Showing posts with label english. Show all posts
Showing posts with label english. Show all posts

23 September 2018

The Future of Vampire Trilogies

I often feel as though half of my job as an English teacher is to get my students excited about writing. I do that by encouraging them to write what they have to say or by writing about the things they have done. I share my own writing adventures with them. I talk about my books, not in a salesman kind of way but as a writer sharing craft tips. The usual response I get is "That's okay for you, you like to write, but we don't." 

To this supposition I retort using a quote which I thought was my own invention but which apparently (much to my chagrin) has been credited to various people from Benjamin Franklin to Ernest Hemingway: "If it is not worth writing about, it is not worth doing." That is the gist of the student writing life: to get it done in as simple a fashion as possible. Sometimes what is "worth writing about" has not actually happened - perhaps can never happen. When I was young, I had not much life experience to write about. Most of it was not worth doing and so not worth writing about. I felt sad at my circumstances.

So I began to make it up. I had few really worthy experiences so I invented experiences. This was the start of fiction. I joined the liars club. No, I didn't lie about important things or even ordinary things, but it was easy to exaggerate, to put a spin on what I said and wrote. Teachers loved that about me: I always had an interesting tale to tell. Take 7th grade, for example, when our teacher liked to have the class write stories. On Fridays we would share our stories by standing at the front of the room and reading what we had written - which was also an exercise in heart palpitation and social anxiety!

Even today, someone will ask me how I got the idea for my book - whatever my latest is - and I shrug humbly and say something like, "Well, I had a dream, see, and . . . ." The truth, however, may be much more ominous. In the case of my so-called "vampire" trilogy, there are two answers. The first book, A Dry Patch of Skin (referring to the first symptom of transforming into a vampire) was intended as a stand-alone novel, a one and done, because paranormal or Gothic or horror was not my usual genre. I just wanted to explain to my teenage daughter who was hooked on the Twilight series that vampirism was an actual disease affecting real people, something painful and disfiguring, not glittery and glamorous.

The research involved took me through a lot of medical texts and anthropological accounts of legends and ancient reports to bring the truth about vampires to light - pardon the pun. My own doctor (who was working on an MFA degree on the side) read it and said I got the medical things correct. (You can read a blog post about the medical issues here.) The story ended with a proper conclusion. I believed the story was done. I moved on to write two more novels on completely different subjects.

Then I realized something from that vampire novel continued to pester me. What would happen next? That is always the bugbear for writers. We just cannot put it down, can't leave a sleeping bear alone, can't stop picking that scab. And so I conceived a new story, one that by necessity had to be less "medically accurate" and more along the lines of futuristic science fiction. Naturally I had to put myself in the shoes of my protagonist and hero, Stefan Szekely, who at the end of the first book, had accepted his sorry fate like a good trooper. How would he react to the passage of time? What would he want to do?

I've blogged previously about how I considered Book 2 here

When I decided to go ahead and write a second book, thus making it a series, I knew there would be a third book - to make it a trilogy. Trilogies are all the rage now; I wrote about trilogies on a previous blog. However, I did not sit down and plan out both books together. When I finished writing Book 2, I really had no idea what would happen in Book 3. It did not take long, however, for a dream to show me a scene that would become the starting point for Book 3 - and then I was off and running!

So the third book of any trilogy must:

1) further the adventures (or misadventures) of the cast, especially the main character of the previous book;

2) be an exciting, compelling journey in itself; and


3) bring all the story lines together in a satisfying, plausible conclusion - and possibly make certain there is no need for a fourth book.


The Vampire Genre has developed its own tropes, symbols, motifs, and customs, starting with John Polidori's invention "The Vampyre" and fully realized in Bram Stoker's turn in Dracula. Others followed until the preponderance of the evidence created a vast multi-channel marketing juggernaut that an outsider could never hope to penetrate. And yet, it is the variety of vampire themes and story lines that give the genre so much richness. No one is solely correct about what a vampire is or is not. Not even me, though I profess to have written (Book 1, that is), a "medically accurate" version where our tragic hero transforms against his will into what he does not want to become. I continue to try to keep it as "real" as possible.

