down to him. There are plenty of nearly naked women around the central Phoenix gentleman’s club, so just for the leer, I take my sweet time. This only makes him stare harder until I get there, his piercing eyes boring into me, which has my skin crawling. My natural stubbornness to demanding men takes a hit. Time to get him away from my bar as quickly as possible.

“What can I do for you?” I note the rugged lines of his face with a scar down the right side, the short dark crew cut riddled with grey, and the muscles that look like they’re about to rip apart the seams of his short-sleeved shirt. Normally, these attributes wouldn’t bother me—rougher-looking men have worked for my dear old dad. But there’s something in his eyes that makes me want to take a step back, which of course, I don’t.

“Is Clancy ’round?” His voice is damn near Barry White deep and scarier with the Irish brogue laced through it. Eyes check me out thoroughly, running up and down my arms as he takes in my tattoos, and of course, lingering on my chest for far too long.

With these first paragraphs, you get a clear idea of the type of person Nemy is. At least, that’s my hope. You also get an idea of tall, dark, and scary through her voice and her telling of his actions. That’s the original photo, by the way, the one that every time I look at it, I see Nemy. Unfortunately, I couldn’t find the owner for copyright info.

Patricia Briggs’ Mercy Thompson is a great example of what can be done with characterization. Everything we know about Mercy we learn through her actions, speech and thoughts (especially since the books are in first person POV). She’s a strong character, just like Nemy. THIS is why I adore her.

     

To the contrary, I’ll attempt to give you an example of characterization failure from one of my own stories because I’m not going to bash an author publicly. I feel that’s extremely unprofessional. Hell, let’s even pull Grant from TVP.

Grantlund Conor MacNessa, named after the very first of his line, King Conchobar, was in a state of obscurity.  His mind was overrun by the darkness, the blackness being so substantial that he had difficulty returning to the light.  It would occur from time to time and when he would awaken, he could not recall what had transpired.

He thought perhaps that he was unconscious during this lapse in time, yet he always returned home satisfied.  His yearning, his hunger had been mollified… for the time being.  This extraordinarily deep level of his subconscious was subversive.  He knows not what he is like in this state, but it frightens him to think of it, to speak its very nature.

It happens in the blink of an eye.

He cannot tell his Master.

He cannot tell anyone.

He has become something else now…

Okay, first let’s just ignore the passive voice and the formal speech and the adverbs, and focus on the characterization. Who in the hell is this guy, aside from an heir to a noble line? We don’t know, do we? This is his introduction in the book that has since been removed. It’s horrible. I failed on so many levels with this book that I can’t even go into them, but not only does this example give you a good idea of where characterization failed, it also shows you the inexperience of a writer because I wrote that book in 1999, which is why it’s in full rewrite. Can we tell he’s a vampire? Maybe. The words “hunger” and “Master” might give you that impression.

Stephen King’s Gerald’s Game, in my opinion, is a fairly decent example of characterization failure. The story is flat, the character bored me (I don’t even recall much about her), and I couldn’t even finish the book because I didn’t care enough about the character’s predicament to move forward. Sorry Stephen, but I loved The Eye of the Dragon and The Stand! And to give you another good example, there’s a little snippet of character in The Stand, where a woman is sitting on her porch with a gun as all hell is breaking loose in the beginning. The bullets she has for the gun are moldy or tarnished. We don’t see her die exactly, but we know the cause of her death has to do with her lack of gun knowledge and not cleaning everything properly before using the weapon. The gun misfires. I read this book once, over 20 years ago, and I still remember the character that had a very small part in the book. THAT is good writing and good characterization.

I rarely read a book more than once. The stories just stay with me, especially if they’re written well, and hooking me as a reader is a whole other post.

Usually, I write by the seat of my pants rather than outline a story. I can only outline research papers. Stories change too much when I attempt to outline them. The problem with pantsing is that I don’t really get to know the character well enough in the beginning of the book to develop them (like Grantlund), and I have to go back and fix that. My only excuse here is that the real writing is during revisions.

With the epic fantasy, I’ll have to build the world before I can write the story. I’ve written about three parts to it, but I’ve realized that the Dragonfire piece I wrote about two years ago is not the beginning of the book, nor is Aidan the main character (MC) of the story. He’s one of a few main characters, yes, but not the MC. And guess what? My MC is a bit shy. Go figure. I have to delve into the world and interact with other characters in order to learn more about him. Sounds insane, doesn’t it? Yes. But that is the mind and world of a writer.

