Troublesome Expressions

As a copy editor, I come across many expressions that writers use incorrectly. The list of troublesome words and expressions could fill many pages, so I have chosen a few that many writers struggle with. I have not dealt with lay and lie, which are particularly problematic. These verbs have been dealt with in an article all to themselves under the title Lie, Lady, Lie.

Advice/advise

Advice is the noun. I give advice. Advise is the verb. I advise you to take my advice.

Affect, effect

Affect is the verb. Effect is the noun, but it can be used as a verb as well.

How does this change affect you?

What effect does it have on you?

By working together we can effect (bring about) some changes.

Aggravate

This word means to make worse, not to annoy or to anger.

Alright

The proper term is all right. I see alright used frequently, especially by American writers, but that spelling is best avoided.

Amount, number

Amount is for a mass. Number is for countable items.

Anyways, anywheres, everywheres, nowheres, somewheres

These are non-standard forms. Drop the “s.”

Awhile, abit, alot

Two words — a while, a bit, and a lot.

Between, among

Between is used with two people (This is between John and me). Among is used for three or more (We’ll divide the food among the townspeople).

Breath, breathe

Breath is the noun and breathe is the verb.

Someday, I will breathe my last breath.

Continual, continuous

Continual means again and again, while continuous means ongoing.

I could care less.

Usually the writer means the opposite of what this sentence says. Most likely, what is meant is I couldn’t care less.

Envelop, envelope

Envelop means to wrap around. Envelope is the folder you put a letter in.

I will envelop you in my arms when you give me the envelope with the money in it.

Less, fewer

Just as with amount and number, less is used for a mass (an amount) and fewer is used for something countable.

Loath, loathe

Loath is the adjective. Loathe is the verb.

I was loath to do the dishes because I loathe that job.

Of

Not necessary after the prepositions inside, off, and outside.

Incorrect as a substitute for have, as in would have, could have, and should have.

Reason why

Usually there is no need for the why.

True facts

Facts are always true, so true facts has no real meaning. Just use the word facts by itself.

Very

In most cases, very is easily omitted and not missed.

With regards to

What the writer usually means is with regard to. This expression is often not necessary, only adding wordiness to the writing, but when written as with regards to, it sounds as if the writer is adding a greeting to someone.

*****

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The Dreaded Cliché

Useless words, tired and worn out, contributing little to the richness of the writing–that’s what clichés are all about. So why do we have them? I suppose there was a time when clichés were fresh and new and, sparingly used, they added a certain zip to the sauce of writing, but most of these prefabricated phrases are now considered redundant, overused, or, worse yet, misused.

When I first began writing seriously, my early efforts were sprinkled with many clichés.

My critiquers waggled their fingers at me. “No,no, no! You can’t do that! Clichés must not be used in good writing.”

“But why not? We talk that way,” I protested.

“That’s true,” they said, “and that’s almost the only time it’s okay to use a cliché–in dialogue.”

It took me a while to see what they were talking about and in time I, too, developed a horror of those overused and abused, pointlessly distracting and detracting phrases.

Just for fun, I thought I would write a short and silly story, using as many clichés as I could manage to squeeze in. I’ve marked them in red and green to make it easier for you to pick them out. If you’re brave enough to read to the end, I doubt you will ever want to use a cliché in your writing again.

Here we go:

The Doomed Woodcutter 

Like a bolt out of the blue, George appeared on the horizon and walked down the road. The man with a heart as big as all outdoors came down the road to take care of business as a matter of course.

As a matter of fact, he had crossed the field to the house as the crow flies. He’d hoped the homeowners would come out to see him, but as a last resort he knocked on the door. He wanted to be paid for his firewood today, but receiving no answer he beat a hasty retreat.

He’d been busy as a bee from dawn to dusk, cutting firewood. The stack had grown by leaps and bounds. Conspicuous by his absence, the son was of no help to him.

He had hoped his son would show up but he was doomed to disappointment. Not having been paid, he headed into town instead to get a loan from the powers that be in the corridors of power. Gaining access was easier said than done, since he was wearing his work clothes.