And so I give you, the reading world, what I hope is an enjoyably different take on a vampire society. If medical accuracy was possible in a 2014 novel (set in 2013-14), then a story set in 2027-28 would have to include futuristic aspects. A Book 3 which is set in 2099 would take the differences to a much greater extreme, it would follow. Less Gothic horror in the traditional sense and more science fiction in the dystopian sense. I apologize; the usual tropes cannot be sustained in a futuristic setting ("Vampires on Mars" being one exception). However, like any good author, I bend over backwards to keep things as believable and plausible as possible given what we can and cannot know about the future and about our own predilections as humans - and as humans transformed into vampires.

The story must be compelling in other ways, too, not just extending the vampire "elements" into the 22nd century. Blood is still blood. Ways of getting it may change but the fundamental issue remains. Yet after that - after our lovely dinner of red - what next? Power! The rise to power. Because power means always getting what you want, what you need, assuring its constant supply. Absolute power, with a strong hand behind the throne, works best. However, power that is absolute necessarily corrupts absolutely, it seems. How can one escape such corruption? That is the focus of Book 3 in the Stefan Szekely Trilogy.


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(C) Copyright 2010-2018 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

23 April 2017

Naming Names in Epic Fiction Pt 2

In my last blogging twitch I revealed how I didn't like the name my parents gave me but gradually accepted it for tax purposes and more. I believe the consternation at my own name has influenced how carefully I name characters in my books. Especially in stories set on other worlds or fantasy lands where the usual English names should not apply. There, a name unfamiliar to us may yet carry some weight, be loaded with symbolism, and annoy its bearer to no end...right?

You would think coming up with names in a fantasy story would be easy: just throw some letters together and voila a character is born! You could do that, but does the name sound like that character's name? Does it make the reader believe this character will act a certain way? speak in a particular dialect? think in strange ways? Who can say? That is what makes naming more difficult for fantasy and science fiction. 

The easiest way to choose names is look at drugs. Xanax is a powerful commander of the Prilosec fleet of intergalactic warships. Or try choosing a "normal" name and changing a letter or two. Tom, Dick, and Harry could become Tam, Wick, and Darry - three Hobbits in a new fantasy tale. Back to THE DREAM LAND Trilogy: I made my own formal rules for "alien" names, partly to keep them straight in my head, whereby male names ended with consonants and female names with vowel sounds. For example, Samot and Aisa, two legendary figures in Sekuatean mythology. (Did you see what I did there? I reversed two letters so it is not Asia, the continent, but Aisa ["Eye-zuh"] the girl.)

Even in EPIC FANTASY *WITH DRAGONS names are important to the characters. Our hero is Corlan, a name I toyed with and finally settled on as something a rough and tough hero might be called. Surname? I hesitated for several chapters, then in a flash of inspiration I "unwhited" him. Or so I thought. Diversity being all the rage these days, I thought to make him "Asian" in a make-believe world with no Asia. I let him bear the family name of Tang. It sounds like a Chinese name and yet on an invented setting it could be anything. His auburn hair wouldn't exactly fit an Asian name, however, but that would just add to the mystery, eh? His name is eventually explained in the story - and makes perfect sense, of course.

I stayed with that scheme for the city of Covin, an all-women city where the few men allowed there are either slaves, dinner, or sometimes briefly a sire. At that point in my writing of the novel, the setting had shifted from something completely invented, like a slightly less Middle Earth, to a futuristic American landscape. So there was definitely no Asian anything - except as may have been "left over" from the world we know today. Who can say for sure? The Queen of Covin is named Hiro Ka, which sounds Japanese. All part of the story. Later we learn that these "trendy" names are just corruptions of longer names. For example, we learn that the Queen of Covin's original name was Hillary Kavanaugh. Make of that twist as you will, perhaps the "white" person wishing to be more exotic? Another twist, another mystery. And Covin is clearly meant to be the old Covington, Kentucky, right? Everyone can see that, true?


