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Advice about editing your own books

Grammar Check! The Who/Whom Conundrum: When What’s Wrong is Right!

Who/Whom is kind of an odd choice. I call it a conundrum because you’ll do better, much of the time, to go ahead and get it wrong.

That’s because most people won’t even notice if you get it wrong—most of the time. But they probably will notice when you try extra hard to get it right and THEN get it wrong.

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Simply speaking, only a rabid grammar termagant will rage if you just use ‘who” ninety-nine percent of the time.

After all, doesn’t it sound more natural to say, “Who did you give that to?” than “Whom did you give that to?”

The “whom” in the second is correct because it’s the object of the preposition “to” and objects have to be in the objective case (like “him,” “her,” “us,” and “me”). But our minds these days just aren’t trained to worry about all such distinctions.

What should you choose, who or whom?

Our rabid termagant will sputter that you shouldn’t end a sentence with a preposition, but that’s another argument. People DO end sentences with prepositions, and the principle stands: the incorrect “who” sounds more natural than the correct “whom,” so most people won’t even blink at this “mistake.”

The only time most people will want “whom” is when it directly follows its preposition, and that usually happens in a question that’s been re-ordered:

  • To whom did you give it?
  • With whom were you going?
  • I don’t remember for whom I bought this hat.

But do you have to write these particular sentences?

Who cares if you get who/whom wrong?

I suppose you may if you are writing Downton Abbey fan fiction. But in my view, don’t bother unless you have one of those hyperactive grammar consciences that wake you up in the middle of the night to go fix that comma you misplaced.

But ordinary people will be perfectly okay with

  • Who did you give it to?
  • Who were you going with?
  • I don’t remember who I bought this hat for.

Happy editingThe problem arises when people assume that because “whom” sounds so much more formal, one MUST use it whenever one wants to sound formal. One word for making choices like this is “hypercorrectness”: going so gaga trying to get it right that we actually get it wrong. For example:

  • Whom is going with us?

Ouch, that really grates. Subjects of verbs are always in the “subjective case”: I, you, he, she, it, we, and they. And “who.”

  • Who is going with us?

Who/whom solution

The messier­—and understandably more confusing—situation occurs when the who/whom pair has to be sorted out at the beginning of a dependent clause acting as an object. The handbook rule is that you choose “who” or “whom” depending on what it’s doing in its own clause, not in the larger sentence.

  • Did you say who is going with us?

(Correct: “who is going with us” is a noun clause acting as the direct object of “say,” but “who” is the subject of its own verb, “Is going.”)

  • Did you say whom the hat is for?

(Again correct:  Again, “whom the hat is for” is a noun phrase acting as the direct object of “say.” “Whom” is the object of the preposition “for.“).

The hypercorrectness bullyBut the troll of hypercorrectness comes charging out from under the bridge to wreak havoc on your writing when a writer gets paranoid and decides that “whom” sounds like what a smart person would say regardless of the role “who/whom” is playing in its own clause. Then we end up with

  • Did you say whom is going with us?

(Incorrect: yes, once again, “whom is going with us” is the direct object of “say.” BUT “whom” is holding the place of subject of the verb “is going” IN ITS OWN CLAUSE and should be in the subjective case—that is, “who.”)

  • Don’t give money to whomever asks for it.

(Again, incorrect. Yes, “whomever asks for it” is the object of the preposition “to.” BUT IN ITS OWN CLAUSE, “whomever” is trying to be the subject of “asks” and therefore should be in the subjective case—that is, “whoever.”)

Brain reeling? Too hard to sort all this out?

I agree.

Getting who/whom right!

And to repeat the point of this post, THERE IS NO REASON ON EARTH not to go ahead and use the perfectly natural-sounding”who,” and quit worrying about whether it is technically a mistake. Then you will say

  • Did you say who is going with us?

or

  • Don’t give money to whoever asks for it.