He had worked his fingers to the bone and was dog-tired. He had grown up gentle as a lamb and good as gold, but if and when it would all pay off and the chickens came home to roost, in a manner of speaking he knew that his wife still would not appreciate it. Any news of a promotion or pay raise would go in one ear and out the other.

In the long run, his wife got tired of him and one day when it was pouring buckets, she said, “We have to talk turkey.” It goes without saying that the moment of truth had come and she gave him the boot and tossed him out on his ear with all his belongings, lock, stock, and barrel.

Somewhere down the road, off the beaten track, he found a new, younger woman who, needless to say, was smart as a whip. Since it was love at first sight, he decided that he would strike while the iron was hot and ask her to tie the knot. It stands to reason, that because she came from the wrong side of the tracks, when all was said and done, in no way, shape, or form would she turn him down.

On the day of the wedding, who should arrive but the useless son, one and the same, last but not least. It was already raining cats and dogs, but a rude awakening reared its ugly head when slowly but surely, the son, strong as an ox, stood up in the congregation and told his father, “It goes without saying that you can’t marry her. She’s got a bun in the oven and it’s mine.”

The wedding plans were nipped in the bud, and in time, George gave up his job to look after his pride and joy, Georgina, the grandchild with many and diverse ways to wrap everyone around her little finger. She was sharp as a tack and cool as a cucumber, always getting her own way. She was the spit and image of her mother and used to calling the shots. She was on the right track and that was par for the course.

*****

I once heard someone ask a mother how her daughter was doing in the new school, since they had only recently moved to town and it was the middle of the school year.

She said, “Oh, thanks for asking. She’s liking it well enough, but she’s finding it hard to make friends because all the girls in her class have already formed their clichés and it’s hard to break into their groups once they’re formed.”

She meant “cliques,” of course. So you see, even the word cliché itself can be misused. STEER clear of clichés as much as possible.

*****

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Dang Those Dangling Modifiers

You don’t have to be an author to know how important parts of speech and grammar rules can be. I wasn’t doing anything writing-related when I saw the importance of sentence structure one day.

Not having seen rabbits eating up my garden for several months, I was sure the owls had taken care of my problem. I realized that I was not going to be that lucky when my husband came home and announced, “I saw a rabbit driving down the road.”

The smart aleck in me couldn’t resist saying, “Oh, what was he driving?”

You see how easily we leave parts of our sentence dangling, making the meaning unclear. Dangling modifiers are more common than you might think. They make our writing look bad, but they certainly provide some entertainment for the copy-editor.

Very often, phrases that modify a noun or pronoun are placed carelessly into a sentence. When they contain verb forms and are left dangling, without a definite indication of what they are modifying, the results can be disastrous to our writing.

Here are some examples of dangling modifiers.

  1. Gerund phrase:

After finding out about the actors, the movie did not seem as appealing to us.

(It sounds as if the movie found out about the actors.)

  1. Elliptical phrase (where some words are omitted and meanings presumed to be understood):

Weapons ready, the duel was fought.

(Did the duel have the weapons ready?)

  1. Participial phrase:

John heard an owl walking through the woods.

(Was the owl walking through the woods?)

  1. Infinitive phrase:

To drive a car a licence must be held.

(Does this mean I have to hold it in my hand while driving? Or does it mean that if I don’t have a licence I won’t know how to drive a car?)

  1. Prepositional phrase:

With only a dollar in his pocket, it seemed useless to try to go far.

(Who is “it”? Does “it” have a dollar in “his” [whose?] pocket?)

  1. Appositive

A magnificent mansion, the door opened to show a grand ballroom inside.

(Is the door the same as a mansion?)

Misplaced Modifiers

Other problems with modifiers happen when they are misplaced, as often happens with qualifiers such as “only” or “almost.”

Some examples follow. Note the difference in meaning when the word is placed in various locations.

  1. Her cousin only drives their car. (He doesn’t wash it or fuel it up.)
  2. Her only cousin drives their car. (She has no other cousins.)
  3. Her cousin drives only their car. (He doesn’t drive anyone else’s, or he doesn’t drive their truck or van.)
  4. Her cousin drives their only car. (They have no other car except that one.)
  5. We almost saw ten whales. (We saw none because we got to the spot too late.)
  6. We saw almost ten whales. (We saw eight or nine of them.)

