http://www.prdaily.com/Main/Articles/13732.aspx
Here's a list of words that have been under scrutiny in this approval process:
1. Administrate: A back-formation of administration and an unnecessary extension of administer
2. Commentate: A back-formation of commentator and an unnecessary extension of comment
3. Dimunition: Erroneous; the correct form is diminution (think of diminutive)
4. Exploitive: A younger, acceptable variant of exploitative
5. Firstly: As with secondly and thirdly, erroneous when enumerating points; use first and so on
6. Heighth: Rarely appears in print, but a frequent error in spoken discourse (Why isn't height modeled on the form of depth, length, and width? Because it doesn't shift in spelling and pronunciation from its associated term, tall, like the others, which are derived from deep, long, and wide, do. Neither do we say or write weighth.)
7. Irregardless: An unnecessary extension of regardless on the analogy of irrespective but ignoring that regardless, though it is not an antonym of regard, already has an antonymic affix
8. Miniscule: A common variant of minuscule, but widely considered erroneous
9. Orientate: A back-formation of orientation and an unnecessary extension of orient
10. Participator: Erroneous; the correct form is participant
11. Preventative: A common and acceptable variant of preventive
12. Societal: A variant of social with a distinct connotation (for example, "social occasion," but "societal trends")
13. Supposably: An erroneous variant of supposedly
14. 'Til: Also rendered til and till, an clipped form of until that is correct but informal English; use the full word except in colloquial usage
15. Undoubtably: An erroneous variant of undoubtedly
A version of this article first appeared on DailyWritingTips.com.
Wednesday, February 6, 2013
Wednesday, August 25, 2010
Use the "10-40 Rule" to Improve Your Presentations
By Carmine Gallo
The first 10 slides of your presentation should contain no more than 40 words, says communications coach Carmine Gallo. Cutting the excess will help you stand out.
What could you do today to increase the potential that your next presentation will hit a home run with your prospects and existing customers? Answer: Cut the bloat. A recent New York Times article mentioned a website calling for people to live on no more than 100 personal items. I'd like to start a similar push in business communications, but instead of giving up personal items, I'd like you to consider giving up words on PowerPoint slides. Simplicity will give you an edge.
In the past several months I've heard from numerous executives who have used the advice in this column to dramatically simplify their presentations and win new customers in a ferociously competitive environment. These individuals are top executives or sales professionals at a wide range of companies, including one of the world's largest energy companies, a Fortune 500 medical device manufacturer, a giant pharmaceutical company, and a large, publicly traded technology company. If they can reduce their brands' complicated messages to a few words and images in a PowerPoint deck, so can you. Consider these pointers.
The 10-40 Rule. The first 10 slides in your PowerPoint presentation should contain no more than 40 words. I arrived at this method after learning that the average single slide contains 40 words. However, the most persuasive presentations I've ever seen—including many from Apple (AAPL) Chief Executive Officer Steve Jobs—contain 40 or fewer words on the first 10 slides.
I recently met with a group of sales professionals for a large social-networking site who have used the 10-40 Rule to completely transform their sales presentations. The difference is astonishing. Their original deck contained 400 words in the first 10 slides. The new deck has fewer than 40. The result—customers love it. Their customers are advertising buyers who see up to 10 pitches or more per day. Customers have thanked these sales professionals for simplifying the information and, more important, for giving them a simple message to discuss with senior decision-makers.
Why it works. The human brain interprets every letter as a picture. By filling your slides with words, you are literally choking the brain on images that render it virtually incapable of making sense out of your slide. The most persuasive presentations strike a visual-verbal balance between words and pictures.
How to do it. Here's the trick. You cannot follow the 10-40 Rule by opening your PowerPoint slide as your first step. PowerPoint immediately offers a template prompting you for words. Start with pen and paper instead (or whiteboard and marker). Sketch, brainstorm, and think outside the slides. How can you make the message visually interesting? Remember, the content is the narrative; the slides complement the narrative.
For example, I just prepared a presentation that I plan deliver to an annual conference of business group leaders in Los Angeles. The topic is inspirational leadership and communications. My first 10 slides contain a total of 37 words (and that includes my title slide, "The 7 Secrets of Inspiring Leaders"). Here is the breakdown:
1. Title slide (6 words)
2. Quote (17 words)
3. Video clip
4. Image and text (3 words)
5. Image
6. One sentence (3 words)
7. Photograph and text (1 word)
8. Image
9. Video clip
10. Photograph and text (7 words)
Millions of PowerPoint presentations are delivered every day. In most cases, the presentations are intended to transform minds—to engage, persuade, and ultimately motivate an audience to act. But those same audiences see the same type of presentations one after another—presentations cluttered with words, charts, and bullet points. Simple presentations are more memorable and will leave a far deeper and longer-lasting impression on your prospects. Follow the 10-40 Rule for presentation success.
http://www.businessweek.com/smallbiz/content/aug2010/sb20100816_907654.htm
Carmine Gallo is a communication skills coach for the world's most admired brands. He is also a popular speaker and the author of several books, including The Presentation Secrets of Steve Jobs: How to Be Insanely Great in Front of Any Audience.
Monday, April 5, 2010
Friday, September 11, 2009
Three Grammar Rules You Can Break
by Michelle Pierce
Grammar rules exist so that we don’t sound like complete idiots when we write. Most of them have a good reason for being around; after all, clarity in communication is a good thing. A virtue, even.
However, that’s not to say that all grammar rules are written in stone. In fact, some of them seem to be the work of rabid grammarians, who gleefully enforce confusing syntax and awkward construction in the name of “proper English.”
To heck with that, I say. Here are three grammar rules that were made to be broken.
1. Ending a sentence with a preposition
I have no idea where this rule came from. What I do know is that many people, in an effort to keep from ticking off the Grammar Police, start twisting their sentences around so as not to end them with prepositions.
Unfortunately, more often than not, the new syntax is terribly awkward and painful to read. Take the first sentence of this section, for example. “From where this rule came” sounds like something Yoda would say, not me. A big part of blogging is showing your personality through words. How can you do that when you’re twisting your phrases to suit some archaic rule?
In the interest of clarity and readability, it’s quite all right to end a sentence with a preposition.
2. Beginning a sentence with “and” or “but”
Somebody, somewhere, once decided that you shouldn’t begin sentences with conjunctions. Maybe it was an overzealous teacher who thought her students were doing it too much. My guess is that it was frustrated mothers who got sick and tired of hearing their children start every single sentence with “But Mo-om!”
The rule even got screen time in the movie Finding Forrester, when Sean Connery and Rob Brown have an entire conversation about it (and deliberately start their sentences with the offending words in order to make their points).
Regardless of how it began, you don’t have to stick with it. It’s perfectly all right to start your sentences with “and” or “but.” It’s a great way to grab attention and emphasize a point. But, as in all things, take it in moderation.
