Inkabout L. Darby Gibbs

Science Fiction & Fantasy author

Editing

Advice: Another grammar resource (requires experience)

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Last week I suggested A Writer’s Reference as an important resource to have as it contains just about every grammar, vocabulary & formatting issue likely to be run into by a writer (from student to professional), but this week I offer up a text that is geared entirely to the well-seasoned grammarian.

There is humor, sarcasm and clear cut demonstration of the rules of punctuation and sentence structure.  But you won’t laugh if you are a beginner because all Lynne Truss’s references require that you at least appreciate that there are rules and know quite a number of them.  If you don’t know most of them, you won’t appreciate the humor in her refining your understanding.  The title is a perfect example, though one of the simplest she provides:  Eats, Shoots & Leaves or if you prefer Eats Shoots & Leaves.  There is a distinct difference.  First off, imagine a panda bear.  He eats, shoots and leaves (which requires he has a license to bear arms or at least can hold a gun) or he eats shoots and leaves (which only requires he stick to his diet).  The title alone makes me giggle, but if you don’t get it yet, don’t purchase this book until you feel good about your use of grammar and punctuation.  If you are intrigued already, this is definitely the text for you.

It is important to note that Truss is English, but she kindly shows where the British vary from the Americans in grammar.  So do not fear you will refine your understanding only to find you will only be accepted by the British as knowing what you are doing all the time.

Reference Advice: Grammar and Punctuation — the Bane and Benefit

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Every writer’s frustration is getting the grammar and punctuation
correct.  Without it, our readers can’t follow the road we have prepared
for them.  Even a grammarian/English teacher needs to check her work
regularly and review rules.  One of the best books for assisting both
the conscientious beginner and the experienced writer is a text that was
on the recommended list for a college class I took:  Diana Hacker’s A Writer’s Reference.  I have returned to college several times picking up
different certifications and degrees, but this is the best writing reference text I came
across over the years.

  • Looking to track down the list of
    the words most confused by writers? Check A Writer’s Reference.  
  • Want to
    understand the ins and outs of the semicolon vs the colon?  Check A
    Writer’s Reference    .  
  • Document design harassing you? Check A Writer’s
    Reference    .  
  • Have to give proper documentation for research you have
    done?  A Writer’s Reference supplies formats for MLA, APA, and CMS.  
  • Are
    you an ESL individual still dooking it out with prepositions and
    articles?  A Writer’s Reference has a section on that.  
  • Need more
    practice than is in the text? It also has an online presence with plenty
    of practice sets and explanations.

This is a compact
text, about 6 1/2 x 8 inches, held together by a comb binding, so it
travels well and lays flat.  Cost is a bit steep, ($50.00+ on average),
but grammar evolves quite slowly, so you have time to wear it out.  So
dictionary (or word book: see my previous post on spell friendly dictionaries, July 11, 2012), thesaurus, A Writer’s Reference, if you
write anything and care about writing well, have them in easy reach.

What do I want in the books that I read & write

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I am at the beginning of redrafting my second book in my Students of Jump series.  In the process, I started thinking about what it is I like about the books I like to read.  Knowing that will help me make sure my book has those qualities.  So what is it that holds my attention when I read a science fiction novel?

1. depth of humanity:  I like my characters to show their fears, joys, fellowship to other characters
2.  activity:  I don’t mind a lull especially after a heavy action or emotional scene, but I don’t want the lulls to last too long, and they must have purpose.
3.  well-developed characters that I can sympathize with even if I don’t like them.  I understand why they are doing what they are doing.
4. humor:  life always has moments of humor, and I want any stories I read to have it, too.  Silly moments, puns, laugh instead of cry, etc.
5.  emotional involvement: some catharsis for at least the main character
6. connection to other characters:  relationships that show the main character has family, friends, co-workers, enemies, pets.  I don’t like when they exist in isolation.  Everybody has backstory and forward reconnections to others
7.  I want to see (hear, smell, touch, taste) the environment, things, actions described.
8.  Sense of local: where are they, where are they going?
9.  the fiction of science: space travel, technology in every day life, the stuff that is related to but not of this contemporary time.
10. I like to get lost in the story: (I don’t mean the author dropped me off a cliff, and I have no notion of where the story is going and has gone).  I want time to go by that I didn’t notice because the story caught me up and carried me away.