And you’ll not only be right, you’ll sound right. and the bonus is, you’ll sound right even if you say

  • Did you say who you bought the hat for?

So just kick “whom” out of your vocabulary rather than sticking it where it doesn’t belong (here’s a wise soul who agrees!).

Book open to the stars

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What’s your favorite punctuation mark? And the one you hate?

The five basic comma rulesHere’s a great article for you punctuation police to agree or argue with. My personal favorite is the comma. Used intelligently, commas are wonderful signposts that tell readers which part of a sentence they’ve stumbled into—and then help them make their way out again. I like commas so much I wrote an entire post about them.

If comma rules confuse you, take heart! If improving reader comprehension is your goal, there are really only a few “rules” to remember:

Use commas:

  • After introductory elements.

This is the one most people seem to know about. But I argue that commas are really only necessary when the introductory element gets long enough that readers may miss the lane change back into the main part of the sentence.

So:

After a moment he left the room. (No comma needed unless you want to emphasize a pause.)

But:

After he spent  an extended vacation in a remote village in the Alps, where did he go next? (The comma lets readers  know that “where” begins a new clause.)

  • Around “interrupters,” including non-essential modifiers.More comma rules

I think this one is the most confusing for many writers.

Short interrupters can be easy to spot:

Jane, however, did not go with him to the Alps.

Non-essential modifiers are elements that can be lifted out of the sentence without compromising its meaning or purpose.

The old car, which was a lot like the one my grandfather used to drive, had been repainted bright blue. (The rule here, and it is a rule, is either two commas or none. You need that second comma to signal the return to the main clause.)

Here’s an example of an essential modifier, one that can’t be lifted out without turning the sentence into nonsense. (I often see commas inserted into constructions like this.)

Author Stephen King wrote a lot of books.

Note: no commas. Now try it without the essential modifier, in this case an appositive:

Author wrote a lot of books.

  • Direct address (this is also a rule, not an option):Do you need the Oxford Comma?

Hi, Mr. Smith.

Did you buy bread at the store, Louise?

Louise, did you buy the bread?

  • Before “and,” “but,” etc., if you have more than two items. (This is the Oxford or serial comma Pinker discusses in the article I’ve linked to, and his examples of the power of this punctuation mark are good ones.)

If you have only two items linked by “and” or “but,” you have a compound and don’t need a comma, as in this sentence (and note the comma after the introductory clause).

  • Before the “and” or “but” if you’re joining two complete sentences.

I’d argue this is a judgment call, but again, as in this sentence, judicious use of the comma in a compound sentence like this one can provide valuable information about which part of the sentence a reader has ventured into.

{Note commas after the introductory element and around interrupters in this sentence. Commas can keep those elements distinct, so that they make sense.)

That’s five “rules” to absorb—not really so many. Rule Number Six: if one of those five rules doesn’t apply, DON’T INSERT A COMMA. No commas between subjects and their verbs, no commas after “and” or “but,” and so forth. List the five rules and check your questionable comma to see whether one of these applies*:

  • After introductory elements
  • Around interrupters
  • In direct address
  • Before “and” or “but” in a list of three or more items
  • Before the “and” or “but” in a compound sentence (two complete sentences joined with a coordinating conjunction like “and” or “but”**).Check the five basic comma rules

*There are some “conventional” rules for commas that don’t really affect readers’ comprehension, such as the comma that should follow the name of a state (“Austin, Texas, was his home.”) or the ones before and after the year in dates. Any handbook will answer your questions about those minor comma uses.

**There are actually a number of coordinating conjunctions in addition to “and” and “but,” and the rule applies to them as well, but I didn’t want to muddy the waters too much. The other coordinating conjunctions you’re likely to use include “for,” “nor,” “or,” “yet,” and “so.”

 

 

 

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Do You Need the Oxford Comma? See What You Think!

