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Writing tip Wednesday: “As you like it?”

PenPal asks: Should you use “like” or “as”?

Many writers use “like” incorrectly as a preposition in certain instances when they should instead use “as” (or “as if” or “as though”). The rule is really quite simple, and following it will make your writing more professional.

Like is correct when used as a preposition, a part of speech followed by an object (noun or pronoun). Example:
(Correct) She writes like Dickinson. (like is the preposition; Dickinson is the object)

Like is also acceptable when it introduces a clause from which the verb has been omitted.
Example:
(Correct) My mother takes to flower gardening like a bird to air. (bird is the object)

Like used as a preposition does not correctly introduce a verb phrase.
Example:
(Incorrect) Donovan smiled like he was happy about my bad luck. (“He was” is not an object of a preposition; it is a verb phrase.)

But the writer could phrase it this way:
(Correct) Donovan smiled like a lunatic when he found out about my bad luck. (The object here is “lunatic.”)

Or this way:
(Correct) Donovan smiled as though he was happy about my bad luck.

Here are some sample questions to try out this word usage skill. Mark each sentence as correct (C) or incorrect (I). Identify the object when “like” has been used correctly.

___1. Lillian walked like a duck because her new shoes fit poorly.
___2. When you stormed into my house, you acted like you owned it.
___3. Jeremy looked like he’d been hit by a truck when Meredith turned him down.
___4. Mary and Alvin are twins; she looks a lot like him.
___5. My dog eats like a pig when we give her canned food.

Answers:
1. C (Object is “duck”)
2. I (No object)
3. I (No object)
4. C (Object is “him”)
5. C (Object is “pig”)

________

Cathy Kodra a/k/a PenPal

Cathy Kodra a/k/a PenPal

About PenPal…
Cathy Kodra works as an independent editor in Knoxville, TN. Her poetry and short stories have appeared in numerous journals and anthologies including Roanoke Review, New Millennium Writings, Common Ground Review, Now & Then, Cavalier Literary Couture, Slow Trains, Still Crazy, The Medulla Review, Prime Mincer, Yemassee, and others. She is a contributing editor for New Millennium Writings and past guest poetry editor for The Medulla Review. She was first runner up in Prime Mincer’s 2011 Poetry Contest, judged by Rodney Jones, and took first place in the 2012 Old Gray Cemetery Poetry Contest. Cathy’s first poetry chapbook, Thin Ice, was published in 2011 by Medulla Publishing.

Cathy is a member of the Knoxville Writers’ Guild and of two local writing groups. An avid reader and writer, she is currently working on two poetry collections and a collection of short stories. Her hobbies include gardening and vegan cooking, and she lives happily with her husband Ron, two dogs, and a cat. She can be reached at www.cathykodra.com.

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Writing tip Wednesday: “Marco revision”

ASKING THE RIGHT QUESTIONS IN MACRO-REVISION

By R.L. La Fevers

Revision, or Macro Revision, as I think of it, is all about the story. Does the manuscript contain all the vital elements needed to create a gripping story? Does it realize its potential? News flash: Most people’s manuscripts don’t at the first draft stage. Seriously. Or if they revise as they go, you can bet their first pass at a scene isn’t perfect.

So here then, are the things to look at when sitting down to revise a story.

MACRO REVISION QUESTIONS

(Note: This isn’t really a checklist, it’s more of a list of questions to ask yourself as you try to analyze your manuscript. If you use it as a checklist of things you must have, you will go mad. So don’t.)

VOICE
Have you chosen the right person to tell this story?

90% of the time you will have, but sometimes there are times when the story is better told through someone else, someone more removed from the action. Think Dr. Watson in Sherlock Holmes. He doesn’t have access to Holmes’s thoughts, which creates greater suspense for the reader.

Have your selected the right POV?

Is your first person narrative flat? If you can easily substitute third person pronouns and have the whole thing make sense and flow, chances are you haven’t taken full advantage of the first person form. Conversely, have you at least tried first person? What happens when you get totally inside your character’s head? Does he come even more alive?

If you are working with a familiar scenario (dreaded move, new school,losing a best friend) what fresh, new, unique twist do you bring to it?