I hope I’ve given you some decent examples of characterization and why it’s important.

And just remember . . . I’ll put someone in a book or story to kill them off just for fun, unless their character is too flat and I have too much to fix. Never piss off a writer. They have a penchant for eviscerating you in fiction, and they wield that power with great clarity and wit.

“I don’t know half of you half as well as I should like, and I like less than half of you half as well as you deserve.” –Bilbo Baggins from The Lord of the Rings: Fellowship of the Ring, birthday speech.

For more on Characterization, take a look here: http://en.wikipedia.org/wiki/Characterisation

Spelling – 27 August 2012

Posted on by Jinxie G

Unless you’re like me and passed every spelling test put in front of you with 100%, spelling is not your friend. In fact, spelling is quite blatantly your enemy. It’s okay. Nobody’s perfect.

Believe me, I know mistakes can happen too, regardless of how well you spell. Hell, in the book I’m editing now, which was released back in 2005 but I wrote back in 1999, I just found a spelling faux pas that horrified me. I’d apparently not been paying attention when I used the word “site” in place of “sight.” Yeah, now imagine the OMFG scream coming out of me and the horrified expression upon my face. It wasn’t pretty. I’m still kicking myself.

I received a list some time ago, and because I always confuse affect/effect, I thought I’d share the list with you here…and because the contract said nothing about sharing it on my blog, though I have made some major changes and additions to it.

It’s a list of commonly misspelled and misused words, and though it may be long, it is totally worth the copy/paste to a Word doc. Just sayin’. You may have to edit out the images, but they sure are cute.

Commonly Misspelled/Misused Words

Adrenalin (a brand name that is trademarked) / adrenaline (a spike of energy; the drug epinephrine)

adverse (adj, opposing, antagonistic, unfavorable) / averse (adj, having a feeling of distaste or aversion, strongly disinclined)

advice (n. opinion or counsel) / advise (v. to offer advice)

affect (v. to influence) / effect (n. result; less commonly, v. to bring about)  To affect something is to have an effect on it.

aid (v. or n. help) / aide (n. an assistant or helper)

aisle (passageway) / isle (island)

allude (refer to indirectly) / elude (avoid or escape)

altar (raised structure for gifts or sacrifices to a god, commonly used in witchcraft or pagan rituals) / alter (change)

among (two or more involved; also amongst) / between (only two people or things involved)

anxious (uneasy or apprehensive, worried) / eager (showing keen interest or intense desire or expectancy)

any more (used for quantity) / anymore (used for time)

areola (dark area around the nipple) [Plural is areolas.] / aureola (a halo, especially surrounding a religious figure)

assure (state with confidence; affirm; promise or convince) / ensure (bring about; guarantee; make certain) / insure (provide or obtain insurance, underwrite)

awhile (adv. for a short time; never preceded by a preposition) / a while (may be preceded by a preposition—for example, in a while).

bad (adj.) / badly (adv.) “Only the bad ice skaters performed badly.”

backward: adj. (“a backward glance”), never add ‘s’. adv. backward is preferred, but backwards will be acceptable to some publishers.

baited (v, to tease, to lure) / bated (adj, restrained or held back) If you had baited breath, you’d smell rather fishy.

basis (singular) / bases (plural)

beach (that place with sand) / beech

biceps: singular ONLY, even in plural form.

blonde (female) / blond (male). In reference to a mixed-sex group of people, blond.

boor (n. a rude, unrefined person) / bore (v. to weary by being dull; n, an uninteresting person, one who bores)

born (v. to have a child) / borne (v. to carry)

bosom (the chest; a person has one bosom, not two)

brake (something that slows or hinders) / break (damage)

breach (n. an opening or gap, an estrangement; v. to break through, to violate) / breech (n. the buttocks; the part of a gun behind the barrel)

breath (n.) / breathe (v.) You take a breath, or you breathe hard.