3. Splitting infinitives
How often have you heard that you’re not allowed to let another word come between “to” and its verb? Some people hold that construction with the same reverence as is typically given to marriage: that which the writer hath wrought together, let no man tear asunder.
Except that it’s really not that big of a deal. Come on: “to go boldly where no man has gone before” just doesn’t have the same ring to it as “to boldly go.” If it sounds better to split the infinitive, then take an axe to it!
Don’t cling to the ancient rules just because your high school English teacher told you to. Be a rebel and break free of these nonsensical shackles!
http://www.copyblogger.com/grammar-rules-to-break/
However, that’s not to say that all grammar rules are written in stone. In fact, some of them seem to be the work of rabid grammarians, who gleefully enforce confusing syntax and awkward construction in the name of “proper English.”
To heck with that, I say. Here are three grammar rules that were made to be broken.
1. Ending a sentence with a preposition
I have no idea where this rule came from. What I do know is that many people, in an effort to keep from ticking off the Grammar Police, start twisting their sentences around so as not to end them with prepositions.
Unfortunately, more often than not, the new syntax is terribly awkward and painful to read. Take the first sentence of this section, for example. “From where this rule came” sounds like something Yoda would say, not me. A big part of blogging is showing your personality through words. How can you do that when you’re twisting your phrases to suit some archaic rule?
In the interest of clarity and readability, it’s quite all right to end a sentence with a preposition.
2. Beginning a sentence with “and” or “but”
Somebody, somewhere, once decided that you shouldn’t begin sentences with conjunctions. Maybe it was an overzealous teacher who thought her students were doing it too much. My guess is that it was frustrated mothers who got sick and tired of hearing their children start every single sentence with “But Mo-om!”
The rule even got screen time in the movie Finding Forrester, when Sean Connery and Rob Brown have an entire conversation about it (and deliberately start their sentences with the offending words in order to make their points).
Regardless of how it began, you don’t have to stick with it. It’s perfectly all right to start your sentences with “and” or “but.” It’s a great way to grab attention and emphasize a point. But, as in all things, take it in moderation.
3. Splitting infinitives
How often have you heard that you’re not allowed to let another word come between “to” and its verb? Some people hold that construction with the same reverence as is typically given to marriage: that which the writer hath wrought together, let no man tear asunder.
Except that it’s really not that big of a deal. Come on: “to go boldly where no man has gone before” just doesn’t have the same ring to it as “to boldly go.” If it sounds better to split the infinitive, then take an axe to it!
Don’t cling to the ancient rules just because your high school English teacher told you to. Be a rebel and break free of these nonsensical shackles!
http://www.copyblogger.com/grammar-rules-to-break/
Five Grammar Mistakes that Make You Sound Like A Chimp
by Johnny Truant
Writing can be really no-win. It’s not fair, but it’s true.
If you obsess over every grammatical and structural point, you can come across as stiff. But if you’re lax and make a bunch of simple errors, you’ll come across as stupid.
You make one mistake and a lot of people will let it go. Two and you’re making them suspicious. Keep that up, with your intelligence taking hits at each turn, and your reader will decide that you’re actually a chimpanzee — and not one of the smart ones, either.
Copyblogger has covered grammar nicely here and here and here. But I, as a newcomer to these parts, have a few more peeves to add to the pot. Ignore them at your peril, Bubbles.*
1. Improper use of “myself”
This is one that people make because they think that complicating the language needlessly will make them sound smart.
(It’s the same principle as a barely literate inner-city tenant telling me haughtily that her brother is “presently incarcerated in a corrections facility.”)
Unfortunately, misuse of “myself” isn’t just needlessly complicated. It’s also wrong.
Here’s a typical incorrect use:
“The committee will consist of Bob, Mr. Parsons, and myself.”
In this circumstance, “me” is the right choice. In general, “myself” is a word you shouldn’t find much use for, so if you’re using it a lot, you’re probably using it wrong. “Myself” should only be used reflexively, to refer back to the subject.
For example:
“I did the job myself.”
2. Subject/predicate disagreement
This is extremely common, and I can almost forgive it because the correct structure is cumbersome. Here’s an example of a disagreement:
“Clearly, this person didn’t know what they were doing.”
The problem is “this person” (singular) being used together with the pronoun “they” (plural). “These people didn’t know what they were doing” is correct, and so is “This person didn’t know what he or she was doing.” In each of those cases, the number (singular or plural) in the subject agrees with the number in the predicate.
Number disagreements are irritating to solve, because if you have a bunch of them and are writing about a hypothetical or unknown person, your copy ends up being overrun with awkward “he or she’s.”
A good compromise is to pick a gender and run with it. The standard used to be to assume any unknown person was a man (e.g. “This person didn’t know what he was doing”), but it’s more common today to use “she” as the universal pronoun. Alternatively, you can alternate “she” and “he” in different instances throughout your copy.
(If you’re confused on this, try substituting a person’s name in the subject. This tends to make things more obvious. Using the initial example, you’d come up with, “Clearly, Bob didn’t know what they were doing.” Assuming you know that “they” is supposed to refer to Bob and not to another group, this becomes obviously wrong.)
3. “An historic”
I always get argument on this one, but I’m going to put my foot down anyway. Not only is putting “an” in front of a word with an audible H grammatically incorrect, it’s also uncommonly annoying.
Chalk this one up to trying to sound intelligent, like the “myself” rule above. Somehow, users feel that the use of “an” in this clunky way makes them sound distinguished, kind of like adding ye olde in front of tanning parlor, or saying indubitably with an English accent.
If you’re bristling at this one, ask yourself if you’d say, “an horse” or “an house.” What would people think if you went into the store and said, “I’ll have an half gallon of milk, please”?
You can and should use “an” if the H is silent and the word starts with a phonetic vowel, like “an hour.” Otherwise, go with “a” as the article.
4. Was vs. were
Everyone makes this mistake, so don’t beat yourself up if you do. But you should also fix it.
Here’s the incorrect use:
“If I was rich, I’d buy lots and lots of pants.”
However, the correct choice here would be were, not was.
Were here would be correctly used in the subjunctive mood — a case in which what you’re saying is hypothetical. If you’ve used “if,” that’s a pretty good indicator that were is appropriate:
“I wouldn’t do that if I were you.”
(You’re not me, so it’s subjunctive)
or
“If I were at work right now, I’d be eating a waffle.”
Remember, you use “were” because you’re actually not at work right now. But if you were writing about an actual past event, you’d use “was” (e.g. “When I was at work”).
5. Incorrect use of “literally”
Please don’t do this with a straight face. Not only will you look uneducated, you’ll also look absolutely hilarious.
Example: Kristen Stewart from the Twilight movies recently told a reporter, “I get to do something that literally if I didn’t get to do it, I would implode.”