SETTING
Have you selected the best setting for this story? Is there a different setting that would add more inherent conflict? Create more tension? Echo your thematic elements?

PROTAGONIST/PLOT
Does your character want something? Or not want something? Is that desire driving the story or at least some of his actions?

Is your character an active participant in the story? If not, is he taking baby steps toward becoming one?

Is there something that keeps getting between the main character and his goal? Would the story be stronger if there was?

Is there a source of tension?

Is your story building toward something? If not, what provides the dramatic push or narrative drive toward the
end?

Do the obstacles the protagonist faces increase in difficulty?

Does he ever fail? (Remember, we learn more from our mistakes than our successes!)

Are there times when he makes things worse by his own actions?

Is there cause and effect in your story, or is it more of a string of unconnected events? (This happened and then this happened and then this happened, but nothing caused any of the other things to happen.)

Is your character a different person at the end of the book than they were at the beginning?

Could he have solved this problem or puzzle or dealt with the core issues at the beginning of the book? If so, have you given him a big enough growth arc?

Will people be emotionally invested in his journey? Will they care if he fails? What is at risk if he fails?

Are there measurable baby steps he makes on his journey? Or does he just wake up one day, able to tackle the problem? Do we see his growth on the page?

Are the ideas and issues fully developed? Is there a true beginning, middle, and end? Or do you go straight from the beginning to the end without fully developing the issues in the middle?

Do the actions and events in the book impact different parts of the protagonist’s life? School, home, other relationships?

Do your secondary characters have arcs, too? They will be smaller and more subtle, but they should be there.

THEME
Why are you writing this story? What piece of YOU is in there? Why are you the most perfect person to tell this story?

Are the themes universal? Is there room for Everyman in your story?

Do the actions and events of your story support the theme you’re working with?

Now that you know your theme, is there a way you can make it even more powerful?

____

R.L.  La Fevers

R.L. La Fevers

R. L. La Fevers (Robin Lorraine when she’s in really big trouble) is the author of ten books for young readers, including her most recent, DARK TRIUMPH. More writing advice can be found at her blog:
http://clicks.aweber.com/y/ct/?l=O8uEK&m=J4mgNuYU._LsQz&b=Te0PZ47.mD0Le.ndTndTfg

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A possible source for publishing your writing.

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Writing tip Wednesday: “Thoughts on writing”

A series of thoughts on writing by Joe R. Lansdale

Source: http://www.joerlansdale.com/writing.shtml

Below are some excerpts from this web page. To see them in fuller detail, as well as other thoughts, go to the link listed above.

1. When I write I seldom know where it is going. I discover this every day.

2. I try and do a reasonable amount each day so I’m a hero every day.

3. I write each day until I feel myself starting to fizzle.

4. I don’t prepare for the next day’s work when I finish.

5. Another thing that works well for me is to read a little before I write.

And there are four more, which can be found at http://www.joerlansdale.com/writing.shtml

He does admonish those reading his guidelines that they are not etched in stone rules, immutable, unalterable, unchanging. He writes that anyone who takes them as hard and fast rules should be “tarred and feathered. Well, made to stand in the corner.”

He also says that writing is a passion and not an obsession for him. Passion is “good and fun.” Obsession “feels a little like you’re stalking yourself.”

______

A little about Joe R. Lansdale, from his web site:

Joe R. Lansdale

Joe R. Lansdale

Champion Mojo Storyteller Joe R. Lansdale is the author of over thirty novels and numerous short stories. His work has appeared in national anthologies, magazines, and collections, as well as numerous foreign publications. He has written for comics, television, film, newspapers, and Internet sites. His work has been collected in eighteen short-story collections, and he has edited or co-edited over a dozen anthologies. He has received the Edgar Award, eight Bram Stoker Awards, the Horror Writers Association Lifetime Achievement Award, the British Fantasy Award, the Grinzani Cavour Prize for Literature, the Herodotus Historical Fiction Award, the Inkpot Award for Contributions to Science Fiction and Fantasy, and many others. His novella Bubba Hotep was adapted to film by Don Coscarelli, starring Bruce Campbell and Ossie Davis.