At one point in the tale, our band of heroes encounters the manly men city of Luval where they persuade the local regent to form a flotilla to go down the river to kill dragons. What is needed most besides ships are river pilots. And important river pilots must be given names. As they had limited yet crucial scenes, I needed to imbue them with a sense of personality with just a name and barely a sentence of description. My head was stuck on two-syllable names at that point in the writing so I decided on single-syllable names just for expediency: Bant, Durk, and Lond. During revisions, they grew on me and so I awarded them a second syllable, so they became Bantun, Durkin, and Londrel. As I put the names together I envisioned how each man would appear. For Bantun, I saw a shorter, chunkier man with a beard yet a bald head, a serious type. Durkin was livelier, a jester, while Londrel was tall with a hooked nose, and much too serious - and cowardly. 

There is a running commentary throughout the novel recounting the history of the age before the one in the story, called the Age of the Five Princes. This feature actually was to be a sub-story weaving through a much longer novel. Instead, it became a mere mention here and there. But the five princes "long ago" are instrumental in setting the context of the present story. In the medieval-themed novel I had planned as a teen, the princes were Terrens, Nicholas, Dellus, Ulrich, and Argus - and I have no idea why I chose those particular names. However, in transforming them to a make-believe world, I could not use "Nicholas" or "Ulrich" which are perfectly good Earth names. So I shifted them to Teran, Nilas, Darus, Urix, and Agor, which sound more exotic. It seems Urix made the greatest impression as our hero Corlan finds many people since that time named their sons after Urix  - to our hero's constant annoyance. 

And even our hero Corlan's sidekick, the boy from the palace kitchen named Tam, has a longer, more official name: Tamondarus!
“Who were the other princes?” asked the boy.
“There was Teran, the eldest, a half-brother only. And Urix, and Agor. Teran was the poet, the artist. Urix was the power broker, the mediator—alas, unsuccessful in the end. Agor was the general of the army of Nilas. Agor escaped from Inati during the trials. They all died in the end. Nilas lived the longest yet always in pain.”
“Oh.” Tam frowned.
“My grandfather and his grandfather were both named Urix after that ancient prince,” said Corlan automatically.
“I’m named after my mother’s grandfather!” sang the boy.
“Tam is a good name,” said Corlan.
“No, it’s really Tamondarus!”
Corlan laughed at the boy’s boisterous declaration. “You’re right. Tam is much better.”
“You can call me Tamondarus if you want to.”
“No, I’ll call you Tam. Or just boy.”
“It’s like that other Darus, the prince who died.”
“He was the evil one, you know,” said Joragus. “That’s the story. Stole Nilas’ betrothed, he did, then made a union with her, the poor maiden. That’ll start a war, all right!”
“Then what happened?” asked Tam.
“Nilas asked for her back. Darus refused.”
Corlan was ready to stop yet the glow on the boy’s face said he wanted to hear more. 


Every epic fantasy must have a wizard or a mage or, better yet, a magus! The one in my novel is named by little better a method than flipping cards into a hat: Joragus. As the chapters unfolded, however, his name began to have other associations. Being more than three-hundred years old, he can remember a lot. He recalls the way people in his past called him. Instead of Joragus, he is actually Jorge of the U.S. - with the name being pronounced as the Hispanic name "Hor-hay".


And then there are place names. In realistic fiction, we simply check a map. In a fantasy setting we throw some letters together - but again, does the name reflect the characteristics of the place? But sometimes there are places which are not shown on maps - big places which no god or goddess has needed to have mapped. In the novel, the interludes together tell the story of a little princess who flees her island home. Eventually she comes to understand through her lessons the true nature of . . . well, of literally everything. Using the egg-shaped "birthstone" - a magic object which every epic fantasy story must include - the goddess reveals the places only a goddess would understand:

She knew that nations were made of cities, and worlds were made of nations. Furthermore, the worlds she knew and worlds she did not know were all wrapped around things called planets, and they all spun around things called stars, which all surged within a mighty maelstrom called galaxies, which floated in a thing called universe, which balanced on the tip of a thing called O, which was kept locked away inside a small treasure chest called...what was it called? She suddenly forgot, and Hidel [her dragon] shifted awkwardly beneath her as if he sensed her distress.
There were other goddesses, of course, so she did not have to do everything herself. Yet it was quite clear that this land over which she soared was meant to be cared for by her. The goddess Sei Bo had told her so, and when a goddess tells you something, you believe it and you remember it—
Ah! The treasure chest is called Ah! And every person carried a piece of it inside themselves, said the birthstone in a strange new language she was still learning, full of squiggles and dots and checks and lines cut into pieces. They filled her head, made her want to sleep, even though she knew there would never be any sleep for her. The days extended for ages and the nights even longer.