Now, think about that for a second. If Kristen couldn’t act, she would actually collapse in upon herself like a black hole. I’d like to see that.
I collect “literally” mentions. Britney Spears has been “literally on a roller coaster to hell.” Crowds have “literally turned the city upside down.” And in a particularly grisly turn of events, a mall Santa reported that needy, sad children “literally tear his heart out.”
Whenever you use “literally,” stop and think about whether or not what you’re saying is actually true, in those exact words. If it’s not, use “practically,” “essentially,” or (ideally) “metaphorically” instead.
If there’s one thing you don’t want to be, it’s accidentally hilarious. Seriously, trust me on this one.
http://www.copyblogger.com/grammar-chimpanzee/#more-4597
Writing can be really no-win. It’s not fair, but it’s true.
If you obsess over every grammatical and structural point, you can come across as stiff. But if you’re lax and make a bunch of simple errors, you’ll come across as stupid.
You make one mistake and a lot of people will let it go. Two and you’re making them suspicious. Keep that up, with your intelligence taking hits at each turn, and your reader will decide that you’re actually a chimpanzee — and not one of the smart ones, either.
Copyblogger has covered grammar nicely here and here and here. But I, as a newcomer to these parts, have a few more peeves to add to the pot. Ignore them at your peril, Bubbles.*
1. Improper use of “myself”
This is one that people make because they think that complicating the language needlessly will make them sound smart.
(It’s the same principle as a barely literate inner-city tenant telling me haughtily that her brother is “presently incarcerated in a corrections facility.”)
Unfortunately, misuse of “myself” isn’t just needlessly complicated. It’s also wrong.
Here’s a typical incorrect use:
“The committee will consist of Bob, Mr. Parsons, and myself.”
In this circumstance, “me” is the right choice. In general, “myself” is a word you shouldn’t find much use for, so if you’re using it a lot, you’re probably using it wrong. “Myself” should only be used reflexively, to refer back to the subject.
For example:
“I did the job myself.”
2. Subject/predicate disagreement
This is extremely common, and I can almost forgive it because the correct structure is cumbersome. Here’s an example of a disagreement:
“Clearly, this person didn’t know what they were doing.”
The problem is “this person” (singular) being used together with the pronoun “they” (plural). “These people didn’t know what they were doing” is correct, and so is “This person didn’t know what he or she was doing.” In each of those cases, the number (singular or plural) in the subject agrees with the number in the predicate.
Number disagreements are irritating to solve, because if you have a bunch of them and are writing about a hypothetical or unknown person, your copy ends up being overrun with awkward “he or she’s.”
A good compromise is to pick a gender and run with it. The standard used to be to assume any unknown person was a man (e.g. “This person didn’t know what he was doing”), but it’s more common today to use “she” as the universal pronoun. Alternatively, you can alternate “she” and “he” in different instances throughout your copy.
(If you’re confused on this, try substituting a person’s name in the subject. This tends to make things more obvious. Using the initial example, you’d come up with, “Clearly, Bob didn’t know what they were doing.” Assuming you know that “they” is supposed to refer to Bob and not to another group, this becomes obviously wrong.)
3. “An historic”
I always get argument on this one, but I’m going to put my foot down anyway. Not only is putting “an” in front of a word with an audible H grammatically incorrect, it’s also uncommonly annoying.
Chalk this one up to trying to sound intelligent, like the “myself” rule above. Somehow, users feel that the use of “an” in this clunky way makes them sound distinguished, kind of like adding ye olde in front of tanning parlor, or saying indubitably with an English accent.
If you’re bristling at this one, ask yourself if you’d say, “an horse” or “an house.” What would people think if you went into the store and said, “I’ll have an half gallon of milk, please”?
You can and should use “an” if the H is silent and the word starts with a phonetic vowel, like “an hour.” Otherwise, go with “a” as the article.
4. Was vs. were
Everyone makes this mistake, so don’t beat yourself up if you do. But you should also fix it.
Here’s the incorrect use:
“If I was rich, I’d buy lots and lots of pants.”
However, the correct choice here would be were, not was.
Were here would be correctly used in the subjunctive mood — a case in which what you’re saying is hypothetical. If you’ve used “if,” that’s a pretty good indicator that were is appropriate:
“I wouldn’t do that if I were you.”
(You’re not me, so it’s subjunctive)
or
“If I were at work right now, I’d be eating a waffle.”
Remember, you use “were” because you’re actually not at work right now. But if you were writing about an actual past event, you’d use “was” (e.g. “When I was at work”).
5. Incorrect use of “literally”
Please don’t do this with a straight face. Not only will you look uneducated, you’ll also look absolutely hilarious.
Example: Kristen Stewart from the Twilight movies recently told a reporter, “I get to do something that literally if I didn’t get to do it, I would implode.”
Now, think about that for a second. If Kristen couldn’t act, she would actually collapse in upon herself like a black hole. I’d like to see that.
I collect “literally” mentions. Britney Spears has been “literally on a roller coaster to hell.” Crowds have “literally turned the city upside down.” And in a particularly grisly turn of events, a mall Santa reported that needy, sad children “literally tear his heart out.”
Whenever you use “literally,” stop and think about whether or not what you’re saying is actually true, in those exact words. If it’s not, use “practically,” “essentially,” or (ideally) “metaphorically” instead.
If there’s one thing you don’t want to be, it’s accidentally hilarious. Seriously, trust me on this one.
http://www.copyblogger.com/grammar-chimpanzee/#more-4597
Ten Mistakes Writers Don’t See (But Can Easily Fix When They Do)
The Ten Mistakes
Like many editorial consultants, I’ve been concerned about the amount of time I’ve been spending on easy fixes that the author shouldn’t have to pay for.
Sometimes the question of where to put a comma, how to use a verb or why not to repeat a word can be important, even strategic. But most of the time the author either missed that day’s grammar lesson in elementary school or is too close to the manuscript to make corrections before I see it.
So the following is a list I’ll be referring to people *before* they submit anything in writing to anybody (me, agent, publisher, your mom, your boss). From email messages and front-page news in the New York Times to published books and magazine articles, the 10 ouchies listed here crop up everywhere. They’re so pernicious that even respected Internet columnists are not immune.
The list also could be called, “10 COMMON PROBLEMS THAT DISMISS YOU AS AN AMATEUR,” because these mistakes are obvious to literary agents and editors, who may start wording their decline letter by page 5. What a tragedy that would be.
So here we go:
REPEATS
Just about every writer unconsciously leans on a “crutch” word. Hillary Clinton’s repeated word is “eager” (can you believe it? the committee that wrote Living History should be ashamed). Cosmopolitan magazine editor Kate White uses “quickly” over a dozen times in A Body To Die For. Jack Kerouac’s crutch word in On the Road is “sad,” sometimes doubly so - “sad, sad.” Ann Packer’s in The Dive from Clausen’s Pier is “weird.”
