Manuscript in a box: Print It Out For A Fresh Perspective

Papers in a box 2

My book is in a box. At least the draft of the manuscript is. I printed off the scenes from my draft of New Duet so I can manually organize and edit them. Yes, as much as I love editing on the computer and all the organizational wonders available with various software programs, nothing beats printing out a few hundred pages and eyeballing every word. I keep the pages in a box when I am not working on it because all scrap paper is used by my granddaughters for art work. These pages needed protecting from the crayons and scissor brigade for the moment.

Reorganizing scenes

I stapled each scene and numbered them. Because I wrote in scenes rather than chapters, I can move scenes around as I read through and edit. The ideas didn’t always flow chronologically in draft form. And even though I organized them in my Scrivener program, I found a few in the wrong place. Now I can go back and correct that. When I am done editing and organizing, I’ll create a new file in chapter format.

Duplicate names

How has this helped? Fresh eyes for sure. I apparently like the names Marcia and Claire. I gave one flat character and a reference to a deceased child as Marcia. And an elderly woman, a store clerk and a pianist were all named Claire. I also gave a few characters too similar names. Names that sound the same can confuse readers. So, I had to think fast to rename them. Flat characters for those who don’t know the term are the background characters. The waiter, the guy walking in the park. A reference to someone in the past who no one ever sees. Flat characters fill in the scene but have no emotional connection with the story.

Marcia art-2

Grammar booboos and other mistakes

I’ve also found awkward sentences, weird punctuation. You know those backward quotation marks and extra spaces. I’ve discovered Dan’s scene had a POV from Isabella. I was surprised to find repetitive information throughout a few scenes. Repetitive information is something the characters have revealed previously that doesn’t need to be rehashed in every scene. I either deleted the information or shortened it to a word or two to keep the information in the readers mind.

A few places needed serious rewording, and some spots needed more emotional tension or a deeper POV. The new perspective of words on paper forced my brain to take a closer look. When these corrections are placed in my PC document, I will probably find other places to tweak.

The next step

I am almost through the manual edits. Then once I’ve copy pasted and reformatted my story into the new chapter file I’ll place all my manual edits in the document. I’ll run my spelling and grammar check and try to make the copy as clean as possible. Once I am happy with those changes I’ll need to find uninterrupted time to read it out loud. Preferably with my hubby. Because together we will probably find even more discrepancies. Once that is done, I’ll be ready to contact an editor and submit my proposal to publishers. (That part always makes me nervous.)

What things do you do in the editing process to give you a fresh perspective on your WIP? Please share them with me in the comment section. I’d love to hear about it.

Is It Misplaced, Dangling or Just Right: The Modifier Dilemma

Modifier poster-2

Modifiers are another one of those grammar terms we need to pause over and be sure they are right in sentences. Do you recall the old example? “Throw the cow over the fence some hay.” It always made us laugh and was a great example of a literal translation from German to English. Misplaced modifiers are not always so obvious. We could rewrite this sentence as: Throw some hay over the fence for the cow.

Joyce K Ellis, in her booklet 8 Hidden Hazards of Grammar; Lessons for authors on the snags of the English language, refers to modifiers as magnets. Modifiers need to be close to the words or phrase they modify. A misplaced modifier can create confusion for the reader. It can be funny as the sentence above or imply a meaning not intended.

Here are some excellent examples of misplaced modifiers from the 8 Hidden Hazards of Grammar.

This crane is out of his natural habitat in the same way a misplaced modifier is when place incorrectly in a sentence. Photo from morgurefile.com

This crane is out of his natural habitat in the same way a misplaced modifier is when place incorrectly in a sentence. Photo from morgurefile.com

Misplaced: We asked volunteers to bring cookies for the bake sale at last week’s meeting.

Did you find the misplaced modifier?

Joyce explains. “The prepositional phrase at the last meeting has stuck its nose in the wrong place. It’s ludicrous to ask people to bring cookies for an event that took place the week before, so we move that time designation next to what it modifies. “

Properly placed: At last week’s meeting, we asked volunteers to bring cookies for the bake sale.

Misplaced modifiers will occasionally result in comical, physically impossible descriptions:

Misplaced: Stacy mounted the horse glancing over her shoulder.

Did you laugh at this one?

Properly placed: Glancing over her shoulder, Stacy mounted the horse.

