Tips and Techniques

Description

Don't keep all that hard won writing experience to yourself! Share! Or "borrow" from somewhere else if you have to.

The Oxford comma.

Submitted by camidon on Mon, 02/28/2005 - 10:29pm

Here's a punctuation question:

What is your opinion on the "oxford" comma? What is the "oxford" comma? Examine the following sentence:

Mr. Smith likes peanuts, popcorn, and chocolate koalas.
vs
Mr. Smith likes peanuts, popcorn and chocolate koalas.

Notice the comma or lack of one. When there is a comma before the "and", that is called, by some, and "oxford" comma. Which do people prefer and why? Anyone have strong opinions which is the "more correct" version? Is there a "more correct" version?

Who knew reading about commas could be so damn fun. :shock: I'm half serious! :smt077

Punctuation question

Submitted by DaveK on Tue, 06/08/2004 - 7:48pm

I have the following paragraph in my "Degrees of Freedom" story. Is it formated correctly?

"I had to tell one student that anything on 3D was not a classic. So he based his story on an old 2D TV show. He made this starship captain gay so he chased the men instead of the women. Another made Moby Dick a horse. '...whoever of ye raises me that same white horse, he shall have that gold ounce, my boys.'" Reg downed his drink and called for another round.

The question is, at the end of the dialog, is it correct as above or should it be ...my boys'."

Is there a good book on punctuating dialog? Does anyone want to write a guide for this forum? I have a few stories with unusual dialog constructions that I would be happy to donate as examples.

Open Office Tips

Submitted by DaveK on Wed, 06/02/2004 - 9:25pm

Open Office is a free MS Office clone. It runs in MS Windows, Linux, freeBSD, and MacOS. The web site is http://openoffice.org . It can read and write MS Word and Excel formats. It may be able to read PowerPoint but I don't use that. It can also write PDF files.

My first tip is finding single spaces after a period. In OO start the find via the menu or <ctrl>f . Select the check box - Regular expressions. In the search for box enter - \. [A-Z] . That is back slash, space, open brackets, capital A, dash, capital Z, close brackets. If you select find all, then all instances of a period followed by a single space and a capital letter will highlight in your document. Change the period to a question mark or quote and you will find those. Put in three spaces and you can find those.

Is this useful? Should I continue these tips? Do you have any problem in particular that you can't figure out how to fix? Please let me know.

Titling

Submitted by DaveK on Sun, 05/02/2004 - 12:18am

I came across this in Orson Scott Card's web site. It was in the writers workshops area. The web site is at:

http://www.hatrack.com

A few ways to come up with titles:

1.Person. It could be an actual name (Emma, Jane Eyre), a nickname, a title or position (Speaker for the Dead, The Count of Monte Cristo), or a description (The Time Traveler's Wife, The Last Juror, The Three Musketeers). The person in question should probably be either the protagonist or the antagonist, although if the person has great "off-stage" importance it can still work (Rebecca.)

2.Place. It can be a specific place name (Mansfield Park, Main Street, Cetaganda), more generic (Island, Neutron Star) or a description (The Two Towers, The Restaurant at the End of the Universe.)

3.Thing. (The Sword, The Picture of Dorian Gray)

4.Event. (The Trial, The Return of the King)

5.Time. (1984, 1632, Seven Days in May, Twilight)

6.The Ludlum Method. Follow the pattern used for most Robert Ludlum books: The [Name] [Noun]. (The Bourne Identity, The Da Vinci Code) {I'm not saying Ludlum wrote The Da Vinci Code, I'm saying it follows the pattern.}

7.Blank and Blank. (Romeo and Juliet, War and Peace, Pride and Prejudice, The Old Man and the Sea)

8.Blank of/from/to/on/in/for/other-preposition Blank. (A Storm of Swords, The Deed of Paksenarrion, Night of Madness, The Man in the High Castle)

9.Blank's Blank. (Hart's Hope, Ender's Game, Exile's Valor)

10.Quotations or literary allusions, whether well-known or obscure. (Something Wicked This Way Comes, To Sail Beyond the Sunset)

[This message has been edited by EricJamesStone (edited April 26, 2004).]

