Inkabout L. Darby Gibbs

Science Fiction & Fantasy author

writing practice

Semicolons and colons: easier than you think

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Write down these simple rules.

Colons and semicolons are probably the most misused punctuation there is, and it is not because they are complicated.  The rules for the semicolon and the colon are both few and easy.

To make things simple, let’s establish some terminology.  Sentences are words placed in sequence with a capital letter at the start, end punctuation at the end and a complete thought in the middle.
Examples:  
I cried.
I cried buckets of tears that flowed down my face, dropping off my chin in rhythmic pats on my slacks.
Before I cried buckets of tears that flowed down my face, dropping off my chin in rhythmic pats on my slacks, I visited my father’s grave.

All of these are sentences.  Each one of them contains an independent clause which can stand alone.  I have underlined the part of the sentence which is the independent clause.

So when I refer to a sentence, I mean the whole kit and caboodle.   When I say independent clause, I mean the part that has a complete thought and can stand alone.  Now let’s talk about these rules.

SEMICOLON:

Rule #1
Use semicolons to combine independent clauses that are highly related.
Examples:
Dogs are the ideal companion; they will forgive their owner just about anything.

Mondays I remind myself the week will be over before I know it; I don’t always believe myself.

Rule #2
Use semicolons in lists of items that have internal punctuation.

First I will show you a list with the standard “items in a series” comma in use.
Example: I dropped by my neighbor to ask for two cups of sugar, two cups of flour and a pat of butter.

Look what happens when I add some details to my list.

Example with internal punctuation: I dropped by my neighbor to ask for two cups of sugar, one brown, one white; two cups of flour; and a pat of butter.
I needed the semicolons because I added information regarding the sugar that needed to be separated from the flour.  The information added would have become part of a list of items, and a rather unclear list at that.  It only takes one addition of internal punctuation to require the semicolons to be present, and they follow through the entire list.

Rule #3
Use semicolons when combining clauses with conjunctive adverbs and transitional expressions.
Examples:
Conjunctive adverb – I intended to get home before my husband to organize his birthday party; however, he left work early.
Transitional expression – My husband thought I was planning a surprise birthday party; on the contrary, I was much too exhausted to contemplate the endeavor.

COLON:


Rule #1
Use a colon after independent clauses when what follows is an appositive, a list or a quotation.
Examples
Appositive – There are days of the week when I can’t wait for the weekend: Monday thru Friday.
List style #1 – There are three things I must remember to buy: potatoes, red food coloring, and a bandana.
List style #2 – You must bring the following to the senior parade float party: potatoes, red food coloring and a bandana.  (The word “following” is a clear hint.)
Quotation – Who hasn’t heard of Hamlet’s famous quote: “To be or not to be, that is the question”?

Rule #2
Use a colon after independent clauses when what follows is an explanation or summary.
Examples
My brother can be such a ninny: he told my new boyfriend I was allergic to flowers when I am actually only allergic to carnations, and he brought me roses.

Rule #3
Use a colon after the salutation in a formal letter.
So not for the following:
Dear Aunt Sally,

But after the following:
Dear Mayor Sindsey:
How bad is that?  Three simple rules each.  The key is knowing when you are dealing with independent clauses, which I underlined in each sentence.

For writers, tragedy is a good thing

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Caught up in the moment

No one wants to read about everything going right.  Readers want things to go wrong so they can watch the characters find their way through their difficulties.  Houses burn down, people get sick or lost or lose their jobs.  They get angry and lose their temper.  We readers know this happens in real life.  Watching someone go through these kinds of difficulties and come out the other end stronger gives us hope.

In my classes, my students often ask me questions after we have finished a book.  So many times they are questions I cannot answer because the characters aren’t real, and I cannot call them up and check on their progress.  But often my students see them as real, that there is more yet to come.  Every writer should aspire to the kinds of questions my students ask.

  • Did he go back and find her?
  • Why did she leave him if she knew he needed her to stay awhile longer?
  • Will they every see each other again?
  • Did she have an unhappy childhood?
  • What did her family think about what she did?

All I can say is, “I am not sure.  Why do you think they did it?” Or some other statement to put it back on them to consider the possible answers.  Their question are proof that my students have connected to the characters.

Readers find understanding, lessons and experience in the books they read.  This is why writers find tragedy a good thing.  It makes our characters live in reality in a way that brings our readers insight and emotional release while they are “safe” from reality at the same time.  

Different ways I limber up the writing muscle

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Since my time to write is extremely limited as well as seasonal, I have to be ready to write the moment opportunity arrives. In some ways, knowing that this is the only time I’ll write for the next week does make me write whether I am feeling it or not.  And summer is my writer’s holiday.  You can’t pry me away from the computer whether it’s flowing or not.  But I have found a few ways to make those first minutes writing worth pushing cobwebs aside.  I have several ways of limbering up.