Crutch words are usually unremarkable. That’s why they slip under editorial radar - they’re not even worth repeating, but there you have it, pop, pop, pop, up they come. Readers, however, notice them, get irked by them and are eventually distracted by them, and down goes your book, never to be opened again.
But even if the word is unusual, and even if you use it differently when you repeat it, don’t: Set a higher standard for yourself even if readers won’t notice. In Jennifer Egan’s Look at me, the core word - a good word, but because it’s good, you get *one* per book - is “abraded.” Here’s the problem:
“Victoria’s blue gaze abraded me with the texture of ground glass.” page 202
“…(metal trucks abrading the concrete)…” page 217
“…he relished the abrasion of her skepticism…” page 256
“…since his abrasion with Z …” page 272
The same goes for repeats of several words together - a phrase or sentence that may seem fresh at first, but, restated many times, draws attention from the author’s strengths. Sheldon Siegel nearly bludgeons us in his otherwise witty and articulate courtroom thriller, Final Verdict, with a sentence construction that’s repeated throughout the book:
“His tone oozes self-righteousness when he says…” page 188
“His voice is barely audible when he says…” page 193
“His tone is unapologetic when he says…” page 199
“Rosie keeps her tone even when she says…” page 200
“His tone is even when he says…” page 205
“I switch to my lawyer voice when I say …” page 211
“He sounds like Grace when he says…” page 211
What a tragedy. I’m not saying all forms of this sentence should be lopped off. Lawyers find their rhythm in the courtroom by phrasing questions in the same or similar way. It’s just that you can’t do it too often on the page. After the third or fourth or 16th time, readers exclaim silently, “Where was the editor who shoulda caught this?” or “What was the author thinking?
1. So if you are the author, don’t wait for the agent or house or even editorial consultant to catch this stuff *for* you. Attune your eye now. Vow to yourself, NO REPEATS.
And by the way, even deliberate repeats should always be questioned: “Here are the documents.” says one character. “If these are the documents, I’ll oppose you,” says another. A repeat like that just keeps us on the surface. Figure out a different word; or rewrite the exchange. Repeats rarely allow you to probe deeper.
FLAT WRITING
“He wanted to know but couldn’t understand what she had to say, so he waited until she was ready to tell him before asking what she meant.”
Something is conveyed in this sentence, but who cares? The writing is so flat, it just dies on the page. You can’t fix it with a few replacement words - you have to give it depth, texture, character. Here’s another:
“Bob looked at the clock and wondered if he would have time to stop for gas before driving to school to pick up his son after band practice.” True, this could be important - his wife might have hired a private investigator to document Bob’s inability to pick up his son on time - and it could be that making the sentence bland invests it with more tension. (This is the editorial consultant giving you the benefit of the doubt.) Most of the time, though, a sentence like this acts as filler. It gets us from A to B, all right, but not if we go to the kitchen to make a sandwich and find something else to read when we sit down.
Flat writing is a sign that you’ve lost interest or are intimidated by your own narrative. It shows that you’re veering toward mediocrity, that your brain is fatigued, that you’ve lost your inspiration. So use it as a lesson. When you see flat writing on the page, it’s time to rethink, refuel and rewrite.
EMPTY ADVERBS
Actually, totally, absolutely, completely, continually, constantly, continuously, literally, really, unfortunately, ironically, incredibly, hopefully, finally - these and others are words that promise emphasis, but too often they do the reverse. They suck the meaning out of every sentence.
I defer to People Magazine for larding its articles with empty adverbs. A recent issue refers to an “incredibly popular, groundbreakingly racy sitcom.” That’s tough to say even when your lips aren’t moving.
In Still Life with Crows, Douglas Preston and Lincoln Child describe a mysterious row of corn in the middle of a field: “It was, in fact, the only row that actually opened onto the creek.” Here are two attempts at emphasis (”in fact,” “actually”), but they just junk up the sentence. Remove them both and the word “only” carries the burden of the sentence with efficiency and precision.
(When in doubt, try this mantra: Precise and spare; precise and spare; precise and spare.)
In dialogue, empty adverbs may sound appropriate, even authentic, but that’s because they’ve crept into American conversation in a trendy way. If you’re not watchful, they’ll make your characters sound wordy, infantile and dated.
In Julia Glass’s Three Junes, a character named Stavros is a forthright and matter-of-fact guy who talks to his lover without pretense or affectation. But when he mentions an offbeat tourist souvenir, he says, “It’s absolutely wild. I love it.” Now he sounds fey, spoiled, superficial.. (Granted, “wild” nearly does him in; but “absolutely” is the killer.)
The word “actually” seems to emerge most frequently, I find. Ann Packer’s narrator recalls running in the rain with her boyfriend, “his hand clasping mine as if he could actually make me go fast.” Delete “actually” and the sentence is more powerful without it.
The same holds true when the protagonist named Miles hears some information in Empire Falls by Richard Russo. “Actually, Miles had no doubt of it,” we’re told. Well, if he had no doubt, remove “actually” - it’s cleaner, clearer that way. “Actually” mushes up sentence after sentence; it gets in the way every time. I now think it should *never* be used.
Another problem with empty adverbs: You can’t just stick them at the beginning of a sentence to introduce a general idea or wishful thinking, as in “Hopefully, the clock will run out.” Adverbs have to modify a verb or other adverb, and in this sentence, “run out” ain’t it.
Look at this hilarious clunker from The Da Vinci Code by Dan Brown: “Almost inconceivably, the gun into which she was now staring was clutched in the pale hand of an enormous albino.”
Ack, “almost inconceivably” - that’s like being a little bit infertile! Hopefully, that “enormous albino” will ironically go back to actually flogging himself while incredibly saying his prayers continually.
PHONY DIALOGUE
Be careful of using dialogue to advance the plot. Readers can tell when characters talk about things they already know, or when the speakers appear to be having a conversation for our benefit. You never want one character to imply or say to the other, “Tell me again, Bruce: What are we doing next?”
Avoid words that are fashionable in conversation. Ann Packer’s characters are so trendy the reader recoils. ” ‘What’s up with that?’ I said. ‘Is this a thing [love affair]?’ ” “We both smiled. ” ‘What is it with him?’ I said. ‘I mean, really.’ ” Her book is only a few years old, and already it’s dated.
Dialogue offers glimpses into character the author can’t provide through description. Hidden wit, thoughtful observations, a shy revelation, a charming aside all come out in dialogue, so the characters *show* us what the author can’t *tell* us. But if dialogue helps the author distinguish each character, it also nails the culprit who’s promoting a hidden agenda by speaking out of character.
An unfortunate pattern within the dialogue in Three Junes, by the way, is that all the male characters begin to sound like the author’s version of Noel Coward - fey, acerbic, witty, superior, puckish, diffident. Pretty soon the credibility of the entire novel is shot. You owe it to each character’s unique nature to make every one of them an original.