Did you see what she did there? The universe is something sitting on the tip of something larger, vaster - which is contained in something very, very small. Thereby adding mystery to the story - and perhaps a new religion. Who can say? Epic fantasy is all about names, putting the right name to the right character, place, or object, thus bringing it into existence for the first time. Epic fantasy has a way of starting things, at least for those who can subtly sense its finer nuances. And understand the meanings of names given surreptitiously between sips of coffee on a Sunday morning. That's how the O turns sometimes. You know? 



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(C) Copyright 2010-2017 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

15 June 2016

BETA Readers - Love'em or Loath'em?

This is actually Part 4 of The Mother of all Writing Processes series. 

We began with getting ideas and planning and organizing them. Then we discussed Drafting, followed by Revision. 

By revision, I meant what you would do on your own, before anyone else sees it. The second phase of revision is essentially to get someone else’s eyes on your writing. In the academic classroom we usually call this phase of the Writing Process the Peer Review. In the real world of fiction writers, we call this “sending my manuscript off to my beta readers” or similar declaration – typically with either a tone of delight and triumph or with a tone of derision for the necessary evil to which an author must submit.

Peer Review

In the composition classroom, I consider Peer Review one of the most useful activities beginning writers can do to learn how to improve their writing. My students, however, do not see it that way. Although they begrudgingly participate, most of them work with minimal effort through the process despite my detailed explanation of what they should do. No amount of exhortation seems able to convince them of the benefits of doing peer review. 

First of all, it's more than just proofreading a classmate's paper. I understand that they may lack confidence in what they have written and don’t want a classmate to see how poorly they write. I get that sometimes they write personal stuff and don't want anyone to read it. I know the classmate who reads their paper is “untrained” and no better at writing than the author is. Or, for others, there is the paper from the internet which would be discovered if it were shown during peer review.

I’ve found several ways to do Peer Review and I try to offer more than two ways during a semester, depending on what seems to work best for the group in the classroom.
  • The simple exchange of papers between two students; they read each other’s papers.

  • The small group round robin exchange, usually with 3 to 5 students; each author can get multiple feedback comments.

  • The full class round robin; everyone passes to the right and passes again after 15 minutes or so.

  • In my MFA program in fiction, we passed out our papers (short stories or novel chapters) in advance of the review session and classmates wrote detailed critiques to be given to the author, as well as having a full class discussion of the work; usually enough time for two or three works to be discussed in one class session.

The success of any method depends on how vested the participants are in their own success, success being measured by the amount of useful feedback a paper receives. In the MFA program, I’m sure sometimes a classmate or two felt less interested in giving the full effort. The same lack of effort comes in all the other methods. To first-year students, just “gettin’ ‘er done” is the goal and a quick skim and “I like it” seems to be enough to pass. It is not, of course. In some cases, I’ve provided a checklist or a list of questions to be answered as a way to force better reading and thinking about the papers they are reading.

Beta Readers

Those who have taken the pledge to write fiction to the best of their abilities and for the better part of their “free” time, do not usually share their work in a group unless it is through membership in a writer’s circle or similar club. Instead, they share their work with a special person known as a “beta reader.” I’ve always thought the term odd: Am I, the author, the alpha? or is the paying reader the alpha? I’ve joked about preferring Delta readers to Beta readers – or even a Gamma reader who could see right through my head to know exactly what I should have written in place of what I actually wrote. Either way, the test reader serves a primary and crucial function in a writer’s life.

Having stated the above as something like a fact, I must now confess hypocrisy. I do not send my manuscript to a beta reader. There are two reasons (not “excuses”!) for this, and by declaring my way of doing things I do not intend to discourage others from using a beta reader. I believe in their effectiveness given the right circumstances.