For some more information on Joe R. Lansdale and his work, go to http://www.joerlansdale.com/

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Writing tip Wednesday: “Write before you know”

The Case for Writing a Story Before Knowing How It Ends

By JOE FASSLER

Andre Dubus III, author of Dirty Love and The House of Sand and Fog, explains why the best work happens when you “back the fuck off.”

By Heart is a series in which authors share and discuss their all-time favorite passages in literature.

Full article at: http://www.theatlantic.com/entertainment/archive/2013/10/the-case-for-writing-a-story-before-knowing-how-it-ends/280387/

Novelists tend to fall into two camps. Some authors love their outlines—they plot and plan and schematize and think their way through problems. John Irving is one example; he spends months outlining his novels in advance, and when he puts pen to paper, he knows exactly what will happen. Other authors, meanwhile, feel their way through. When they sit down at the desk, anything can happen: They lose themselves in the dark on purpose, and follow the light of strangeness and surprise. Flannery O’ Connor, whose stories revealed their structure over the course of many drafts, worked this way.

The latter approach can sound odd, even shamanistic. What do novelists mean when they say things like my character showed me the way? But my conversation with Andre Dubus III, whose new book Dirty Love is out this week, addressed the challenges and joys of writing without pre-determination. We discussed what it means to write into the unknown, how to do it, and why writers should.

Dirty Love contains four linked novellas about love and betrayal in a coastal town. In the first story, a cuckolded man stalks his wife with a video camera; in the last, a young woman’s world is shattered when a sexually explicit image of her surfaces online. Dubus is the author of books including The House of Sand and Fog (a finalist for the National Book Award), The Garden of Last Days, and Townie. He talked to me by phone from his house north of Boston.

Andre Dubus III: Years ago, I read a book called Letters to a Fiction Writer, which asked about 20 established writers to send their best advice out into the world. There were a lot of heavy hitters in there offering truly wise and helpful advice. But the one that’s stayed with me over the years, from Richard Bausch, has become a sort of mantra for me:

Do not think, dream.

We’re all born with an imagination. Everybody gets one. And I really believe—this is just from years of daily writing—that good fiction comes from the same place as our dreams. I think the desire to step into someone else’s dream world, is a universal impulse that’s shared by us all. That’s what fiction is. As a writing teacher, if I say nothing else to my students, it’s this.

Full article at: http://www.theatlantic.com/entertainment/archive/2013/10/the-case-for-writing-a-story-before-knowing-how-it-ends/280387/

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Writing tip Wednesday: “All the while”

Stop awhile

PenPal says:

A while or awhile? How do you know which to use?

I find that many writers often use these words incorrectly. There is an easy way to tell which you should use:

1. Awhile (one word) is an adverb; therefore, it modifies a verb.

Examples (corresponding verbs have been underlined):

    a. I might stay here awhile and watch the sunset with you.
    b. Let’s visit awhile with your grandchildren before we drive home.

2. A while (two words) contains both the article “a” and the noun “while.” The two-word version is a noun phrase, and it will be preceded by a preposition (for, after, in).

Examples (corresponding prepositions have been underlined):

    a. If you would like to travel for a while, consider signing up for the cruise.
    b. I will meet Steven at the theater in a while.

Check your understanding:
A. Mary rode the bus for (awhile / a while).

B. The birds hung around my feeder (awhile / a while) before flying away.

C. Please be aware that the office manager will speak to us in (awhile / a while).

D. Mark searched his memory, and after (awhile / a while) he recalled the correct solution to the math problem.

Simple as that! More PenPal tips will be coming your way in a while.

[Answers: A. a while / B. awhile / C. a while / D. a while]

________

Cathy Kodra a/k/a PenPal

Cathy Kodra a/k/a PenPal

About PenPal…
Cathy Kodra works as an independent editor in Knoxville, TN. Her poetry and short stories have appeared in numerous journals and anthologies including Roanoke Review, New Millennium Writings, Common Ground Review, Now & Then, Cavalier Literary Couture, Slow Trains, Still Crazy, The Medulla Review, Prime Mincer, Yemassee, and others. She is a contributing editor for New Millennium Writings and past guest poetry editor for The Medulla Review. She was first runner up in Prime Mincer’s 2011 Poetry Contest, judged by Rodney Jones, and took first place in the 2012 Old Gray Cemetery Poetry Contest. Cathy’s first poetry chapbook, Thin Ice, was published in 2011 by Medulla Publishing.