Do you need the Oxford comma?Here’s a discussion of that often maligned—or at least, often ignored—punctuation mark, the Oxford or serial comma. Disclosure: I believe in the Oxford comma and never leave home without a bagful.

However, do note that when you have only two items in a series (a compound), you DO NOT need a comma before the coordinating conjunctions (usually “and” or “but”). So sayeth Virginia. What sayeth you?

(BTW, if you haven’t encountered the Freelancers’ Union, you might want to take a look. They provide support for independent contractors and single proprietors of all stripes!)

Here’s an extra comma, in case you’re out! Do you need the Oxford Comma?

 

 

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Using -ing Words | The Editor’s Blog

This article provides excellent, detailed discussion. In critique groups I’ve been enrolled in, some critiquers seem terrified of the progressive tenses, and some believe that using a present-participle phrase as a modifier constitutes “mixing tenses” and therefore incorrect. The article is on point that glomming onto such rigid rules limits writers’ options for rhythm and meaning.
And the discussion here of dangling modifiers should be required reading for all aspiring writers. i see so many of these. Otherwise competent writers seem oblivious to them. The examples here precisely mirror what I see. Here’s my rant on dangling modifiers.
I think writers need to READ, widely, and not just the latest free examples of their favorite genre, to see how good writers make use of many available strategies and apply rules thoughtfully rather than blindly.
If you’ve ever been told to cut “-ing” words, take the time to read this!

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Grammar Rules: Split Infinitives | Writing Forward

Here’s my take on this article:

I agree with this post: what to do with infinitives is a judgment call. Some observations:
In the 18th century, pundits thought English needed to be more like Latin, a “more mature” language. You can’t split an infinitive in Latin (nor in Romance languages like French or Spanish–such languages have one-word infinitives). But since English needed to emulate Latin, its two-word infinitive needed to be treated like a Latin one-word infinitive. So there. Obviously English is a very different language from Latin–it’s not a Romance language at all, it’s Germanic–so following a rule meant for a Romance language doesn’t make sense.
Second, one reason “to boldly go” sounds so good is that placing “boldly” within the infinitive creates an iambic phrase: ././ Iambic is the “natural” meter for English; it’s Shakespeare’s meter, for example. It just plain has a ring.
So place your adverbs wherever you think they create that ring. (And don’t eschew adverbs universally, either. They have important roles in prose.)

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Language Warning! But You Better Read Anyway!

alarmed smileyAs usual, Chuck Wendig has his own way of saying things. So put your fingers in your ears so you won’t hear the bad words, and read! 25 Reasons I Stopped Reading Your Book!

I’ve posted my own reasons more than once. Here’s what I wrote on Chuck’s post:

I’ve posted more than once about my own answer to this question. Lack of voice is way up there. Too many characters and scenes feel pasted out of the Universe of Stock that we all have access to. No surprises, not in the characters’ actions, not in the diction, not in the rhythm. All stuff I’ve seen a thousand times (and don’t subject myself to any more).

What I call “illogic” fits several of these points: When something a character does or something that happens serves the prefabricated plot and not the story that wants to emerge from the characters’ interactions. I got into trouble myself once making characters do something they were screaming that they didn’t want to do. Ruined a potentially good novel, and boy, did I pay. Nothing in this post is truer than that the characters write the story. Listen to them.

And gosh, pages of exposition (and no, that’s not “literary fiction”). And too much info, too many characters, on page 1. And books that start with action before I can understand the conflict. And . . . and . . . and . . .

This post could easily be required reading in every “creative writing” class or critique group (though it would require a language warning in most settings, i fear).