For me, the first reason is far more nefarious. As a young man in junior high school, I enjoyed writing science fiction stories, usually based on ideas I got from reading science fiction stories. In one class, we were encouraged to write every day, whatever we wanted to write. I started a serial called “The Adventures of Micro Man”: about a superhero who could shrink himself to get out of tight jams. The teacher liked my stories so much that I was asked to read them in front of the class. That was highly nerve-wracking. Even though everyone in class seemed to like this weekly “story hour” by me, as a budding introvert, it scared me to death. Furthermore, I was under pressure to write something exciting each week or my entire identity and reputation would be destroyed!

An even worse example, and perhaps the single most devastating criticism I have ever received – what finally caused me to clam up and never share my writing with anyone – came when I proudly shared my latest science fiction story with my father, a high school social studies teacher. After reading it, he gave the story pages back to me all marked up in red ink. He pointed out everything that was wrong with it. Nothing good was said about my story. Granted, I was a teenager and a beginning writer but I did my best and was proud of what I produced, willing to acknowledge I still needed to work on it, but . . . . Later, I came to understand his reading mantra, which I quoted when transforming him into a character in one of my novels: "There's no reason to read fiction because it's not true; why waste your time reading something that's not true?"

So there are my reasons for not using a beta reader. The other, current reason is a combination of two more factors. First, I’m rather timid when it comes to asking someone to read something I’ve created. I know it is imperfect – hence the request to test-read it – so it takes a special kind of friend, colleague, or fellow writer to accept the task. Finding someone who is both willing to read an imperfect text and who is also knowledgeable enough (writing conventions, spelling and grammar, etc.) is a challenge. Once found, a writer may rely on that sole beta reader forever. Nothing wrong with that, so long as the beta reader can be both objective and constructive – and not hold back the tough remarks.

One of many checklists on the internet. Or make your own.

Commitment. What the writer asks of the beta reader can impact the quality of the feedback. Is the beta reader merely reading as a surrogate “paying” reader just to see how the story flows, if it is engaging, if it hits the points the author wishes to make, or if it is even interesting? Or is the beta reader expected (assumed?) to be checking the sort of issues an editor would focus on? A beta reader may catch some typos or awkward sentences and point them out to the author, thereby acting partly as an editor. But if the text is not so interesting, has too many problems, perhaps the beta reader will not put as much effort into a good, solid reading as if the story were truly compelling. Friendship may require a friendly reading, too; one wishes to remain friends after the reading. It also takes a significant commitment of time to read and comment on a manuscript, especially if it is a novel of 100,000 words. Is money involved? or would that pollute the reading and commenting experience? That’s a lot to consider when arranging for a beta reading project.

As I stated above, I generally have not used a beta reader. There may be slaps on the wrist coming my way, but asking someone, even a friend (a friend may be the worst “test” reader!), to read something and tell me what he/she thinks of it is something from a list of worst ways to torture someone like me. However, due to the nature of the project, there have been manuscripts that received a reading prior to my final submission for publication.

Most recently, my novel A GIRL CALLED WOLF which was based on the life of a real person required me to share what I was writing with that person. I definitely needed her feedback to make sure I was telling her story the way it should be told. In this case, the beta reader was also the heroine of the story. (I blogged about that process here.)

Another novel of mine, A DRY PATCH OF SKIN, my so-called vampire story, was also based upon my real experiences and so I “let” the person read it who I had transformed into a major character in the book. I had to change a few things because of that “test” reading. In another case, A BEAUTIFUL CHILL was based partly on some real experiences and the real person who became one of the dual protagonists, so naturally I allowed her to read it. Neither readers of these two books were true beta readers; they were not expected to critique or edit anything, merely to have the chance to vent and rant about how they were portrayed in the novels.


Recently, a colleague of mine at Edgewise Words Inn asked me to “beta read” a short story. I thought to myself “Sure, I can do that” and immediately took a look at how long it was! No offense intended, but when time to write is limited, especially when you’ve invited the muses to visit and you’re sitting by your keyboard waiting for them to arrive, taking some of that time to read and critique a different work seems counterproductive. However, as a friend and colleague, I felt obligated to do my best. Fortunately, as I read it the story caught my interest. That made the process go more smoothly. In fact, reading this story and thinking how to make it better, marking it and writing comments to that effect, actually helped to call the muses to my own project. Reading . . . writing . . . two sides of the same coin!