Cathy is a member of the Knoxville Writers’ Guild and of two local writing groups. An avid reader and writer, she is currently working on two poetry collections and a collection of short stories. Her hobbies include gardening and vegan cooking, and she lives happily with her husband Ron, two dogs, and a cat. She can be reached at www.cathykodra.com.

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Writing tip Wednesday: “Bits of Wisdom”

Here’s a collection of wisdoms from the star-studded panels and sessions at ThrillerFest by way of Writer’s Digest.

“Protect your voice and your vision. If going on the Internet and reading Internet reviews is bad for you, don’t do it. … Do what gets you to write and not what blocks you. … Don’t take any guff off anybody.”
–Anne Rice

“I encourage every writer to write the book that only you can write.” It’s one thing to be respectful of trends but it’s another to express your unique viewpoint in your book. “Don’t be a copycat. … The last thing I want is to see something and feel, Didn’t I just read this someplace else?”
–Michaela Hamilton, editor-in-chief of Citadel/executive editor of Kensington

“The book has to deliver. … It isn’t a particular element that I’m looking for, but I want to be transported.”
–Lisa Gallagher, literary agent

“You may not think that you have an interesting story to tell and you may not think there’s something fascinating in your story, but there is.”
–Heather Drucker, publicist (HarperCollins), on how everyone has a unique personal publicity hook they can use to promote their book

“You can be as complex as you want as long as you’re clear about it.”
–David Morrell, bestselling author of First Blood

For more, go to http://www.writersdigest.com/online-editor/9-inspirational-thrillerfest?et_mid=628280&rid=3087253

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Writing tip Wednesday: “From on high”

REWRITING? TRY SOME “HIGHER EDITING”

By DAN POLLOCK

“Do you like Kipling?” goes the old joke. Answer: “I don’t know, you naughty boy, I’ve never kippled.”

At age 23 Rudyard Kipling’s sensational debut was comparable to that of Charles Dickens. “The star of the hour,” aid Henry James when Rudyard was only 25. “Too clever to live,” said Robert Louis Stevenson.

Astronaut in space

Higher editing

But the shooting star did not flame out. While he continued to produce stories and poems at a prodigious rate, he never joined his own rabid fan club. His approach to the craft of writing remained ever that of a conscientious workman. He edited himself ruthlessly.

“Higher Editing” he called it, and I’ll get to the specifics of his technique in a few moments.

My first thriller, Lair of the Fox, was sold on the basis of an outline and the first 100 pages to a small publisher (Walker & Co). The completed manuscript weighed in at 120,000 words – every one them perfect, I’ll have you know.

But my editor informed me that, in order to reduce their printing and binding costs, Walker never published trade books over 80,000 words. Would I mind cutting 40,000 words from my manuscript? I did it — with the help of Kipling’s “Higher Editing” method. And the book is much the better for it.

DIGEST YOUR WORDS
A famous American editor had this advice: “Play ‘digester’ to your manuscript; imagine that you are an editorial assistant on a digest magazine performing a first squeeze on the article to be digested. Can you squeeze out an unnecessary hundred words from each thousand in your draft?”

Mystery writer John D. MacDonald used the reductive process as an intrinsic part of his creative plan. A magazine profile once described him “tapping out the 1,000-page drafts that he whittles down to 300-page manuscripts in four months.”

For this reductive process to work, however, you have to put your heart and soul into that first draft, like Tom Wolfe or John MacDonald. Don’t edit or second-guess yourself the first time through; let yourself be driven forward by the compelling emotion of your story; to switch metaphors, trowel on the raw pigment, which you can shape later at leisure.

To quote editor Gorham Munson, “Write as a writer, rewrite as a reader.”

THE LEONARD METHOD
Elmore Leonard went from a journeyman paperback writer (westerns and detectives) to best-sellerdom and Hollywood fame by taking an opposite tack. He began to edit himself in advance – on his first draft. As he famously put it (his rule No. 10 of good writing): “Try to leave out the part that readers tend to skip.”