Now don’t tell me that because Julia Glass won the National Book Award, you can get away with lack of credibility in dialogue. Setting your own high standards and sticking to them - being proud of *having* them - is the mark of a pro. Be one, write like one, and don’t cheat.
NO-GOOD SUFFIXES
Don’t take a perfectly good word and give it a new backside so it functions as something else. The New York Times does this all the time. Instead of saying, “as a director, she is meticulous,” the reviewer will write, “as a director, she is known for her meticulousness.” Until she is known for her obtuseness.
The “ness” words cause the eye to stumble, come back, reread: Mindlessness, characterlessness, courageousness, statuesqueness, preciousness - you get the idea. You might as well pour marbles into your readers’ mouths. Not all “ness” words are bad - goodness, no - but they are all suspect.
The “ize” words are no better - finalize, conceptualize, fantasize, categorize. The “ize” hooks itself onto words as a short-cut but stays there like a parasite. Cops now say to each other about witnesses they’ve interrogated, “Did you statementize him?” Some shortcut. Not all “ize” words are bad, either, but they do have the ring of the vulgate to them - “he was brutalized by his father,” “she finalized her report.” Just try to use them rarely.
Adding “ly” to “ing” words has a little history to it. Remember the old Tom Swifties? “I hate that incision,” the surgeon said cuttingly. “I got first prize!” the boy said winningly. But the point to a good Tom Swiftie is to make a punchline out of the last adverb. If you do that in your book, the reader is unnecessarily distracted. Serious writing suffers from such antics.
Some “ingly” words do have their place. I can accept “swimmingly,” “annoyingly,” “surprisingly” as descriptive if overlong “ingly” words. But not “startlingly,” “harrowingly” or “angeringly,” “careeningly” - all hell to pronounce, even in silence, like the “groundbreakingly” used by People magazine above. Try to use all “ingly” words (can’t help it) sparingly.
THE “TO BE” WORDS
Once your eye is attuned to the frequent use of the “to be” words - “am,” “is,” “are,” “was,” “were,” “be,” “being,” “been” and others - you’ll be appalled at how quickly they flatten prose and slow your pace to a crawl.
The “to be” words represent the existence of things - “I am here. You are there.” Think of Hamlet’s query, “to be, or not to be.” To exist is not to act, so the “to be” words pretty much just there sit on the page. “I am the maid.” “It was cold.” “You were away.”
I blame mystery writers for turning the “to be” words into a trend: Look how much burden is placed on the word “was” in this sentence: “Around the corner, behind the stove, under the linoleum, was the gun.” All the suspense of finding the gun dissipates. The “to be” word is not fair to the gun, which gets lost in a sea of prepositions.
Sometimes, “to be” words do earn a place in writing: “In a frenzy by now, he pushed the stove away from the wall and ripped up the linoleum. Cold metal glinted from under the floorboards. He peered closer. Sure enough, it was the gun.” Okay, I’m lousy at this, but you get the point: Don’t squander the “to be” words - save them for special moments.
Not so long ago, “it was” *defined* emphasis. Even now, if you want to say, “It was Margaret who found the gun,” meaning nobody else but Margaret, fine. But watch out - “it was” can be habitual: “It was Jack who joined the Million Man March. It was Bob who said he would go, too. But it was Bill who went with them.” Flat, flat, flat.
Try also to reserve the use of “there was” or “there is” for special occasions. If used too often, this crutch also bogs down sentence after sentence. “He couldn’t believe there was furniture in the room. There was an open dresser drawer. There was a sock on the bed. There was a stack of laundry in the corner. There was a handkerchief on the floor….” By this time, we’re dozing off, and you haven’t even gotten to the kitchen.
One finds the dreaded “there was/is” in jacket copy all the time. “Smith’s book offers a range of lively characters: There is Jim, the puzzle-loving dad. There is Winky, the mom who sits on the 9th Court of Appeals. There is Barbie, brain surgeon to the stars….”
Attune your eye to the “to be” words and you’ll see them everywhere. When in doubt, replace them with active, vivid, engaging verbs. Muscle up that prose.
LISTS
“She was entranced by the roses, hyacinths, impatiens, mums, carnations, pansies, irises, peonies, hollyhocks, daylillies, morning glories, larkspur…” Well, she may be entranced, but our eyes are glazing over.
If you’re going to describe a number of items, jack up the visuals. Lay out the the scene as the eye sees it, with emphasis and emotion in unlikely places. When you list the items as though we’re checking them off with a clipboard, the internal eye will shut.
It doesn’t matter what you list - nouns, adjectives, verbs - the result is always static. “He drove, he sighed, he swallowed, he yawned in impatience.” So do we. Dunk the whole thing. Rethink and rewrite. If you’ve got many ingredients and we aren’t transported, you’ve got a list.
SHOW, DON’T TELL
If you say, “she was stunning and powerful,” you’re *telling* us. But if you say, “I was stunned by her elegant carriage as she strode past the jury - shoulders erect, elbows back, her eyes wide and watchful,” you’re *showing* us. The moment we can visualize the picture you’re trying to paint, you’re showing us, not telling us what we *should* see..
Handsome, attractive, momentous, embarrassing, fabulous, powerful, hilarious, stupid, fascinating are all words that “tell” us in an arbitrary way what to think. They don’t reveal, don’t open up, don’t describe in specifics what is unique to the person or event described. Often they begin with cliches.
Here is Gail Sheehy’s depiction of a former “surfer girl” from the New Jersey shore in Middletown, America:
“This was a tall blond tomboy who grew up with all guy friends. A natural beauty who still had age on her side, being thirty; she didn’t give a thought to taming her flyaway hair or painting makeup on her smooth Swedish skin.”
Here I *think* I know what Sheehy means, but I’m not sure. Don’t let the reader make such assumptions. You’re the author; it’s your charge to show us what you mean with authentic detail. Don’t pretend the job is accomplished by cliches such as “smooth Swedish skin,” “flyaway hair,” “tall blond tomboy,” “the surfer girl” - how smooth? how tall? how blond?
Or try this from Faye Kellerman in Street Dreams:
“[Louise's] features were regular, and once she had been pretty. Now she was handsome in her black skirt, suit, and crisp, white blouse.”
Well, that’s it for Louise, poor thing. Can you see the character in front of you? A previous sentence tells us that Louise has “blunt-cut hair” framing an “oval face,” which helps, but not much - millions of women have a face like that. What makes Louise distinctive? Again, we may think we know what Kellerman means by “pretty” and “handsome” (good luck), but the inexcusable word here is “regular,” as in “her features were regular.” What *are* “regular” features?
The difference between telling and showing usually boils down to the physical senses. Visual, aural aromatic words take us out of our skin and place us in the scene you’ve created. In conventional narrative it’s fine to use a “to be” word to talk us into the distinctive word, such as “wandered” in this brief, easily imagined sentence by John Steinbeck in East of Eden. “His eyes were very blue, and when he was tired, one of them wandered outward a little.” We don’t care if he is “handsome” or “regular.”