Lastly, I must again confess something. I went to university to study English, Literature, Composition Theory, Linguistics, and Creative Writing. My day job is Professor of English. I teach students how to write . . . to a greater or lesser degree; every semester, every class group is a different ballgame, but I digress! Therefore, I’m supposedly trained in use of the English language. I write in different styles as fits the subject of the story. I know how to spell and use grammar correctly – correctly for the characters in the story. So it seems as though I should not need a beta reader. For technical matters, perhaps that’s true. However, every writer can use a different set of eyes on a manuscript. We become jaded and our eyes trick us, glossing over the error that sits on the page in plain sight. So I believe in the beta reader . . . but I have my reasons for not subjecting anyone to being one of mine.

Best of luck to you finding, nurturing, and keeping your lucky beta reader!



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(C) Copyright 2010-2016 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

21 February 2016

Little Notes on Little Errors

Dear Students of Writing,

I love you all. Really, I do. It is a pleasure for me to spend a short time with you each class, assisting you in developing your writing skills and encouraging you to consider writing as an important facet of your adult lives and whatever careers you may undertake upon your graduation. 

To that goal, let me provide you with a short list of problems I constantly encounter and examples that will show you how to avoid those problems. Granted, there are many issues we struggle with in each and every paper, but this short list consists of the problems I find most often semester after semester.

Therefore, I shall expect to never find another example of these particular errors in your subsequent writing. That's a fair deal, is it not?


Little Notes on Little Errors
comma splice sentences
The comma-splice sentence is where two or more complete sentences are joined by a comma. To correct the problem, try one of these solutions:

1) replace the comma with a period followed by the start of a new sentence
2) replace the comma with the word and
3) make the comma into a semicolon

Example:
     I went to school in Philadelphia, it was the best year of my life.

You can rewrite the sentence one of these ways:

     I went to school in Philadelphia.  It was the best year of my life.
     I went to school in Philadelphia and it was the best year of my life.
     I went to school in Philadelphia; it was the best year of my life.

(Remember to check the rules of semicolon use below!)

me and my sister / my sister and I
We like to be polite and put others before ourselves, yet this can be confusing when we write the same phrases as subject versus as object.  

For example:

Me and my sister went to the mall.

Should be: My sister and I went to the mall.  [as subject]

They are the best friends of me and my sister.

OR

They are the best friends of my sister and I.

Should be: They are the best friends of my sister and me.

To check the correctness of the phrase, try leaving out the my sister and just use I or me and see how it sounds. Then add back the my sister part.


there / their
It's easy to remember the difference! Think of the I in THEIR as meaning a person! THEIR is a possessive pronoun.  THERE designates a place or state of being.  For example:

I like riding in their car.  Their car is parked over there.

There is nothing better than driving their car!


to / too / two
These words are often confused and spellcheckers won't catch them! For example:

He is good at Math. She is good at Math, too.  [also]

The two books we bought were too expensive!  [number and high amount]

We are going to school to take a class in biology.  [direction and as auxiliary verb]


proper nouns / nouns
We capitalize the names of people, places, and organizations.  However, we do not capitalize the noun when we leave off the particular designating word.  For example:

I graduated from Northeast High School.

(Northeast is the name of the high school so we capitalize the entire name.)

I graduated from high school last year.

(high school is not the name of the school, just what kind of school it is.)

 Don't forget: we graduate FROM high school, not graduate high school. 
Schools do not graduate, only students do.

everyday vs. every day
Everyday is an adjective while every day is an adverb and a noun.

This is my everyday pair of shoes.

Every day I wear the same pair of shoes.


people / things & conjunctions
We like to give people credit for being human so we use who as a conjunction and reserve that for use with things.  For example:

The people who came to school were the happiest.

Cars that crash never work as well as they should.


if / whether
We generally use if in situations where the answer is yes or no

We use whether when we are comparing things that have relatively equal value. 

I want to know if students use "if" too much in their papers.

(The answer is: "Yes, they do.")

I want to know whether students prefer history class or English class.

(The answer is: "They prefer English class.")


amount / number
When something can be counted, such as people, we use number

When something is uncountable, such as water (but not glasses of water), we use amount

The number of people surveyed was one hundred.