Manuscript format

Submitted by eddycurrents on Thu, 04/01/2004 - 5:51pm

From here:

http://www.hackman-adams.com/articles/manuscript.htm

The Business of Writing
Manuscript Checklist

Part of the process of submitting a manuscript to an agent, editor, or publisher is to ensure the manuscript looks as professional as possible. Approximately ninety percent of all manuscripts are rejected, many of them just for the wrong manuscript format. But why should that be important? After all, you wrote a good book. Isn't that the only thing that counts?

No. Appearances do count. Just like in a job interview, you only have about ten seconds to impress the agent into looking further at your manuscript. Think a moment about what the appearance of the manuscript says about you. There is only one opportunity with this agent, editor, or publisher. Once he decides he can't use your manuscript, it's already too late.

But the manuscript's appearance is easy to correct. This checklist will help ensure that the manuscript looks its best.
Guidelines. Read the publisher's guidelines. If they have any specific requirements such as formatting of the manuscript, follow it.

[b]Paper.[/b] The manuscript will be printed from a computer or typed on standard, white 20 lb paper. Avoid colored paper. Avoid textured paper (i.e., linen). Avoid tractor feed paper.

[b]General Format.[/b] The manuscript will be typewritten or printed on an ink jet, bubble jet, or laser printer. No handwriting--no matter how neat your writing is.

[b]Spacing.[/b] The manuscript will be double-spaced. See Microsoft Word and WordPerfect: Double-Spacing Your Text.

[b]Type Size:[/b] The guidance here is different, depending on whether you use a computer a typewriter. If you're using a typewriter, set your size to 10 pitch. For a computer, change it to 12 points.

[b]Ink Color.[/b] Black ink only. Anything else is hard to read.

[b]Type Style:[/b] If the publisher doesn't specify what they prefer, use Courier New. Courier was designed specifically to be easy to scan. Give yourself the extra advantage of being more readable.

[b]Margins.[/b] The margins are one inch all around. You can make the top margin 1 1/2 inch, and your header margin, where you page number and title information are, one inch. See Microsoft Word and WordPerfect: Set the Margins.

[b]Header.[/b] At the top of each page, you should have your novel title and last name on the left side, and the page number on the right. This makes it easy to reassemble your manuscript if the pages are separated.

[b]Two spaces or one? [/b] This refers to how many spaces after a period. Start by referring to the publisher's writing guidelines. If the guidelines don't specify, use two spaces. It makes the manuscript easier to read; the sentences won't run together. See Microsoft Word and WordPerfect: Spacing After a Period.

[b]Italics.[/b] Unless the guidelines say that it is all right to use italics, don't. Use the underscore instead. Italics are harder to read and easier for a typesetter to miss. See Microsoft Word and WordPerfect: Underlining Text

[b]Proofread.[/b] You'd be surprised how many people think that it is the editor's job to check for typos, spelling errors, and grammatical mistakes. It's your novel--it's your job. If a publisher has to choose between two manuscripts, one full of mistakes and the other without any, which one is he going to pick? See Effective Proofreading.

Guidelines. Make one last pass over the manuscript, comparing it to any guidelines you have to ensure that you have provided all the information the publisher has requested.

A publisher receives thousands of manuscripts. Many of them are formatted incorrectly and riddled with typos. You can give yourself an extra edge by making your manuscript look as professional as possible. Take the time when you first start writing it to format it properly, and submit it with pride.

Prep'ing work for submission

Submitted by DaveK on Wed, 03/17/2004 - 2:50pm

In my story - Proactive Reincarnation, someone caught me with a its/it's error. They didn't remember where it was but it was easy to find. I told Open Office to find all occurances of its and it's and read them to make sure they were correct. While doing that I also decided to check for to, too, two and there, their, the're, they're. I thnk MS word can be set to flag you on some of these words but I don't use it. So my question is what other groups of words like these should i (and all of us) check for before submitting a story.