callous (emotionally hardened) / callus (hardened area on the skin) / calloused (adjective)

can (ability or capability) / may (permission) / might (possibility)

capital (city that is the seat of government; material wealth, assets; first and foremost; first-rate, excellent) / capitol (building where the legislature meets)

cavalcade (ceremonial procession) / cavalry (mounted troops) / Calvary (hill outside Jerusalem; a great ordeal)

cement (n. powdered lime and clay that is mixed with other elements to make concrete; v. to bring together or bond) / concrete (n. a hard building material made of sand and gravel mixed with cement; adj. real, actual)

chauffer (n. a table stove or small furnace; v. to heat or warm up) / chauffeur (hired driver for a private car)

cite (to quote; to summon before a court) /sight (vision) /site (location, like an archaeological dig)

clamor (make a persistent loud demand) / clamber (climb awkwardly)

clench (v. to interlock or set firmly together, such as to clench the teeth; to hold or grasp firmly) / clinch (n. or v., two people holding each other around the body with one or both arms)

coarse (rough, not refined) / course (a route or path)

compliment (praise, congratulation) / complement (complete or make up the whole).

conscience (n. a sense of right and wrong) / conscious (adj. awake; aware of oneself; intentional)

contagious (communicated or transferred by direct contact) / infectious (indirectly communicated, such as by water or air)

continence (self-restraint, moderation) / countenance (appearance, expression of the face)

conviction (belief or a judgment as guilty in court) / convection (transfer of heat through fluid)

crisis (singular) / crises (plural)

criteria (plural) / criterion (singular)

crumble (break into small bits) / crumple (crush out of shape)

crown (commonly worn by royalty) / crowd (a large gathering of people)

damn / damned – adj. (indicates anger at an object) / Damned – cursed, or destined to go to Hell (damned to hell, the damned, when speaking of vampires or the band, The Damned)

datum (singular) / data (plural)

defuse (v. to make harmless or less tense) / diffuse (adj. spread out, not concentrated; v. to scatter or spread widely)

deprecate (express disapproval of, protest against) / depreciate (belittle, lower in value)

desert (dry sandy place – y’know, where I live) / dessert (things like tiramisu and red velvet cake)

disburse (to pay out, expend) / disperse (to scatter, distribute widely, or drive off)

discreet (prudent, careful; modest and restrained [noun is ‘discretion’]) / discrete (separate and distinct)

do (perform) / due (payable, scheduled)

dominate (verb) / dominant (noun and adjective)

dos and don’ts (not “do’s and don’t’s”)

earth (dirt, the ground) / Earth (the planet) / earth (used in idiom)

easy (adj.) / easily (adv.) “It was an easy match, and Austin won easily.”

effect / affect: See ‘affect/effect’.

elusive (adj. tending to avoid or escape) / illusive (adj. unreal or misleading)

ensure / insure: See ‘assure/ensure/insure’

envelop (v.) (darkness falls around you, to be enveloped) / envelope (n.) (what you put a letter in)

exercise / exorcise (rid of demons)

fair (adj, adv. Without favoring one party. n. a carnival) / fare (an agenda, food or drink served, a fee charged for riding public transportation)

farther (implies physical distance; a more distant point) / further (advancement along a nonphysical dimension; to a greater extent or degree

faze (v. to disturb) “That didn’t faze me one bit.” / phase (n. a stage in a series or cycle)

feign (imitate or deceive) / feint (deceptive action or attack to draw attention away from real purpose)

fiancée (female) / fiancé (male)

fission (splitting apart) / fissure (narrow opening or crack) / frisson (shudder or thrill)

florescent (adj, referring to the state or period of flourishing) / fluorescent (adj, brilliantly colored and apparently giving off light)

flout (to scoff or scorn, to mock or treat contemptuously) / flaunt (to show off, to make an ostentatious display)

gauntlet (a glove) To throw down a gauntlet in challenge / gantlet (a test of endurance or ability to bear punishment or pain) What Xena went through at the end of that Hercules: Legendary Journeys episode that spawned her series. It’s a double line of warriors who attack and inflict pain on you as you run down the line.

geez / jeez: An exclamation.

god (any god in a pantheon) / God (Christian, the one god, always capitalized when used referencing God)

good (adj.) / well (adv.) “I did well on the exam and received a good grade for the class.”

gravely (in a grave or serious manner) / gravelly (unpleasantly harsh or grating in sound)

gray (American sp.) / grey (British sp.)

gripe, griping (complain) / grip, gripping (hold on to)

hair / hare (a rabbit)

hangar (an aircraft hangar) / hanger (a garment/clothes hanger)

hanged (a man is hanged) / hung (clothes are hung)

heal (medically mend) / heel (part of shoe)

“hear, hear” – when agreeing with something, you use “hear, hear” and not “here, here”. Also “hear ye, hear ye”.