Placement of modifiers matters a great deal.

Squinting Modifiers

One more type of modifier causes ambiguity in a sentence. Often it is placed between two possible elements, and we have no way of knowing which it is meant to describe. We call it a “squint” modifier, perhaps because it seems to squint and we can’t tell which way it is looking or which element it is meant to modify.

Some examples:

My mother told me sometimes to watch where I’m going. (Did she tell me sometimes, or should I only watch where I’m going sometimes?)

She said every day to wash my face. (Did she say it every day or should I wash my face every day?)

The squint can also appear at the end of the sentence.

My dogs chased each other in the yard when I called them for a good reason. (Did the dogs chase each other for a good reason, or did I call them for a good reason?)

The fisherman was smiling when he caught the fish without even knowing it. (Did the fisherman not know that he was smiling or that he caught the fish. OR, was it the fish who didn’t know it was caught?)

While dangling, misplaced, and squinting modifiers can be a source of amusement, they do not provide the kind of entertainment we strive for in our writing. They can be very sneaky and are sometimes hard to detect. Be watchful and try to avoid them.

And while you’re being watchful, keep an eye out for that rabbit driving down the road. Most likely he was driving a brown VW Rabbit.

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Dialogue – He said, she said

Why do we use dialogue in novels when it could all be done with prose? The benefits of using dialogue:.

  • It brings an engaging immediacy to the scene. You feel you are right there with the characters, involved in their conversation.
  • The dialect, choice of vocabulary, and the tone can reveal a person’s characteristics in a more interesting way than a wordy description could.
  • Dialogue can be a tool for advancing the plot, especially if  inner conflict is woven into the spoken conversation.

Some tips about using dialogue:

  • Use short snappy dialogue when appropriate. It heightens the tension.
  • People don’t normally use long sentences in conversation. They more often speak in fragments and phrases.
  • Speakers don’t repeat what the other person just said.
  • Don’t use it as an all-too-obvious way to pass on information in a way that the person normally would not do. (E.g., “Don’t yell at Henry. He’s only two years old and he’s our only boy.” Painfully obvious information forced into the story.)

Dialogue tags:

  • These are the words that tell the reader who is speaking. They can be a distraction or even an annoyance if belaboured. The “he said/she said” part of the sentence should be like punctuation; it’s very important, but shouldn’t stand out or be noticed. Fancy dialogue tags like argued, insisted, responded, inquired, questioned, and replied are an unnecessary distraction. In most cases, said and asked are all you need.
  • Having said that, try to limit your use of dialogue tags. Often if you precede or follow the dialogue with an action by the speaker, we know who is speaking. (E.g., Sam pointed at the ball. “Go fetch.”)
  • If your speaker is grimacing or laughing, be sure that this is occurring in its own sentence, not as part of a dialogue tag.

Examples:

Wrong – “That’s so funny,” Sam laughed.

Right – “That’s so funny.” Sam laughed. The period, instead of the comma makes all the difference. In most cases, though, the action should come before the dialogue.

Combining actions with dialogue:

  • Be careful how you handle this one. I see this done very often. Here is the pattern: “How are you?’ she asked, gazing at his eyes. When I peruse a book that I’m considering reading, I look for use of gerunds behind dialogue tags. If I see more than the occasional one, I’m already turned off. This kind of pattern stands out in a novel and can become irritating when you know that each set of quotation marks will be followed by the gerund pattern.

Here are some examples: “Pleased to meet you,” George said, pumping my hand up and down. “I’ll be right back,” David said, running down the street. “Give those back,” he said, grabbing at the candies. “It already looks irritating to me,” Anneli said, going on to a different book.

Conclusion:

Dialogue can be an effective tool to make your novel more readable and engaging. It’s definitely a skill worth working on. Watch for examples of dialogue in novels. Do they work? What are the faults, if any, in the writing of the dialogue? Take some bad examples you find and see if you can make them more effective. When you know how to use dialogue to your advantage you’ll find that the quality of writing in your novel improves greatly.

 But best of all, writing dialogue can be fun, especially when your characters, saying what they would naturally say, steer the conversation in a direction you hadn’t intended it to go. So watch out for those characters with a mind of their own, but have fun chatting.