What other things do you check for before submitting a story.

Eddy's mountain analogy

Submitted by eddycurrents on Tue, 03/16/2004 - 3:03pm

I came up with an analogy about plotting that works for me.

Me, I don't like to plot. Like I think I said elsewhere, I like to let my characters tell me the story. I don't like to shoehorn the events that come up as I write into some master plan I wrote weeks or months before. If I don't, I find everything just kinda works out as I go along. Plus my story entertains me as I write it. I get to watch it unfold before my eyes.

This obviously won't work for everyone. Some people prefer to plot everything in advance. That keeps the story tight, but I find it kills my urge to write.

I thought plotting everything in advance was "the" way until I found out Stephen King doesn't plot either. Whew.

Now... I do plan. I create reasonably detailed character sketches, think up a theme and a major conflict, create maps maybe.

And I do I plot a little, but only as I go. I always keep in mind my next set piece, or mini-climax, that the scenes I'm writing are leading up to.

So I think of it like hiking up a mountain. I can see the next peak, and I can see the summit, but I can't see all the peaks along the way. But that's okay. I know I will reach the summit eventually if I just keep my eye on the next peak.

Then once I reach the top, I take a breather, then go back down and start editing my trail. I go up and down a few more times. Each time, I groom the trail by removing all the stones and sawing away the fallen logs and big roots. I make the going smoother for the next guy, who will hopefully be my reader. It should look like a paved road by the time I'm done, and he will never know I didn't plan it all out in detail in the first place.

To extend the analogy...

It's okay to see a peak, head toward it, then suddenly see another trail and take it instead. You changed peaks, but you still have the same final destination. This makes for a more interesting journey, and your reader will probably be thrilled.

However, it is not okay to see a different mountain and go over to it instead. That means you have to climb back down the mountain and start all over on a new mountain. Your reader is going to be awfully pissed at you for dragging him along for nothing. You should just start him on the more interesting mountain in the first place, and save the first mountain trail for another story.

So when a protagonist dies halfway through the story, it's like changing mountains. I hate hate hate that.

Or what Melville did at the beginning of Moby Dick -- he switched protagonists altogether. That would never be tolerated by today's editors.

Saving Word documents as text

Submitted by eddycurrents on Mon, 01/05/2004 - 1:32pm

Micro$haft Word replaces a lot of characters with other characters to make the document look prettier. For example, it replaces double and single quotes with "smart quotes" that curve in or out. It also replaces the three individual periods in ellipsis (...) with an ellipsis character, and the two hyphens in a dash (--) with a dash character. It does other stuff too, which are mostly annoying.

These special characters don't translate to plain ASCII text, which is what we use to send stories around. The stories have garbage characters wherever those special characters were supposed to be.

Note you can disable all these character substitutions, but you probably don't want to. They do enhance the appearance of your document when you print it out. It's only for critting we need to get rid of them.

Instead, here are instructions on how to save your document as plain ASCII text, and get Word to replace these characters with the normal ASCII ones.

This is for Word for Windoze. For Word on Macs, the steps should be similar -- anyone want to reply to this note with details?

First, go to File, Save As. A dialog box will pop up. Go to the bottom of it, where it says "Save As Type:", and choose "Plain Text (*.txt)". Rename it, or just save it with the same filename and the new extension. For example, instead of "yourstory.doc" you have "yourstory.txt". Click the "Save" button.

Another dialog box will pop up, titled "File Conversion". The following selections should be done already, but check them just in case: "Text Encoding" is "Windows (default)", "Insert Line Breaks" is unchecked, "End lines with:" is "CR/LF".

In addition, check "Allow character substitution". This causes Word to replace the special characters (like smartquotes and ellipsis) with the "normal" ASCII ones.

You can then look over your new format in the Preview at the bottom of this dialog box to make sure everything looks good. Then click "Ok" to save in your new format. Note, your original document in Word .doc format is unchanged.