Granted, context is everything, as writing experts say, and certainly that’s true of the sweltering West African heat in Graham Greene’s The Heart of the Matter: “Her face had the ivory tinge of atabrine; her hair which had once been the color of bottled honey was dark and stringy with sweat.” Except for “atabrine” (a medicine for malaria), the words aren’t all that distinctive, but they quietly do the job - they don’t tell us; they show us.
Commercial novels sometimes abound with the most revealing examples of this problem. The boss in Linda Lael Miller’s Don’t Look Now is “drop-dead gorgeous”; a former boyfriend is “seriously fine to look at: 35, half Irish and half Hispanic, his hair almost black, his eyes brown.” A friend, Betsy, is “a gorgeous, leggy blonde, thin as a model.” Careful of that word “gorgeous” - used too many times, it might lose its meaning.
AWKWARD PHRASING
“Mrs. Fletcher’s face pinkened slightly.” Whoa. This is an author trying too hard. “I sat down and ran a finger up the bottom of his foot, and he startled so dramatically …. ” Egad, “he startled”? You mean “he started”?
Awkward phrasing makes the reader stop in the midst of reading and ponder the meaning of a word or phrase. This you never want as an author. A rule of thumb - always give your work a little percolatin’ time before you come back to it. Never write right up to deadline. Return to it with fresh eyes. You’ll spot those overworked tangles of prose and know exactly how to fix them.
COMMAS
Compound sentences, most modifying clauses and many phrases *require* commas. You may find it necessary to break the rules from time to time, but you can’t delete commas just because you don’t like the pause they bring to a sentence or just because you want to add tension.
“Bob ran up the stairs and looking down he realized his shoelace was untied but he couldn’t stop because they were after him so he decided to get to the roof where he’d retie it.” This is what happens when an author believes that omitting commas can make the narrative sound breathless and racy. Instead it sounds the reverse - it’s heavy and garbled.
The Graham Greene quote above is dying for commas, which I’ll insert here: “Her face had the ivory tinge of atabrine; her hair, which had once been the color of bottled honey, was dark and stringy with sweat.” This makes the sentence accessible to the reader, an image one needs to slow down and absorb.
Entire books have been written about punctuation. Get one. “The Chicago Manual of Style” shows why punctuation is necessary in specific instances. If you don’t know what the rules are for, your writing will show it.
The point to the List above is that even the best writers make these mistakes, but you can’t afford to. The way manuscripts are thrown into the Rejection pile on the basis of early mistakes is a crime. Don’t be a victim.
http://www.holtuncensored.com/hu/the-ten-mistakes/
Like many editorial consultants, I’ve been concerned about the amount of time I’ve been spending on easy fixes that the author shouldn’t have to pay for.
Sometimes the question of where to put a comma, how to use a verb or why not to repeat a word can be important, even strategic. But most of the time the author either missed that day’s grammar lesson in elementary school or is too close to the manuscript to make corrections before I see it.
So the following is a list I’ll be referring to people *before* they submit anything in writing to anybody (me, agent, publisher, your mom, your boss). From email messages and front-page news in the New York Times to published books and magazine articles, the 10 ouchies listed here crop up everywhere. They’re so pernicious that even respected Internet columnists are not immune.
The list also could be called, “10 COMMON PROBLEMS THAT DISMISS YOU AS AN AMATEUR,” because these mistakes are obvious to literary agents and editors, who may start wording their decline letter by page 5. What a tragedy that would be.
So here we go:
REPEATS
Just about every writer unconsciously leans on a “crutch” word. Hillary Clinton’s repeated word is “eager” (can you believe it? the committee that wrote Living History should be ashamed). Cosmopolitan magazine editor Kate White uses “quickly” over a dozen times in A Body To Die For. Jack Kerouac’s crutch word in On the Road is “sad,” sometimes doubly so - “sad, sad.” Ann Packer’s in The Dive from Clausen’s Pier is “weird.”
Crutch words are usually unremarkable. That’s why they slip under editorial radar - they’re not even worth repeating, but there you have it, pop, pop, pop, up they come. Readers, however, notice them, get irked by them and are eventually distracted by them, and down goes your book, never to be opened again.
But even if the word is unusual, and even if you use it differently when you repeat it, don’t: Set a higher standard for yourself even if readers won’t notice. In Jennifer Egan’s Look at me, the core word - a good word, but because it’s good, you get *one* per book - is “abraded.” Here’s the problem:
“Victoria’s blue gaze abraded me with the texture of ground glass.” page 202
“…(metal trucks abrading the concrete)…” page 217
“…he relished the abrasion of her skepticism…” page 256
“…since his abrasion with Z …” page 272
The same goes for repeats of several words together - a phrase or sentence that may seem fresh at first, but, restated many times, draws attention from the author’s strengths. Sheldon Siegel nearly bludgeons us in his otherwise witty and articulate courtroom thriller, Final Verdict, with a sentence construction that’s repeated throughout the book:
“His tone oozes self-righteousness when he says…” page 188
“His voice is barely audible when he says…” page 193
“His tone is unapologetic when he says…” page 199
“Rosie keeps her tone even when she says…” page 200
“His tone is even when he says…” page 205
“I switch to my lawyer voice when I say …” page 211
“He sounds like Grace when he says…” page 211
What a tragedy. I’m not saying all forms of this sentence should be lopped off. Lawyers find their rhythm in the courtroom by phrasing questions in the same or similar way. It’s just that you can’t do it too often on the page. After the third or fourth or 16th time, readers exclaim silently, “Where was the editor who shoulda caught this?” or “What was the author thinking?
1. So if you are the author, don’t wait for the agent or house or even editorial consultant to catch this stuff *for* you. Attune your eye now. Vow to yourself, NO REPEATS.
And by the way, even deliberate repeats should always be questioned: “Here are the documents.” says one character. “If these are the documents, I’ll oppose you,” says another. A repeat like that just keeps us on the surface. Figure out a different word; or rewrite the exchange. Repeats rarely allow you to probe deeper.
FLAT WRITING
“He wanted to know but couldn’t understand what she had to say, so he waited until she was ready to tell him before asking what she meant.”
Something is conveyed in this sentence, but who cares? The writing is so flat, it just dies on the page. You can’t fix it with a few replacement words - you have to give it depth, texture, character. Here’s another:
“Bob looked at the clock and wondered if he would have time to stop for gas before driving to school to pick up his son after band practice.” True, this could be important - his wife might have hired a private investigator to document Bob’s inability to pick up his son on time - and it could be that making the sentence bland invests it with more tension. (This is the editorial consultant giving you the benefit of the doubt.) Most of the time, though, a sentence like this acts as filler. It gets us from A to B, all right, but not if we go to the kitchen to make a sandwich and find something else to read when we sit down.