If you can do that, bravo! Most writers have to go back over their work and painfully cut out the deadwood.

Here is the method used by Belgian mystery master Georges Simenon:

INTERVIEWER: “What do you cut out, certain kinds of words?”

SIMENON: “Adjectives, adverbs, and every word which is there just to make an effect. Every sentence which is there just for the sentence. You know, you have a beautiful sentence — cut it. Every time I find such a thing in one of my novels it is to be cut.”

To quote Leonard again, “If it sounds like writing, I rewrite it.”

HIGHER EDITING
So we come, at last, to Kipling’s “Higher Editing.” Here he describes how he used it on his debut story collection, Plain Tales From the Hills:

“This leads me to the Higher Editing. Take of well-ground Indian Ink as much as suffices and a camel-hair brush proportionate to the interspaces of your lines. In an auspicious hour, read your final draft and consider
faithfully every paragraph, sentence and word, blacking out where requisite. Let it lie by to drain as long as possible.

“At the end of that time, re-read and you should find that it will bear a second shortening. Finally, read it aloud alone and at leisure. Maybe a shade more brushwork will then indicate or impose itself. If not, praise Allah and let it go, and ‘when thou hast done, repent not’…. The magic lies in the Brush and the Ink.”

—————-

Dan Pollock is the author of four thriller novels: Lair of the Fox, Duel of Assassins, Orinoco,and a specially commissioned “logistics” thriller, Precipice. He and his wife, Connie, a writer-editor, live in Southern California with their two children. You’ll find his blog at: http://clicks.aweber.com/y/ct/?l=O8uEK&m=IhM0eF8OM_LsQz&b=kuZLqdii5DpvdVIbrBuqlw

[Editor’s note: This entry comes courtesy of Bruce Hale. Bruce has written and illustrated over 25 books for kids. His Underwhere series includes Prince of Underwhere and Pirates of Underwhere. His Chet Gecko Mysteries series includes: The Chameleon Wore Chartreuse, The Big Nap, The Malted Falcon, Hiss Me Deadly, and others. More at http://www.brucehale.com/]

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Writing tip Wednesday: “How to write good”

How to Write Good

Practice, practice, practice.

Practice, practice, practice.

1. Avoid alliteration. Always.

2. Never use a long word when a diminutive one will do.

3. Employ the vernacular.

4. Eschew ampersands & abbreviations, etc.

5. Parenthetical remarks (however relevant) are unnecessary.

6. Remember to never split an infinitive.

7. Contractions aren’t necessary.

8. Foreign words and phrases are not apropos.

9. One should never generalize.

10. Eliminate quotations. As Ralph Waldo Emerson said, “I hate quotations. Tell me what you know.”

11. Comparisons are as bad as clichés.

12. Don’t be redundant; don’t use more words than necessary; it’s highly superfluous.

13. Be more or less specific.

14. Understatement is always best.

15. One-word sentences? Eliminate.

16. Analogies in writing are like feathers on a snake.

17. The passive voice is to be avoided.

18. Go around the barn at high noon to avoid colloquialisms.

19. Even if a mixed metaphor sings, it should be derailed.

20. Who needs rhetorical questions?

21. Exaggeration is a billion times worse than understatement.

22. Don’t never use a double negation.

23. capitalize every sentence and remember always end it with point

24. Do not put statements in the negative form.

25. Verbs have to agree with their subjects.

26. Proofread carefully to see if you words out.

27. If you reread your work, you can find on rereading a great deal of repetition can be avoided by rereading and editing.

28. A writer must not shift your point of view.

29. And don’t start a sentence with a conjunction. (Remember, too, a preposition is a terrible word to end a sentence with.)

30. Don’t overuse exclamation marks!!

31. Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to the irantecedents.

32. Writing carefully, dangling participles must be avoided.

33. If any word is improper at the end of a sentence, a linking verb is.

34. Take the bull by the hand and avoid mixing metaphors.

35. Avoid trendy locutions that sound flaky.

36. Everyone should be careful to use a singular pronoun with singular nouns in their writing.

37. Always pick on the correct idiom.

38. The adverb always follows the verb.

39. Last but not least, avoid cliches like the plague; They’re old hat; seek viable alternatives.

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