Now, find your new file (yourstory.txt) and double click on it to open it in Notepad. (You can open it in any TEXT editor, NOT Word or it will convert the special characters again.)

Make sure word wrap is turned off. In Notepad, go to Format menu and make sure Word Wrap has no check mark beside it. If it does, select it and the check mark will go away. Note that your story now has each paragraph on one very long line. This is what we want.

Finally, select Edit / Select All and Edit / Copy, or just Control-A Control-C. Then paste the whole shmozzle into your email to Elizabeth.

Tada. Your story should be in simple ASCII text format, no more weird characters.

Note you will have lost any special formatting like italics or bold. There is no ASCII equivalent for this. Can't have everything (unless we want to switch to HTML).

Story Lengths in Words

Submitted by eddycurrents on Mon, 01/05/2004 - 1:03pm

All credit to Lee Masterson! Clipped from this handy website:

http://www.fictionfactor.com/articles/wordcount.html

Recently we received several emails asking the question: "How long should my story be?"

The simple answer is: As long as it takes to tell the whole story.

However, there are certain word lengths that most editors prefer to see when submitting work.

Here is an approximate guideline for story lengths.

Micro-Fiction

up to 100 words

This very abbreviated story is often difficult to write, and even harder to write well, but the markets for micro fiction are becoming increasingly popular in recent times. Publishers love them, as they take up almost no room and don't cost them their budgets. Pay rates are often low, but for so few words, the rate per word averages quite high.

Flash Fiction

100 - 1,000 words

This is the type of short-short story you would expect to find in a glossy magazine, often used to fill one page of quick romance (or quick humor, in men's mags) Very popular, quick and easy to write, and easier to sell!

Short Story

1,000 - 7,500 words

The 'regular' short story, usually found in periodicals or anthology collections. Most 'genre' zines will features works at this length.

Novellette

7,500 - 20,000 words

Often a novellette-length work is difficult to sell to a publisher. It is considered too long for most publishers to insert comfortably into a magazine, yet too short for a novel. Generally, authors will piece together three or four novellette-length works into a compilation novel.

Novella

20,000 - 50,000 words

Although most print publishers will balk at printing a novel this short, this is almost perfect for the electronic publishing market length. The online audience doesn't always have the time or the patience to sit through a 100,000 word novel. Alternatively, this is an acceptable length for a short work of non-fiction.

Novel

50,000 -110,000

Most print publishers prefer a minimum word count of around 70,000 words for a first novel, and some even hesitate for any work shorter than 80,000. Yet any piece of fiction climbing over the 110,000 word mark also tends to give editors some pause. They need to be sure they can produce a product that won't over-extend their budget, but still be enticing enough to readers to be saleable. Imagine paying good money for a book less than a quarter-inch thick?

Epics and Sequels

Over 110,000 words

If your story extends too far over the 110,000 mark, perhaps consider where you could either condense the story to only include relevant details, or lengthen it to span out into a sequel, or perhaps even a trilogy. (Unless, of course, you're Stephen King - then it doesn't matter what length your manuscript is - a publisher is a little more lenient with an established author who has a well-established readership)

Page Counts

In most cases, industry standard preferred length is 250 words per page... so a 400 page novel would be at about 100,000 words. If you want to see what size book is selling in your genre, take a look on the shelves. If the average length is 300 pages, you're looking at a 75,000 word manuscript (approximately)

One reason it's harder for a new author to sell a 140,000 word manuscript is the size of the book. A 500+ page book is going to take up the space of almost two, 300 page books on the shelves. It's also going to cost more for the publishers to produce, so unless the author is well known, the book stores aren't going to stock that many copies of the 'door-stopper' novel as compared to the thinner novel.

Remember, these word- and page-counts are only estimated guides. Use your own common sense, and, where possible, check the guidelines of the publication you intend to submit your work to. Most publishers accepting shorter works will post their maximum preferred lengths, and novels are generally considered on the strength of the story itself, not on how many words you have squeezed into each chapter.