Flat writing is a sign that you’ve lost interest or are intimidated by your own narrative. It shows that you’re veering toward mediocrity, that your brain is fatigued, that you’ve lost your inspiration. So use it as a lesson. When you see flat writing on the page, it’s time to rethink, refuel and rewrite.
EMPTY ADVERBS
Actually, totally, absolutely, completely, continually, constantly, continuously, literally, really, unfortunately, ironically, incredibly, hopefully, finally - these and others are words that promise emphasis, but too often they do the reverse. They suck the meaning out of every sentence.
I defer to People Magazine for larding its articles with empty adverbs. A recent issue refers to an “incredibly popular, groundbreakingly racy sitcom.” That’s tough to say even when your lips aren’t moving.
In Still Life with Crows, Douglas Preston and Lincoln Child describe a mysterious row of corn in the middle of a field: “It was, in fact, the only row that actually opened onto the creek.” Here are two attempts at emphasis (”in fact,” “actually”), but they just junk up the sentence. Remove them both and the word “only” carries the burden of the sentence with efficiency and precision.
(When in doubt, try this mantra: Precise and spare; precise and spare; precise and spare.)
In dialogue, empty adverbs may sound appropriate, even authentic, but that’s because they’ve crept into American conversation in a trendy way. If you’re not watchful, they’ll make your characters sound wordy, infantile and dated.
In Julia Glass’s Three Junes, a character named Stavros is a forthright and matter-of-fact guy who talks to his lover without pretense or affectation. But when he mentions an offbeat tourist souvenir, he says, “It’s absolutely wild. I love it.” Now he sounds fey, spoiled, superficial.. (Granted, “wild” nearly does him in; but “absolutely” is the killer.)
The word “actually” seems to emerge most frequently, I find. Ann Packer’s narrator recalls running in the rain with her boyfriend, “his hand clasping mine as if he could actually make me go fast.” Delete “actually” and the sentence is more powerful without it.
The same holds true when the protagonist named Miles hears some information in Empire Falls by Richard Russo. “Actually, Miles had no doubt of it,” we’re told. Well, if he had no doubt, remove “actually” - it’s cleaner, clearer that way. “Actually” mushes up sentence after sentence; it gets in the way every time. I now think it should *never* be used.
Another problem with empty adverbs: You can’t just stick them at the beginning of a sentence to introduce a general idea or wishful thinking, as in “Hopefully, the clock will run out.” Adverbs have to modify a verb or other adverb, and in this sentence, “run out” ain’t it.
Look at this hilarious clunker from The Da Vinci Code by Dan Brown: “Almost inconceivably, the gun into which she was now staring was clutched in the pale hand of an enormous albino.”
Ack, “almost inconceivably” - that’s like being a little bit infertile! Hopefully, that “enormous albino” will ironically go back to actually flogging himself while incredibly saying his prayers continually.
PHONY DIALOGUE
Be careful of using dialogue to advance the plot. Readers can tell when characters talk about things they already know, or when the speakers appear to be having a conversation for our benefit. You never want one character to imply or say to the other, “Tell me again, Bruce: What are we doing next?”
Avoid words that are fashionable in conversation. Ann Packer’s characters are so trendy the reader recoils. ” ‘What’s up with that?’ I said. ‘Is this a thing [love affair]?’ ” “We both smiled. ” ‘What is it with him?’ I said. ‘I mean, really.’ ” Her book is only a few years old, and already it’s dated.
Dialogue offers glimpses into character the author can’t provide through description. Hidden wit, thoughtful observations, a shy revelation, a charming aside all come out in dialogue, so the characters *show* us what the author can’t *tell* us. But if dialogue helps the author distinguish each character, it also nails the culprit who’s promoting a hidden agenda by speaking out of character.
An unfortunate pattern within the dialogue in Three Junes, by the way, is that all the male characters begin to sound like the author’s version of Noel Coward - fey, acerbic, witty, superior, puckish, diffident. Pretty soon the credibility of the entire novel is shot. You owe it to each character’s unique nature to make every one of them an original.
Now don’t tell me that because Julia Glass won the National Book Award, you can get away with lack of credibility in dialogue. Setting your own high standards and sticking to them - being proud of *having* them - is the mark of a pro. Be one, write like one, and don’t cheat.
NO-GOOD SUFFIXES
Don’t take a perfectly good word and give it a new backside so it functions as something else. The New York Times does this all the time. Instead of saying, “as a director, she is meticulous,” the reviewer will write, “as a director, she is known for her meticulousness.” Until she is known for her obtuseness.
The “ness” words cause the eye to stumble, come back, reread: Mindlessness, characterlessness, courageousness, statuesqueness, preciousness - you get the idea. You might as well pour marbles into your readers’ mouths. Not all “ness” words are bad - goodness, no - but they are all suspect.
The “ize” words are no better - finalize, conceptualize, fantasize, categorize. The “ize” hooks itself onto words as a short-cut but stays there like a parasite. Cops now say to each other about witnesses they’ve interrogated, “Did you statementize him?” Some shortcut. Not all “ize” words are bad, either, but they do have the ring of the vulgate to them - “he was brutalized by his father,” “she finalized her report.” Just try to use them rarely.
Adding “ly” to “ing” words has a little history to it. Remember the old Tom Swifties? “I hate that incision,” the surgeon said cuttingly. “I got first prize!” the boy said winningly. But the point to a good Tom Swiftie is to make a punchline out of the last adverb. If you do that in your book, the reader is unnecessarily distracted. Serious writing suffers from such antics.
Some “ingly” words do have their place. I can accept “swimmingly,” “annoyingly,” “surprisingly” as descriptive if overlong “ingly” words. But not “startlingly,” “harrowingly” or “angeringly,” “careeningly” - all hell to pronounce, even in silence, like the “groundbreakingly” used by People magazine above. Try to use all “ingly” words (can’t help it) sparingly.
THE “TO BE” WORDS
Once your eye is attuned to the frequent use of the “to be” words - “am,” “is,” “are,” “was,” “were,” “be,” “being,” “been” and others - you’ll be appalled at how quickly they flatten prose and slow your pace to a crawl.
The “to be” words represent the existence of things - “I am here. You are there.” Think of Hamlet’s query, “to be, or not to be.” To exist is not to act, so the “to be” words pretty much just there sit on the page. “I am the maid.” “It was cold.” “You were away.”
I blame mystery writers for turning the “to be” words into a trend: Look how much burden is placed on the word “was” in this sentence: “Around the corner, behind the stove, under the linoleum, was the gun.” All the suspense of finding the gun dissipates. The “to be” word is not fair to the gun, which gets lost in a sea of prepositions.