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The Adverb Problem and Why Authors Should Care

Here’s an article about an old controversy: to adverb or not to adverb. My thoughts on this issue:

I agree with one of the comments in the original post that a blanket ban on adverbs is unworkable. In the sentence “After I had breakfast, I went to the store” (okay, it’s not literature), the first dependent clause, “After I had breakfast,” is an adverbial clause. Anything that fleshes out where, when, why, or how may well be adverbial. To ban adverbs completely would be to impoverish a piece of writing beyond recognition. Does “completely” in that sentence add anything? It does add emphasis. Whether it should be cut is a judgment call.
I do agree that it’s better to find the precise verb that does the work rather than to tack an adverb onto a weak verb. Sometimes that can be tricky, though. “He closed the door firmly” conveys an intentionality that ‘He closed the door” does not. “He slammed the door” won’t work. “He jerked the door shut” might work to replace “firmly.” It can take a long time for the word that works best to float up (and “best” is an adverb in that sentence). Finding the word that Mark Twain compared to lightning rather than the lightning bug should always be the goal, IMHO.

What’s your take on adverbs—the “ly” kind and its sometimes (adverb) invisible brethren?

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Another Good Article on Dialogue

From fellow writer alfageeek, here’s a link to a Scribophile piece on dialogue that provides some excellent elaboration on the piece I reblogged yesterday. Join in the discussion about “actions” as “dialogue tags.”

flipped comma1     !      Comma 1

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Are You Botching Your Dialogue?

This post from Kristen Lamb’s blog gives some good basic guidelines for using and punctuating dialogue. These principles can be surprisingly hard to master, so a good primer is always helpful. The one I see most often is the use of an action as if it were a dialogue tag. To add to Kristen’s list, I’d say, “Watch out for that darn Autocorrect in Word. If you have it turned on and you accidentally type a period instead of a comma after the dialogue, Autocorrect automatically capitalizes the next letter, so you end up with two punctuation gaffes, not one.
Thanks, Kristen!

Author Kristen Lamb's avatarKristen Lamb's Blog

Screen Shot 2016-06-24 at 10.43.36 AM

Today we are going to talk about dialogue. Everyone thinks they are great at it, and many would be wrong. Dialogue really is a lot tricker than it might seem.

Great dialogue is one of the most vital components of fiction. Dialogue is responsible for not only conveying the plot, but it also helps us understand the characters and get to know them, love them, hate them, whatever.

Dialogue is powerful for revealing character. This is as true in life as it is on the page. If people didn’t judge us based on how we speak, then business professionals wouldn’t bother with Toastmasters, speaking coaches or vocabulary builders.

I’d imagine few people who’d hire a brain surgeon who spoke like a rap musician and conversely, it would be tough to enjoy rap music made by an artist who spoke like the curator of an art museum.

Our word choices are…

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#amwriting: point of view

Connie does a terrific job of explaining POV here. True, very, very skilled writers can “head-hop”—Larry McMurtry does it all through the Lonesome Dove books—but for most of us, suddenly slipping from one POV to another without the kind of warning Connie suggests is jarring. I’ll add that one of the easiest mistakes to make is for a POV character, whether third- or first-person, to “see” him- or herself. For example, if we want to stay true to the character’s point of view, we can’t say about a POV character, “I gave an enticing smile.” The character can give a smile that “I hoped was enticing,” or “I meant to be enticing,” but only a viewer (another character) can tell if the smile actually was “enticing.” These slips can be subtle but disorienting.
Read Connie’s piece for a good review of this important issue!

conniejjasperson's avatarLife in the Realm of Fantasy

Xpogo_RioA young author recently asked me, “What is head-hopping and why has my writing group accused me of doing it?” Headhopping occurs when an author switches point-of-view characters within a single scene, and happens most frequently when using a Third-Person Omniscient narrative, in which the thoughts of every character are open to the reader.

It’s difficult to know whose opinions are most important when all your characters are speaking in your head as you are writing. They clamor and speak over the top of each other, making a din like my family at any holiday dinner. But you must force them to take turns speaking, and make a real break between the scenes where the speaker changes, or each rapid shift of perspective will throw the reader out of the story. But what is Point of View other than the thoughts of one or two characters?

Point of view is a common…

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