It’s Stacy glancing over her shoulder.

Can you find the misplaced modifier in the next example?

Misplaced: No matter how small, most of us will never forget the first check we received for our writing.

It’s the size of the amount of the check not the size of the writer.

Still misplaced: Most of us will never forget the first check we received for our writing, no matter how small.

Oops! Now we could be talking about the tininess of our handwriting or font.

Properly placed (recasting the entire sentence):

Most of us will never forget our first writing-income check no matter how small the amount.

OLYMPUS DIGITAL CAMERA

Dangling modifiers make me groan. My hubby is always finding them in my work. When it’s dangling, the word it modifies is missing. Below is a clear example from Joyce K. Ellis.

Dangling Modifier: Having laryngitis, my speaking engagement had to be postponed.

As written. The speaking engagement had laryngitis—obviously not what the writer intended. We leave the modifier dangling.

Safely attached: Having laryngitis, I had to postpone my speaking engagement.

Now we have a subject to connect to the modifier.

Again Joyce’s final word on the subject of misplaced modifiers.

Bottom line: Make sure modifiers stick like magnets to their reference point.

Do you have an example of a dangling or misplaced modifier you have written or found published somewhere? Share it in the comments.

Please subscribe in the right hand column if you would like to receive my blog in your email when I post a new one.

Love Hate Relationship With Spellcheck

love hate-2

Don’t you just hate it? You run the spell check on your article and find ridiculous correction suggestions. I love the little red and blue squiggly lines. Word catches lots of obvious typos like then when you mean than. Misspelled words like mena instead of mean and extra spaces. But it also bings on things that are real words or slang terms as misspelled words. Bings for example now has a red squiggly line under it. Bings is not in my Word dictionary. My character Mindy used the word thingie, and it got red lines. In a recent blog I stated writers trip over this. And writers was blue-lined. When I ran the spelling and grammar check, Word cited an apostrophe grammar rule. The problem is trip is being used as a verb and writers is plural not possessive. So, I ignored the suggestion. Now, if I were relying totally on my grammar check, I would have allowed the apostrophe. Big mistake!

Nevertheless, pay attention to those squiggly lines. Correct all that must be changed. But don’t put your complete trust in them. There are times I use a sentence fragment in my novel for effect. So, I am not going to change it. But a sentence fragment in an article may not be the effect I want to present to the publisher.

These squiggly lines are your friend. The software helps you fix the obvious. However, question each one. Word doesn’t rely on AP or Chicago book of style for their grammar suggestions. Those of us who struggle with remembering what is the acceptable use of commas are better off checking our style books than relying on Word’s rules. I’m just sayin’ (another red squiggly line) double check on your own or call a friend for a second set of eyes to be sure your manuscript is error free.

We all know the spellcheck doesn’t catch misspellings if the misspelled word is a real word. I just typed won when I meant to type own. It is so easy to have typos that you don’t notice if you rely on the PC spellcheck. Read your words out loud. Often you catch them. Better yet have someone else read them out loud while you follow along. Even easier to catch those obvious mistakes.

You can learn to love and respect your grammar and spellcheck once you remember it isn’t always right. Which is a good thing. It keeps us from becoming lazy about editing our words to perfection.

What is your pet peeve about spellcheck? And what is the common boo boo you make that spellcheck never catches?

If you’d like to follow my blog please sign up in the right column.

The Right Agreement Between Subject and Verb

photo by morguefile.com

photo by morguefile.com

Have you ever gotten confused writing subject verb agreement? I know the whole question makes you yawn. Don’t click away from my blog now. Subject verb agreement is easy to ignore in your initial first draft. Struggling to get the thoughts to flow the mechanics of writing get sloppy. During rewrites some subject verb agreement can slid by as well. Here’s a few reminders and tips to keep your subject and verb from fighting each other.

Let’s define terms for those of us who forget or can’t quote the grammar rules Once again I refer to 8 Hidden Hazards of Grammar: Lessons for Authors on the snags of the English language by Joyce K. Ellis. Her little booklet is a great go-to guide.

“Careful writers ensure that their subjects (the doer of the action) and verbs (the action) agree—matching a singular subject with a singular verb and a plural subject with a plural verb.”

Joyce explains it so simply. You’d be amazed how easy it is to misunderstand this rule. Try reading the sentence below out loud. Hearing it can help you see your mistake.