The amount of beer we drank was more than we could afford.


then / than
Remember that the word then refers to 
1) a sequence in time, or 
2) a cause and effect relationship.  
The word than refers to a comparison being made.

We stayed at school until five o'clock.  Then we went home.

I'd rather study than watch television tonight.




nice
Originally from the Latin word necius meaning "ignorant, not knowing"
        Old French = simpleminded, stupid
        Middle English = foolish, wanton
        Modern usage = 1. marked by conformity to convention; not unusual
                                   2. pleasant and satisfying

Try to use a more precise word!


OK
Originates from the Democratic O.K. Club of New York City. In the 1840 Democratic Party campaign, Martin van Buren, who was born in Kinderhook, NY (near Albany), was the candidate.  Martin van Buren was affectionately called “Old Kinderhook” and the designation “O.K.” was a secret sign of being a member of the O.K. Club; hence, an accepted person.  (You can hold up your hand in an "OK" sign or gesture, touching the tip of the index finger to the tip of the thumb in a loop with the other fingers extended, and it looks like the letters "OK".)

Proper usage is to write it as: O.K. or o.k.

(Writing it without periods is OK, too, but keep the letters as capitals, in that case.)

okay = spelling of the pronunciation of the abbreviation (used it only in dialogue)


all right
The correct form is: Is everything all rightNOT  Is everything alright?

(Exception: in story dialogue, characters sometimes say: “awright.”)


i.e.
id est (Latin) = that is (“in other words”); used to introduce a rephrasing of the primary statement

 I have a great respect for her, i.e., I’m impressed by her success.


e.g.
exempli gratis (Latin) = example for free (“for example”); used to introduce a series of examples relevant to the primary statement

 She played only team sports in college, e.g., softball, soccer, basketball.


etc.
et cetera (Latin) = and similar; used to indicate the previous pattern or item continues in a similar fashion. (Note: There is no need to use and with etc. because and is included in the abbreviation etc.)

 She played only team sports in high school: softball, soccer, etc.


possessives & plurals
possessive:                     It's a student’s book.     (it’s = it is [conjunction])

plural:                             Many students have books.   (all the students)

plural-possessive:        The students’ books are expensive.  (more than one student)


: (colon)
A:B  —used to: 
1) list examples originating in statement A, 
2) answer a question posed in statement A; statement B is not a complete sentence

1. I like fruit: apples, pears, and oranges. 
or 
These are the fruit I like: apples, pears, and oranges.

2. Film versions have captured the horror of the monster [how?]: he talks!


; (semi-colon)
A;B  —used to: 
1) rephrase statement A for a particular effect, 
2) connect related statements closer than as consecutive sentences (complementary statements); statement B must be a complete sentence

1. He is the best chef in town; he’s been given many awards.

2. They enjoy dining out at expensive establishments; the thrill of walking out without paying is greater at such restaurants.


(apostrophe)
Do NOT use for plural forms of acronyms and years; using the apostrophe in such cases makes the acronym or year possessive.

CEOs  (not CEO’s)          CDs  (not CD’s)

1980s (not 1980’s)           1980s  = 1980 through 1989

                                         1980’s = only related to the year 1980


however
Always use commas with the word “however”!
  
However, we won’t be showing the whole film tonight.

We won’t, however, be showing the whole film tonight.

We won’t be showing the whole film tonight, however.

[Exception: however as a descriptive term, for example: It will be good however he plans it. = no matter in what way he plans it.]


double negative
As in math, two negatives result in a positive; the same is true in English (but not always in other languages).

We don’t have no more bananas.

We don’t have any more bananas.


redundancy
No need to use a qualifier when the quality is obvious: large in size, blue in color, fast in speed.


money & time
$12.75 = twelve dollars and seventy-five cents
$12.00 = twelve dollars and no cents X (no need to use cents if 00)
$12      = twelve dollars

10:30 am  = ten-thirty
10:00 am  = ten o’clock X (no need to use minutes if they are 00)
10 am       = ten o’clock



generic “you” & he/she/they
Do not use “you” in academic writing unless you are directly addressing the reader!  If “you” refers to a generic person, use alternate words.
  