  • I reread what I have written so far and hope to get pulled in by the bread crumbs I left behind the last time I closed the computer.  This does not always work as sometimes I am in a hurry and forget to leave the crumbs.
  • I lay down on the couch and tell myself to take a nap.  I think about the story and wait for the lights in my head to go out. As a sleeping technique, this never works.  My characters immediately sit up and start talking.  I start eavesdropping, and then off to the computer I slink hoping nobody notices.
  • I get on the treadmill (a real one, jeesh) and just think about what is going on in the current scene.  By the time the first ten minutes have gone by, I am dying to get off and start writing, but I have an unwritten contract that states I must remain on the treadmill the full twenty minutes.  That gets me my workout and a real desire to write.  Sometimes three scenes will unfold in front of me, and I do everything I can to hold on while I work from scene to scene.
  • I tell my daughter the problem.  She recommends a solution which causes me to explain why that just won’t work though I assure her it is a fine suggestion.  By the time I am done explaining, I know just what I need to write.  I hope I am not destroying her confidence.  Hmm, better talk to her about that one.
  • I send my best writing bud Marcy an email, usually vaguely worded.  After we toss a few clarifying comments back and forth, things start to rev up in the muse department.  Marcy’s great.
  • If these fail, or I forget to do them, I sit at the computer and say, “Just write whatever is falling out.  Something is bound to be useful.”  And that’s what I do.  Write, write, write until I am limber, and then I write a whole lot more.  This is the there is no-time-to-take-a-nap, ask another person, no-crumbs-left-behind approach.  Just sit down and type.  

Not one of these is the best of the bunch.  They all ultimately work for me.  In fact, this particular post relied entirely on the last technique.

How do you limber up?  Are you a consummate planner, a panster by practice, or do you fight with the wordsmith every time you sit down to work?  How do you make sure you pull the narrative out of the bag?

Personal experience (loss of a loved one) provided direction and depth

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Love is a foundation: loss a process

One of the main issues in the first two books of the series Students of Jump is loss of a loved one.  This is an area I have some experience in.  Though my original plot did not include a death, the events grew naturally out of the interaction of characters and circumstance.  My own mother died when I was a baby, and I was at first unaware of the effect it had on my father or myself. As I grew older, I realized he never allowed himself the time to adjust to losing his wife.  He buried himself in his work and in raising his children.  It was a new experience for him to be the sole parent of two small children. 

He shared a story with me about the first months he found himself caring for us.  He knew that my mother had always kept us fed and clean.  He had been guided on feeding us properly by the ladies in the neighborhood, and my father was always a good cook, but the requirements of keeping children clean was never addressed.

He bathed us night and day.  We were not particularly dirty children, both of us under two years old.  When he took us to our yearly check up, he asked the doctor if he was caring for us well, as he feared being gone during the working hours meant he could only bath us twice a day.  Our skin was a bit flakie, but the doctor set him straight relieving quite a bit of tension and reducing the bathing to a more manageable level, and our skin and hair returned to that shiny, moist quality inherent in healthy children.  When I had my own daughter and spoke to my father about her potty training not going well, he gave me just the information I needed to have a smooth process for my daughter.

Talking to and observing how my father dealt with his loss and my own later frustrations at not having my mother around during my teenage years helped when I worked through the changes my characters dealt with and their challenges dealing with loss.

What parts in the writing you have done is a reflection of your own experiences?

No further Tuesday prompts

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For the past two years, and then some, I have been supplying a Tuesday writing prompt.  I was once told I was wasting my time having a prompt each week, but I knew how much my students needed those little boosts to get them started, I felt that translated well here.  However, over the time that I have been doing this and visiting Twitter and other sites, it has been made very clear that for those searching for inspiration, there are plenty of prompts out there.  This is not the go-to place.  Perhaps if I had provided a daily prompt, I would be looking at this differently, but that is not the case.  So no more prompts as of yesterday. 

On the other hand, I do still want to focus on the variety of writing, writing tools and aspects of writing.  So with that in mind, let’s talk about flash (or instant) fiction, the short, short.

I love this style of writing because it is so immediate and so open to providing a single deep impression.  So what is basic to the flash fiction model?  Knowing where to cut the plot line is crucial. You only get 250 to about 700 words to work with, so you must cut to the meat of your story.

  • Leave off the exposition, the initiating action and even the complication.  Start in the trouble, the crucial decision moment. 
  • End at or just before the conclusion with no wrapping it up.  Let your conclusion be inferred — without being obvious.  Let the reader think it through, the implications developing as the story is reviewed or reread. 
  • Once the story starts in the action just prior to the climax, bring up the pitch in the question being asked or the tipping moment of shifting gears. 
  • Then tumble the reader off the cliff or up the mountain. 

It is very simple and ridiculously complex.   

Tuesday prompt: #20 2013

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Flipping the image.

Think about your best friend and then make a list of all his or her qualities, good and bad.  Make it a nice long list, say twenty items.  Make a second list with the opposite qualities.  Now write about this person who would probably not make the best friend for you, but he or she would be someone’s, so give this character a friend in this writing practice.