The sopranos sings high.

The sentence subject sopranos (a plural noun) so it sounds right to use sing (a plural verb):

The sopranos sing high.

If compelled to discuss the stratospheric vocal range of one soprano, we would say or write:

The soprano (singular subject) sings (singular verb) high.

http://www.grammarbook.com/grammar/subjectVerbAgree.asp

has the following examples of subject/ verb agreement writers trip over.

The list of items is/are on the desk.
If you know that list is the subject, then you will choose is for the verb. Note: while a list suggests multiple things (items), it is just one list. Therefore is singular and requires a singular verb. (Just sayin…)

The word of is the culprit in many, perhaps most, subject-verb mistakes. Hasty writers, speakers, readers, and listeners might miss the all-too-common mistake in the following sentence:

A bouquet of yellow roses lend color and fragrance to the room.

Correct: A bouquet of yellow roses lends . . . (bouquet lends, not roses lend). That was a bit tricky. Bouquet is the subject, not roses. The one bouquet, therefore, needs the singular verb lends.

As a general rule, use a plural verb with two or more subjects when they are connected by and.

Example: A car and a bike are my means of transportation.

But note these exceptions:

Exceptions:
Breaking and entering is against the law.
The bed and breakfast was charming.

My thoughts: Don’t you just love exceptions? They make my head spin.

In 8 Hidden Hazards of Grammar Joyce adds another confusing example.

“None of us need chocolate.

None—standing for not one—is a singular pronoun in the third person (e.g., he or she). So if we substitute one of those, we have this:

She need chocolate.

That doesn’t work. Though tough to admit, we must say this:

None of us needs chocolate.”

The last point I will share in this blog but not all there is to say on subject/verb agreement is the greater the distance between the subject and verb in a sentence, the more likely we will trip up.

In this next case we’ve heard it spoken. The incorrect agreement spills over in our writing because it sounds right.

Joyce’s example:

Erroneous: The band of “musicians” scream their lyrics.

Correct: The band (singular subject) of “musicians” screams (singular verbs)…lyrics.

It may sound right to say “musicians” scream. However, band, not musicians, is the subject of the sentence. The words—of musicians—create a prepositional phrase modifying the subject. “

Joyce’s Bottom Line: Make sure to match singular subjects with singular verbs and plural subjects with plural verbs.

Now go back over that manuscript you examined for weak verbs and check for incorrect subject /verb agreement.

Please sign up to follow my blog by clicking the button on the right.

Antecedent? Say What?

Ant and pencil-cropped

Antecedents??? Would you believe I got an A in English in high school. And unless I look it up, I can’t recall the definition of an antecedent. In my defense English class was over forty years ago. And as I said in a previous post, I tend to go with what sounds right. My husband on the other hand can still recall most English rules. Why? Because he’s weird that way. He can recall Spanish grammar rules, as well. Which only goes to show that unlike Algebra we do use grammar in everyday life. And like Algebra if you can’t remember the rules, you can make huge mistakes.

So, let’s review pronoun and antecedents use. And again because I admire Joyce K. Ellis’ grammar prowess, I’ll be referring to her booklet 8 Hidden Hazards of Grammar: Lessons for authors on the snags of the English language.

Let’s state the obvious first. Why? Because, as I said, a few of us out there are term illiterate.

Pronouns are used in place of nouns. (e.g., I, me, he, him, she, her, it, they, them)

The antecedent is the reference point for the pronoun. The word antecedent comes from antecede, synonym for precede. So look for the noun that precedes the pronoun. That noun must match the pronoun.

The pronoun and antecedent must agree in number (singular or plural), gender (male or female) and person (first/second/third.)

Here’s where I quote examples from Joyce’s booklet.

Agreeing in number. A plural antecedent needs a plural pronoun, and singles need singles.

Conflicting: Every conferee (singular) complained about their (plural) lack of time to write.

Better: Every conferee complained about his or her lack of time…

Less cumbersome (both plural): All the conferees complained about their lack of time…

Agreeing in gender: Make sure the gender of the pronoun matches the gender of the antecedent:

Not right: Nick maintained his yacht (antecedent) meticulously, polishing her (feminine pronoun) brass railings and waxing its (neutral pronoun) newly painted deck.