hoard (n. or v., a hidden cache) / horde (n., a large crowd or swarm)

incredible (unbelievable) / incredulous (unbelieving, skeptical)

inquire (American) / enquire (British)

insight (capacity to discern the true nature) / incite (to provoke or urge on, such as incite a riot)

into / in to

it’s (contraction of ‘it is’) / its (possessive)

(I have no words for J and K, but if you can think of any, please leave them in the comments below)

 

labia (plural, the folds of a woman’s vulva) / labium (singular)

ladies’ man (not lady’s man)

lathe (shave wood) / lave (wash)

let’s (contraction of ‘let us’) / lets (allows)

lie low (hide out, keep a low profile)

lightening (growing less heavy or dark) / lightning (electric flashes in the sky)

loath (adj., unwilling or reluctant) / loathe (v. to abhor or despise)

loose (not secure) / lose (to misplace something) When you lose something, it is lost.

lusty (robust, hearty, vigorous) / lustful (full of sexual desire, or lecherous, or greedy)

material (n., the substance out of which something can be made; cloth; adj. relevant and consequential) / materiel (equipment and supplies of a military force or organization)

metal / mettle (true grit, nerve) / meddle (to interfere)

nauseous (makes one sick)/nauseated (feel sick).

naval (related to shipping) / navel (central point or middle; mark on abdomen where umbilical cord was attached)

nosy (as in ‘nosy neighbor’) Do not use “nosey”

nucleus (singular) / nuclei (plural)

okay  (not OK)

ox (singular) / oxen (plural)

pail (bucket) / pale (light in color)

palatable (acceptable to the taste or mind) / palpable (capable of being handled or felt; easily perceived or obvious)

passed / past (no longer current, gone by, over)

peak (the pointed summit, the point of greatest value or intensity) / peek (look quickly or furtively) / pique (n., vexation or resentment; v., to provoke or arouse)

peal (ringing of bells, loud burst of noise) / peel (n., the skin of fruits or vegetables; v., to strip away or pull off)

penned (enclosed by a fence) / pent (confined, repressed; usually used as pent-up)

populace (n., the general public, a population) / populous (adj., containing many people)

pour (v., cause to flow or run) / poor (n., people without wealth; adj., pitiful, unsatisfactory, or indicative of poverty) / pore (n., tiny hole; v., to direct one’s attention on something)

principal (main or first, capitalized for the Principal of a school) / principle (basic rule or doctrine)

prostrate (lying prone) / prostate (male gland)

prone (lying face downward) / supine (lying face upward)

quiet (silent) / quite

quiver (v. to shake or vibrate) / quaver (v. give off unsteady sounds, n. a tremulous sound)

real (adj.) / really (adv.) “I am really sure that this is a real diamond, not a fake.”

rein (“free rein”, “rein in”) / reign (to rule) / rain (water)

rigid (stiff, hard, strict) / turgid (swollen, distended) / tumid (swollen)

rogue (scamp) / rouge (blusher)

sac (scrotum) / sack (bag)

secede (to withdraw or break away) / succeed (achieve success)

semen (n. the male ejaculate) / sperm (n. the germ cells)

sheath (n) (or scabbard, where the sword goes) / sheathe (v) To sheathe the sword in the scabbard/sheath

Shockwave (computer plug-in/Java) / shock wave (physical disturbance or reaction)

shown (exhibited) / shone (to be shiny) The light shone through the window

shudder / shutter (window covering)

snug (adj., a tight fit) / snugly (adverb, fits tightly) / snuggly (adj., cuddly)

stared (to fixate with one’s eyes) / starred (marked with a star)

states / States: Lowercase unless referring to the whole of the United States.

stationary (unmoving) / stationery (writing paper)

staunch (firm, steadfast, faithful) / stanch (to stop the flow of blood)

stimulus (singular) / stimuli (plural)

sure (adj.) / surely (adv.) “This surely seems like a sure bet.”

tack / tact (considerate perception of what is appropriate) Trying a different tack is appropriate of changing direction

than (used to compare things) / then (sequences)

that (refers to things) / who (refers to persons)

that (restrictive clause, no commas used) / which (nonrestrictive clause, set off by commas)

their (belonging to them) / there (at that place) / they’re (contraction of ‘they are’)

tic (n. an involuntary repetitive muscle spasm) / tick (n. a light clicking noise; a mark made to check off items; a bloodsucking insect)

tiny (small) / tinny

toward / towards (preferred is toward)

trois (as in ménage à trois) / trios

try to / try and (try to is preferred, but try and may be an acceptable form if you’re consistent)