After looking at my list, it is clear I have set myself up for a challenge.  I had better get onto it.

Spell-friendly dictionary

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Every writer, whether he or she is a writer of fiction or non-fiction, journalist or reviewer, must spell correctly.  As a teacher I am routinely asked by my students how to spell a word they want to use in their writing.  I always point at the dictionary.  I do understand the issue of getting a big book of words and sifting through it for the correct spelling and that they find this tedious, especially when they know I can spell the word for them much quicker.

This is why I thoroughly recommend every writer, from student to pseudo-professional to professional consider having a Webster’s Instant Word Guide or The Word Book III from Houghton Mifflin.  They do not contain definitions but are directed at spelling alone.  The majority of people who want to spell a word are not confused about its meaning.  So a speller’s word book, such as the two listed above, is ideal.  And they are small, roughly 4″ x 5 1/2″.

They are compact, to the point, easy to navigate, and they supply one crucial component: If there could be a chance of confusion with another word, both are supplied with an extremely short definition (usually one word) next to the confused alternative, so the writer can make an informed decision about which is the correct one to use and spell appropriately.

Just to add useful to convenient and the critical low “overwhelming” factor, both these books also offer conversion tables for weights and measures, spelling rules, punctuation and abbreviations sections.

I actually have both of these books.  One I keep at school on my desk and the other at home.  I introduce my new students to them every year.  And though it is never a majority, many of them do inform me at some point in the year that they have purchased one.

Last word on this:  spelling is crucial in any public writing forum.  This is a non-tedious, easy-to-use fix for the problem.  It is even quicker than an iPhone dictionary ap and does the one thing wordprocessing program dictionaries don’t do: provide you with the option of the “other word.”

Setting up my writing for the next day

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Notes to write by

I am now working on my second book in the Students of Jump series, No-Time Like the Present.  Though I am editing, I have found that there is much yet to be developed in the story line, so I find myself in create mode far more often then clearing up errors.   My last edit first lost me 150 words than gained me another 400.

So I am leaving notes for the next day at the end of my day’s work.  Every writer has his or her own way of keeping the writing going.  For me, I try to follow a few simple practices.  I stop when I still have more to say, I leave a note in all caps reminding me where my characters are headed or what complication or connections need to be made in the next set of writing, and frequently, I’ll leave a piece of dialogue that I think will help get my muse back on track.  Here’s what I left yesterday for example.

    “Misty, have pity on an old time traveler.”  He turned over on his stomach, visibly comforted by the change in position.
    “Old, you haven’t even been born yet.”
    He crushed a pillow and shoved it under his head.  “Sure feels like I have.”
    Misty grabbed a hand that gripped the pillow beneath his head.  “Let’s go; we’ll just walk about town.”  Pulling Quixote off the couch, she coaxed him out the door. 

NOTE THINGS ABOUT THE WALK DOWN, MEET A COUPLE OF NEIGHBORS.  WAVE TO A TRUCK AS THEY STEP ONTO MAIN STREET.  HERE AGAIN QUI HESITATES. HE DOES NOT FEEL PREPARED – MISTY FEELS HE IS QUITE KNOWLEDGEABLE ABOUT THE TIME, BUT THAT IS NOT WHAT HE MEANS.  HE IS NOT PREPARED TO PROTECT MISTY OR IF THERE IS NOTHING TO PROTECT HER FROM THAN MAKE THE RIGHT DECISION CONCERNING HER.  HERE MISTY GETS ANGRY.  SHE NEEDS TO KNOW WHY BRENT LEFT AND DID NOT COME BACK.  QUI HAS NO ANSWER.  SHE STARTS TO HEAD DOWN MAIN STREET AND QUI CALLS HER BACK.  ARGUMENT: QUI SAYS “HE IS MY BEST FRIEND.”  MISTY STATES HE WAS HER UNCLE’S BEST FRIEND ALSO.  THIS SENDS HER INTO AN ANGRY RANT ABOUT HOW BROKEN HEARTED MICK WAS WHEN BRENT DID NOT COME BACK.  (SET UP FOR LATER DECISION TO CONFRONT BRENT.)

Basically, I tell myself in my notes and show it in my book.   Of course, I never follow it precisely.  I always tend to deviate as the story and characters will change the course of my plans though they always ultimately get to the goal. So what do you do to ready yourself for the next day’s writing?