We need consistent pronouns. Since a yacht is referred to as a she, polishing her is correct but we also need to wax her.

Agreeing in “person.” Remain consistent, referring to first person (me, my) second person (you), or third person (he, him, they, them):

Incorrect: When writers (third person) work hard and keep getting rejection slips, we (first person) can get discouraged.

Correct: When writers work hard…they can get discouraged.

Also correct: When we work hard…we can get discouraged.

Again the greater the distance between pronoun and antecedent, the more likely we’ll make an “agreement” error.

Bottom line: Make sure your pronouns and their antecedents “get along.”

You know the drill. Go back to your manuscript to be sure your pronoun and antecedent are in agreement.

Don’t forget to sign up for this blog in the right hand column if you please.

Genocide Weak Verbs to Create a Stronger Manuscript

Photo from morguefile.com

Photo from morguefile.com

Ever get the dreaded editor’s comment on your manuscript “You need stronger verbs.” Editors describe your verbs as passive, weak, dead or flat? Yep! You know you have.

As promised, today’s post is about weak verbs. The second hazard mentioned in Joyce Ellis’ booklet 8 Hazards of Grammar: lessons for authors on the snags of the English language. If you missed my last post (link), let me mention here I consider Joyce the Queen of Grammar, and I am but her lowly jester. I’ve always found her explanations far more interesting than dull grammar books. I will be sprinkling my own commentary alongside her words.

Weak verbs are boring

Weak verbs are the ones we worked so hard to learn in school. Do you recall diagramming sentences to identify all the parts of speech? (Boring like a root canal.) Imagine those parts of speech as body parts and verbs are arms.

Weak verbs lack strength.

Weak verbs lack strength.

Weak verbs are thin muscled and at times arthritic.

While action verbs are muscular and strong. You can’t exercise to get stronger verb muscles. You have to kill the weak verbs and replace them with more active and specific verbs. Weak verbs weaken the whole manuscript.

Muscular verbs carry the story to more interesting heights.

Muscular verbs carry the story to more interesting heights.

The verbs that need genocide are:

To be verbs, also called state-of-being verbs may be scattered throughout a manuscript. You know them and their many tenses: is, am, was, were, will be, had been, were being and the list goes on. State-of-being verbs are important but are often overused.

Joyce Ellis refers to them as mostly dead. Her examples below help explain what she means. She refers to defibrillating dead verbs.

Mostly dead: Judith was unable to find many writers who actually followed her guidelines.

Defibrillated: Judith found few writers who…

Lifeless: After a mere 72 rejections, the author’s hopes were gone.

Vibrant: …the author’s hopes disintegrated.

Joyce warns against the troublesome twins, there is and there are:

Feeble: There were no words to describe…

Stronger: No words could describe…

Comatose: There are three categories of doubters people fall into.

More alive: Doubters fall into three categories.

When I hear the term passive verb I think of a bystander at an auto accident. Observant but not helping.

Another excerpt from 8 Hidden Hazards of Grammar.

Passive verb: An active verb shows us that a doer did something. A passive verb tells us something was done to someone. Active verbs allow for a more vivid word picture.

Passive: Absalom’s rebellion was caused (passive) by King David’s inattentiveness.

Active: King David’s inattentiveness ignited Absalom’s rebellious spirit.

The word by often betrays a passive verb. If you know who did the action, tell us up front.

Joyce gives a great guideline for discerning when to use passive verbs. “Save them for when the doer is unknown or unimportant.” See how she makes grammar interesting.

I’ll add my image here. A waiter pouring water while my characters have dinner. The waiter is there to help my readers remember we are in a restaurant but no one cares about him unless he pulls a knife and stabs our hero. (I digress.) Back to Joyce’s examples.

Unknown: The murder was committed last night. (Cops don’t know yet who whacked the guy.)

Unimportant: The film was shown in its entirety. (Monsieur Projectionist doesn’t expect credit.)

Her bottom line regarding weak verbs: Keep verbs alive and active wherever possible.

Go forth and murder weak passive verbs sitting on the sidelines pointing to the action. Recruit some strong action verbs. After the culling, read through your manuscript. I’m sure you’ll find it stronger, more vibrant with the seal of professionalism.

What passive verb are your go to words? What tips do you have for editing them out?

If you would like to follow my blog, please subscribe. Click the button on the right.