Anneli Purchase is a published author who works with writers to bring out their best. She is a freelance copy-editor providing services that include correcting spelling, punctuation, word usage, sentence structure and balance, and many other aspects of writing. To find out more about Anneli, go to her website at http://www.anneli-purchase.com/.

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Have you ever struggled with writing dialogue?

Has your dialogue ever sent your storyline off in a different direction from what you had planned?

Please feel free to leave a comment. We’d love to hear what you think.

Capital or No Capital?

Capital letters are important, but should they be used on all important words? Not necessarily.

Here are some general guidelines about where capitals should and should not be used.

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Of course we begin a sentence with a capital letter. That helps to alert us that a new thought is beginning.

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Important people get capital letters. We are all important, so our names begin with capital letters. If you happen to be the prime minister or president of a country, or even a king, queen, prince, or princess, you would have a capital letter on your title as well, but only when it is used as your name. Here are some examples:

Prime Minister Smith said to President Jones, “Are you expecting a visit from King John this year?”

Mr. Jones said, “Haven’t you heard? John is no longer a king. He abdicated to marry that woman who isn’t even a princess or a duchess, or any kind of royalty.”

“Aren’t we lucky? A prime minister or a president doesn’t have to worry about that.”

***

One of the most common misuses of capitals is in naming family members. Mother, father, mom, dad, aunt, uncle, grandpa, and grandma do not get capital letters unless that word is used as their proper name.

When you say, “my mother,” “the mother of the family,” or, “a mother and father,” think of it as if you had a cat or a dog and were saying, “my dog” or “my cat.” You wouldn’t use a capital for dog or cat.

Here are some examples:

My dog can do tricks. See the tricks Rover can do.

My mom is amazing. See what Mom can do. (Here it is used as her name.)

I love my dad. Do you love me, Dad?

My cat is sweet and loving. I love Scruffy.

That is my aunt over by the table. I can see Aunt Mary by the table.

***

Places like heaven and hell are very important, but even they are not capitalized.

You can wish you were in heaven or tell someone to go to hell perfectly well without the capitals.

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Important buildings do not get a capital letter unless they are specific ones. The White House is a specific building, so it is capitalized. But if I live in a house that is painted white, it is only a white house.

The same holds true for any university you may be talking about. It only warrants a capital letter if it is a specific university, such as Cambridge University or any other university with a proper name attached.

Do you go to church? If church is important to you, it still doesn’t get a capital letter unless you are speaking of a certain one. Do you go to St. John’s Church?

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Words like nature, spring, summer, autumn, and winter, are all lower case words.

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And lastly, I would like to mention a very common capitalization mistake and that involves the directions of the compass. When the words are written out, south, east, west, and north are not capitalized. Neither are southeast, southwest, northeast, and northwest. But if you use abbreviations (SE, SW, NE, NW), these are capitalized, of course.

***

If you are in doubt, use the dictionary. Don’t you think that’s a capital idea?

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Lie, Lady, Lie!

“Lay, Lady, Lay” is one of my favourite songs from the olden days, but it uses terrible grammar.  I can accept the bad grammar because it comes under the “poetic license” umbrella, but if the lyrics were part of a novel, they would make me shudder.

I once  came across a sentence in a novel that said, “Ruth is laying on the bed.” Ruth is a woman, not a chicken, so I wondered what she was laying. In another chapter, “George laid on the bed.” For sure, George is not a chicken, but the writer doesn’t tell us what he laid on the bed.

Now if the author had said “Ruth is laying out her clothes on the bed,” or “George laid his suitcase on the bed,” that would make more sense. Unfortunately, as I read on, I realized that the author meant to say, “Ruth is lying on the bed,” and “George lay on the bed.”

The misuse of the verbs “to lie” and “to lay” is one of the most common errors made by authors. A large percentage of books I have read contain this error. It could be avoided so easily, but when an author misuses these verbs, it can take the pleasure out of reading an otherwise well-written novel.

Why does the verb “to lie” give writers so much trouble? Why didn’t the authors have their work copy-edited before rushing out to publish it?