(no words for U either, so if you have one or two, leave it in the comments below)

vice (bad habit or sin) / vise (a clamping device or motion)

vicious (evil, spiteful, malicious) / viscous (thick, non-flowing)

wander (v. roam aimlessly; meander; to go astray) / wonder (v. to have curiosity or doubt) You do not wander about life unless you’re roaming aimlessly through it.

web or website (website is one word)

where (place) / were

wrack (n., wreckage, ruin) / rack (v., to strain or torture or torment)

wreak (v., to vent, to bring about, to inflict upon a person) To wreak havoc / reek (to give off fumes or an unpleasant odor)

woke / awoke

(no words for X, unless you have some. Place in comments below)

yin and yang, not ‘ying and yang’

you’re (contraction of ‘you are’) / your (possessive) This is your pencil, not mine.

(no words for Z, either)

This concludes today’s lesson. Spelling–be certain to not only use correct spelling, but the correct word in your writing.

Thank you to The Gashlycrumb Tinies for their participation.

By all means, add more words in the comments below if you don’t see them listed here. I’ll be updating it periodically.

References:

One Look Dictionary Search – http://www.onelook.com

Merriam-Webster - http://www.m-w.com/

FreeDictionary.com - http://www.thefreedictionary.com/

All Words (word search) – http://www.allwords.com

Dictionary.com (dictionary and grammar resources) - http://dictionary.reference.com/

Your Dictionary (word lookup) - http://www.yourdictionary.com/ahd/search
Also in multiple languages – http://www.yourdictionary.com

MSN Encarta (dictionary, thesaurus, translation, encyclopedia) - http://Encarta.msn.com

LookWAYup (word look-up, translation) – http://lookwayup.com/free/dictionary.htm

Word Spy – http://www.wordspy.com/

The Electric Eclectic – http://bloxword.ca/dictionaries.htm

Common errors in English usage – http://www.wsu.edu/~brians/errors/errors.html

The Idiom Connection – http://www.idiomconnection.com/

Dictionary of English Idioms – http://www.usingenglish.com/reference/idioms/

Guide to Grammar and Writing (Capital Community College) - http://grammar.ccc.commnet.edu/grammar/

Lynch Guide to Grammar and Style – http://andromeda.rutgers.edu/~jlynch/Writing/index.html

Babelfish (translation for foreign words) - http://babelfish.altavista.com/

Free Translation – http://www.freetranslation.com/

US Military chain of command – http://www.candaceirvin.com/part3.html

Confusing Words – http://www.confusingwords.com/

Mythology, religion and folklore – http://www.pantheon.org/

History of words – http://www.etymonline.com/

Google – http://www.google.com

Religion Facts - http://www.religionfacts.com

Police and Fire ten-codes - http://www.bearcat1.com

Regional Vocabularies of American English: http://en.wikipedia.org/wiki/Regional_Vocabularies_of_American_English

Painless Grammar by Rebecca Elliott, Ph.D.

Tale vs. Short Story – 13 Aug 2012

Posted on by Jinxie G

I know I said I’d try to get a post up last week, but I was retained by drag queens for six hours the night before and couldn’t think afterward, so again, I apologize.

As you can see from the title of this post, I’m using the subject to title these from this point forward. This will make them easy to find on my blog for future reference.

This week’s Writing/Editing tip will be very short because I’d just like to share two very basic things with you that I learned in my literary criticism class a while back. These are also things I really need to remember, so I’m hoping that by writing them down, they’ll stick. Hey, I can dream!

The first regards the title of this post and was something my professor was very clear on pointing out to me after the first draft of my paper on E.A. Poe, which I’ll share with you if you’d like and if I can find it. Confusing the two is common, and especially for someone who may be new to writing or didn’t have formal training in writing or criticism (I’m talking about a degree in English, Creative Writing, etc.).

Tale vs. short story

What is the difference?

There is a difference in the construction between a tale and a short story. A shorty story has a sharp focus–either on characterization, plot, or setting. A tale describes these elements in pretty much equal degree.

Discuss in the comments below.

The next thing I’d like to share with you are those elements found in a tale.

Elements of Fiction

  • Character
  • Plot
  • Setting
  • Theme
  • Narrator
  • Style and tone

In a tale, all of these elements are focused on, not just one of them. So as an example, epic fantasy would be good because epic fantasy focuses on a lot of different aspects throughout the tale.

Discuss in the comments below.