First, you have to go to registration to get your schedule.

First, one has to go to registration to get one’s schedule.

If possible, try using a plural form such as “students” or “people.”

When a student parks on campus they must have a tag on their car.

When students park on campus they must have tags on their cars.
  
Use “he” and “she” when appropriate but be aware of the awkward effect when the words are compounded.  Or try using a plural noun.
  
When he or she takes the final exam, he or she must bring a blue book.

When he/she takes the final exam, he/she must bring a blue book.

When students take the final exam, he or she must bring a blue book.

When students take the final exam, they must bring a blue book.

 Use “he” or “she” when referring to a same-sex group.

          Sisters in my sorority must always have their pledge card with them.

A sister in my sorority must always have her pledge card with her.


numbers
Write out numbers which would be a single word (one hyphen is allowed).

It’s one in a million.            NOT  It’s 1 in 1,000,000.   NOT   It’s one in 1 million.

There are 25 of us.              NOT  twenty-five

He was born in 1978.          NOT  nineteen-hundred seventy-eight

[Exception #1: In a research paper it is better to use all digits/numerals in paragraphs where you are writing a lot of statistics.]

Combinations of numbers and words are permitted:

The budget this year is 1.5 million dollars.

OR 

The budget this year is $1.5 million.

[Exception #2: When characters say numbers in dialogue (but not when quoting someone in a research paper) the number is written out no matter how long the words may be. Same applies to abbreviations, like Dr., Mr., and Mrs.]

           As I counted the 25 dollars in my hand, I called to Dr. Smith: “Doctor Smith! I’ll be there at seven-thirty with twenty-five dollars!”


streamlining
Never use two words when one good word will do.
  
We spent the class talking about poetry.

We spent the class discussing poetry.

That game show is kind of like my Ethics class.

That game show is similar to my Ethics class.

Never use a colloquialism when a standard word is available.

Nowadays, people can fly there in two hours.

Today, people can fly there in two hours.

Oftentimes, we get a cappuccino after class.

Often, we get a cappuccino after class.


commas &  lists
Though it is not incorrect, it is better for the sake of clarity to use a comma before “and” when listing items.
  
We went to Kansas City, St. Louis, and Chicago.



quotation marks
“  ”
‘   ’
In American English, double quotation marks are the primary marks and single quotation marks are used when necessary within the double quotation marks.

Periods and commas always go inside the quotation marks, no matter whether it is a quotation or a word marked for emphasis.

Question marks that occur within a quotation remain inside the quotation marks; otherwise, question marks (as well as colons, semi-colons, dashes, and exclamation points) go outside of the quotation marks.

Quotation marks are also used: 
1) to indicate a word is used as the word itself and not as part of the sentence; 
2) to emphasize a word or phrase for its satirical nature or its unusual usage; 
3) to mark the title of an essay, story, article, or song; or 
4) to mark a phrase as a common expression.

Some examples: 

Mr. Smith said, “Jones told us Bob’s ‘got a fine head on his shoulders.’”
Mrs. Brown told Henry to get his “newfangled contraption” out of the way.
“There’s no excuse for not knowing,” cried his father.
“Is there any of that pie left?” he asked.
In his essay “What’s Wrong With Interjections?”, Peter Jones responds candidly: “Balderdash!”
His colleagues insisted that he retract his ‘claims,’ the journal reported.
Isn’t “quotation” a better word to use than “quote”?
“Quotation marks” are what this punctuation is correctly called.
His actions show him to be a “boy who cried wolf”!
The contract was unreadable, full of errors and “doublespeak.”


PLEASE NOTE that the above notes are intended for academic writing in particular and everyday writing in general. 

Writing fiction or poetry or something of a creative nature will entitle you to break some or all of the above "rules" if done so in order to achieve a particular rhetorical effect, to stay in the character's way of thinking or speaking, to elicit a certain emotional response from readers, or to demonstrate your innate rebelliousness. These creative means are not intended to be used in the writing of standard academic essays and/or research papers which may be assigned in any course. 

Talk with your instructor to determine the limitations, if any, on the correctness of your writing in the vernacular known as Standard Edited English. Thank you for your attention.

Have an amazingly awesome day! (Write something.)



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