Sometimes, “to be” words do earn a place in writing: “In a frenzy by now, he pushed the stove away from the wall and ripped up the linoleum. Cold metal glinted from under the floorboards. He peered closer. Sure enough, it was the gun.” Okay, I’m lousy at this, but you get the point: Don’t squander the “to be” words - save them for special moments.
Not so long ago, “it was” *defined* emphasis. Even now, if you want to say, “It was Margaret who found the gun,” meaning nobody else but Margaret, fine. But watch out - “it was” can be habitual: “It was Jack who joined the Million Man March. It was Bob who said he would go, too. But it was Bill who went with them.” Flat, flat, flat.
Try also to reserve the use of “there was” or “there is” for special occasions. If used too often, this crutch also bogs down sentence after sentence. “He couldn’t believe there was furniture in the room. There was an open dresser drawer. There was a sock on the bed. There was a stack of laundry in the corner. There was a handkerchief on the floor….” By this time, we’re dozing off, and you haven’t even gotten to the kitchen.
One finds the dreaded “there was/is” in jacket copy all the time. “Smith’s book offers a range of lively characters: There is Jim, the puzzle-loving dad. There is Winky, the mom who sits on the 9th Court of Appeals. There is Barbie, brain surgeon to the stars….”
Attune your eye to the “to be” words and you’ll see them everywhere. When in doubt, replace them with active, vivid, engaging verbs. Muscle up that prose.
LISTS
“She was entranced by the roses, hyacinths, impatiens, mums, carnations, pansies, irises, peonies, hollyhocks, daylillies, morning glories, larkspur…” Well, she may be entranced, but our eyes are glazing over.
If you’re going to describe a number of items, jack up the visuals. Lay out the the scene as the eye sees it, with emphasis and emotion in unlikely places. When you list the items as though we’re checking them off with a clipboard, the internal eye will shut.
It doesn’t matter what you list - nouns, adjectives, verbs - the result is always static. “He drove, he sighed, he swallowed, he yawned in impatience.” So do we. Dunk the whole thing. Rethink and rewrite. If you’ve got many ingredients and we aren’t transported, you’ve got a list.
SHOW, DON’T TELL
If you say, “she was stunning and powerful,” you’re *telling* us. But if you say, “I was stunned by her elegant carriage as she strode past the jury - shoulders erect, elbows back, her eyes wide and watchful,” you’re *showing* us. The moment we can visualize the picture you’re trying to paint, you’re showing us, not telling us what we *should* see..
Handsome, attractive, momentous, embarrassing, fabulous, powerful, hilarious, stupid, fascinating are all words that “tell” us in an arbitrary way what to think. They don’t reveal, don’t open up, don’t describe in specifics what is unique to the person or event described. Often they begin with cliches.
Here is Gail Sheehy’s depiction of a former “surfer girl” from the New Jersey shore in Middletown, America:
“This was a tall blond tomboy who grew up with all guy friends. A natural beauty who still had age on her side, being thirty; she didn’t give a thought to taming her flyaway hair or painting makeup on her smooth Swedish skin.”
Here I *think* I know what Sheehy means, but I’m not sure. Don’t let the reader make such assumptions. You’re the author; it’s your charge to show us what you mean with authentic detail. Don’t pretend the job is accomplished by cliches such as “smooth Swedish skin,” “flyaway hair,” “tall blond tomboy,” “the surfer girl” - how smooth? how tall? how blond?
Or try this from Faye Kellerman in Street Dreams:
“[Louise's] features were regular, and once she had been pretty. Now she was handsome in her black skirt, suit, and crisp, white blouse.”
Well, that’s it for Louise, poor thing. Can you see the character in front of you? A previous sentence tells us that Louise has “blunt-cut hair” framing an “oval face,” which helps, but not much - millions of women have a face like that. What makes Louise distinctive? Again, we may think we know what Kellerman means by “pretty” and “handsome” (good luck), but the inexcusable word here is “regular,” as in “her features were regular.” What *are* “regular” features?
The difference between telling and showing usually boils down to the physical senses. Visual, aural aromatic words take us out of our skin and place us in the scene you’ve created. In conventional narrative it’s fine to use a “to be” word to talk us into the distinctive word, such as “wandered” in this brief, easily imagined sentence by John Steinbeck in East of Eden. “His eyes were very blue, and when he was tired, one of them wandered outward a little.” We don’t care if he is “handsome” or “regular.”
Granted, context is everything, as writing experts say, and certainly that’s true of the sweltering West African heat in Graham Greene’s The Heart of the Matter: “Her face had the ivory tinge of atabrine; her hair which had once been the color of bottled honey was dark and stringy with sweat.” Except for “atabrine” (a medicine for malaria), the words aren’t all that distinctive, but they quietly do the job - they don’t tell us; they show us.
Commercial novels sometimes abound with the most revealing examples of this problem. The boss in Linda Lael Miller’s Don’t Look Now is “drop-dead gorgeous”; a former boyfriend is “seriously fine to look at: 35, half Irish and half Hispanic, his hair almost black, his eyes brown.” A friend, Betsy, is “a gorgeous, leggy blonde, thin as a model.” Careful of that word “gorgeous” - used too many times, it might lose its meaning.
AWKWARD PHRASING
“Mrs. Fletcher’s face pinkened slightly.” Whoa. This is an author trying too hard. “I sat down and ran a finger up the bottom of his foot, and he startled so dramatically …. ” Egad, “he startled”? You mean “he started”?
Awkward phrasing makes the reader stop in the midst of reading and ponder the meaning of a word or phrase. This you never want as an author. A rule of thumb - always give your work a little percolatin’ time before you come back to it. Never write right up to deadline. Return to it with fresh eyes. You’ll spot those overworked tangles of prose and know exactly how to fix them.
COMMAS
Compound sentences, most modifying clauses and many phrases *require* commas. You may find it necessary to break the rules from time to time, but you can’t delete commas just because you don’t like the pause they bring to a sentence or just because you want to add tension.
“Bob ran up the stairs and looking down he realized his shoelace was untied but he couldn’t stop because they were after him so he decided to get to the roof where he’d retie it.” This is what happens when an author believes that omitting commas can make the narrative sound breathless and racy. Instead it sounds the reverse - it’s heavy and garbled.
The Graham Greene quote above is dying for commas, which I’ll insert here: “Her face had the ivory tinge of atabrine; her hair, which had once been the color of bottled honey, was dark and stringy with sweat.” This makes the sentence accessible to the reader, an image one needs to slow down and absorb.
Entire books have been written about punctuation. Get one. “The Chicago Manual of Style” shows why punctuation is necessary in specific instances. If you don’t know what the rules are for, your writing will show it.
The point to the List above is that even the best writers make these mistakes, but you can’t afford to. The way manuscripts are thrown into the Rejection pile on the basis of early mistakes is a crime. Don’t be a victim.
http://www.holtuncensored.com/hu/the-ten-mistakes/
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