Writing/Editing Tip of the Week – Passive Voice

Posted on by Jinxie G

Since the spammers are being stupid now and only leaving me comments with links, which I won’t EVER approve OR discuss outside of this sentence due to their subject matter (things best left for erotic tales and little blue pills), I will now have to switch topics. So there will be no more Spam Comment posts. My apologies. Hang the spammers, if you can find the little bastards. Let me know, though, because I’d very much like to pull that lever.

I know there are a ton of writing rules out there these days, and the agents and editors aren’t always correct. Shocker, I know, but I mean, hell, look at 50 Shades of Grey (yes, it was essentially self-published first, but a larger house picked it up). That book is an editing nightmare…but that’s just my opinion. A lot of people really seem to love it. Good for them. There are a lot of vanilla people out there who know nothing about that world. I won’t be reading it without a red pen.

Sharon, my business partner in Running Ink Press, and I believe that you should Write Outside the Box! A lot of the “rules” are out the window with us because, well, we tend to disagree on the accuracy of said rules (for instance, she’s running a Save the Adverbs campaign), but regardless of what we believe, we don’t want the “rules” to hinder your writing style. NOTE: We are not accepting public submissions at this time, but we will announce when we are ready to do so. Subscribe to RIP for updates.

That said, I’d like to discuss some of the things that grate on my nerves I edit when I’m working on someone’s (or my own) novel.

This week’s tip is: Passive voice.

Some agents/editors don’t care for it. Some don’t give a shit either way. Some might try to strangle you if you use passive voice, so be careful. If Terry Brooks tried to publish The Sword of Shannara today, he’d get turned down MULTIPLE times, and not just because of passive voice. He head-hops like no one I’ve ever seen. It’s insane. But damn, is that a good book!

Basically, passive voice can be something you don’t realize you’re doing until someone points it out. For instance, using was with an -ed or -ing ending word is passive, though not always. If it’s not active, it’s passive, and passive isn’t always good. I believe there are times when you just can’t write around this instance, but most of the time you can. My rule is that if you can change the sentence and make it better without using the was -ed or -ing combo, great. You’ve just improved as a writer. But if it’s impossible to change, it’s not a big deal. Sometimes, we just have to use that combo. Sometimes, we just have to write passively, and it’s okay.

So you want an example. Okay, fine. I’ll pull something from one of my own files. That’s right, yours truly has used passive voice numerous times in the past. Sharon can attest to that, and I’m surprised I’m still alive. Oh look, I’m editing a vampire novel I wrote back in 1999. There are a TON of amateur writer mistakes in that. Lucky you. I’m in the midst of a sex scene, though, so you’ve been warned. HA!

Example from The Vampyre Prophecy:

The salty taste excited him because it was like tasting victory after catching his prey.

Yeah, I know, it’s a horrid sentence. I wrote that shit 13 years ago. So where’s the passive voice? Let’s take a look…

The salty taste excited him because it was like tasting victory after catching his prey.

The words marked in red obviously signify the passive voice. When you read the entire sentence, you see that I’m telling you what’s happening here. I’m not showing you or allowing you to taste the victory yourself. That’s the issue. So let’s fix it.

The salty taste excited him because it tasted like victory after catching his prey.

See how much cleaner that is, how it flows better, rolls off the tongue better? Now it’s not so passive. Now you can kind of taste the victory instead of me telling you what it tasted like, I can only hope. I could even go further in the edit…

The salty taste excited him. It tasted like victory after catching his prey.

Imagine what it’s going to be like once he’s tasted her blood.

By the way, I almost missed that sentence in this edit, so I’m glad I came up with the idea for this post!

Professional Example (taken from Painless Grammar by Rebecca Elliott, Ph.D. – I used to work with kids, people):

Passive: The ball was hit.

Active: Zhen hit the ball.

In the active sentence, we see who hit the ball. That’s important. When the person doing the action isn’t important, then passive voice is okay, such as in the following sentence:

The cafeteria food was contaminated.

No one cares who did it; just that it happened.

There you go, your writing/editing tip for the week. When you’re writing those words today, watch out for passive voice! And if you’re editing for someone else, keep an eye out for it!

I started out titling this post Editing Tip of the Week, but realized this might be more about writing than editing. Really, it’s both. You decide. Tell me in the comments below if this Monday post should be:

Editing Tip - 

Writing Tip - 

Thanks!

And now that I’ve been completely distracted from my novel, I’m going to squeeze in a bit more editing before bed.