To be fair to the authors, I’ve noticed that in many cases, the novels were published by traditional publishing houses who employ their own copy-editors. Surely, they should have caught these mistakes. However, the errors could have been avoided if the writers had a better grasp on their use of English grammar and had not made these mistakes in the first place.

In my copy-editing work I often come across the misuse of the verbs “to lie” and “to lay,” so I know it’s a widespread problem. I also know that authors could avoid it with a little effort on their part.

My advice to authors is to find a chart online or in a grammar book, and copy it. Then pin it on your bulletin board or tape it to your desk. The conjugation of the verb “to lie” can be found easily enough on the Internet. One of many sites is http://conjugator.reverso.net/conjugation-english-verb-lie.html. On this page you can type any verb into the space at the top and click on “conjugate” and the whole page will be filled with the cases of the verb in question.

For a quick version of how “lie” and “lay” are used with the pronoun “I,” here are some examples:

To Lie (down)

I lie (present)

I lay (preterite)

I have lain (present perfect)

I am lying (present continuous)

To Lay (to set an object down)

I lay (present)

I laid (preterite)

I have laid (present perfect)

I am laying (present continuous)

To Lie (tell an untruth)

I lie (present)

I lied (preterite)

I have lied (present perfect)

I am lying (present continuous)

There is no need for a writer to misuse the verbs “to lie” and “to lay.” If you have trouble with these verbs, referring to your chart will save you from making mistakes that undermine your writing abilities.

I am not lying when I tell you that once you have studied these verbs and have a reference chart pinned up, you won’t have to lay down your pen and give up writing so you can “Lie, Lady, Lie,” lie across your big brass bed to rest your aching, verb-befuddled head.

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That Vital First Page

You’ve written an amazing novel and are hoping to snag the interest of an agent or publisher, and of course you want to capture the interest of future readers. If you’ve ever gone to a writing conference and offered your manuscript to an agent for perusal, you’ll know that they only look at the first page—or part of it—to determine whether or not they want to read more. The first page can make or break you.

The first sentence should grab the reader’s attention and compel them to move on to the second sentence and more.

At a writing conference I attended, agents listed some of the most common mistakes writers make that are like dismissal flags to the agent. Here are some openings to be avoided:

  • “It was a dark and stormy night,” and any other clichéd openings
  • waking up to the alarm clock ringing
  • telling about a dream and then waking up
  • telephone ringing
  • describing a scene passing by while driving a car
  • looking into the mirror to give a description of the character.

In the first few lines you should already have introduced your main character, and have established the point of view. Don’t be tempted to introduce other characters unless they are necessary to the first scene. Readers need to know whom the story is about, but they don’t want to be confused by being introduced to the whole cast in the first five minutes.

Start your story in the middle of some action. You can work forward from there, providing backstory later on. Speaking of backstory, too much, too soon is not a good thing. Nuggets of information can be dropped into the story in bits and pieces later on, but not necessarily on the first page.

As you give the reader glimpses of the setting, you can be establishing the tone of the story. From the choice of language and how you use it, the reader will soon have a sense of time and place. You may convey this by the conservative language of the 1950s, the more archaeic language of the Middle Ages, the modern rap style of big-city youth, or whatever style suits your setting.

Your main character’s language, thoughts, or action should alert the reader to his short-term goal and hint at his long-term mission. You will want to establish the voice of the story. If you choose to use dialogue to give the reader a glimpse into the character’s personality type, make every word count. Make it meaningful. Is the voice serious, sombre narration, or is it more light-hearted? Does your character have an accent that hints at his background and social standing?

This is the page where you cleverly weave in bits of information necessary to the development of the story. Does your character have some heroic quality that the reader can anticipate coming into play? Is he vulnerable in some way? Perhaps our hero will experience some difficulties as he pursues his goal.

The first page is a good place to drop a hint of something mysterious that will come up again in future chapters. Then at the end of the first chapter this mystery may come into play when you craft a good hook for the ending of your first chapter.

With all of these elements in place, readers will be hard pressed not to turn the page and continue reading, and that is the goal of a writer.

I invite you to read the first page of any of my novels using the Amazon “Look Inside” feature, and see if you would like to read more.

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