#either way is fine but with a hyphen is the more correct way to spell her name

[elemonsters]

some concept art before bed for the first Elemaster I've been happy w the design of - Zo-ei. The class of Elemaster is reserved for Elite handlers that have not only gone through the rigorous Elemaster program, but have beaten their regions Grand Champion.

They would be comparable to real world Olympic Athletes, in terms of celebrity status, pay, and status of affluence for the region they come from.

Zo-ei in particular is an Elemaster of Nova, and has complete command over the element as well as her Elemon. In her free time she can be seen racing around the city on her motorcycle. Her helmet is even specially designed to accommodate her Warren ears - safety first! (ill design the helmet at a later time)

[inventors-fair]

Lyrical Poets

There was a pretty diverse set of musical interests represented in this competition - a wide variety of artists and genres, which definitely kept things from getting dull on my end. Without further ado, let’s jump on in!

@antmations​ - Erissa, Bog Witch

Flavour: Spooky big bog witch makes everybody feel like dying. I'm not sure it communicates why I'm better off that way, but I'm sure she knows what she's talking about. Mechanics: A deathtouch creature is already a pretty significant deterrant to attacking, so adding extra downsides makes it especially unattractive. Be careful with effects like this because they often put the opponent in a position where they feel they can't progress the game without dying, which just makes the gameplay grind to a halt. Templating/Nitpicks: Nope, nothin'. Overall: Bog Big witch energy.

Charmera - Bad Moon Risen

Flavour: I respect how literally you played into this, especially the references to old card names. Kudos. Mechanics: Obviously with taking things as literally as you did, the design kinda has to wind up all over the place. My biggest takeaway from this one is that it feels like it should be a Saga that just ticks up through the lines you're referencing. Templating/Nitpicks: On MTG.design, you can use asterisks (*) to drop bullet points into your modal effects. It's super convenient. Overall: The chorus of this song is commonly misheard as "There's a bathroom on the right." That would probably be harder to design. 

@corporalotherbear​ - Tranquility, the Trickster

Flavour: You chose a very simple effect which gave lots of room for flavour text. Just with the lines included I still don't totally understand the why, but it definitely conveys what's going on. Mechanics: This is repeatable removal, and pretty strong removal at that. Red is supposed to be weak against creatures with high toughness, but besides actual-factual walls this will generally circumvent that. Templating/Nitpicks: While a creature technically can fight itself, if you asked players what that means probably 9 out of 10 would get it wrong. The correct way to template this would probably be to just write out, "deals damage to itself equal to twice its power." Overall: It is a heck of a trick, tho.

@dabudder​ - Unbounded Truth

Flavour: The lyric you chose is really wholesome and pleasant. Revealing cards feels like "saying what we mean", though it fights the theme a bit that only our opponents get in on that action. Mechanics: Peek with some incidental lifegain tacked on sounds reasonable, I suppose. Control decks probably wouldn't mind knowing what answers they need to dig for while giving themselves more time to do so. Templating/Nitpicks: You're looking for "card", not "spell", and converted mana costs are "high" rather than "great". It probably comes out, "You gain life equal to the highest converted mana cost among cards revealed this way." Overall: Thanks for going to the trouble of submitting it until it went through. I expect next week to go a little smoother for you. 

@dim3trodon​ - Paladin of Silence

Flavour: The lyrics are pretty evocative, and I can imagine a paladin saying (or explicitly not saying?) exactly that line. Good choice to lean on the spell Silence to define what exactly that means. Mechanics: I'm not sure what's Blue about this one. Perhaps it was for the Flash, but it's worth noting that every color has access to Flash for effects that genuinely require it to work - this would be one of those. Templating/Nitpicks: Kudos on being careful around flicker effects, though also be wary when you have to do that. It can be a sign that the core effect isn't very fun. Overall: 

@dimestoretajic​ - Kawejitch, the Unrestrained

Flavour: Thanks for putting a face to the lyric that's been stuck in my head since my childhood. Only a little surprised that face has a trunk. Mechanics: This is functionally unblockable, but Mardu probably adds up to that. The rate could probably use some attention, as an 8/5 unblockable for six is better than anything that's been printed. Putting combat keywords on a creature that's nearly impossible to block feels like a miss; I think it's to really stick the "couldn't hold me back" thing, but I feel like super-menace delivered on that well enough. Templating/Nitpicks: I hope I'm not the only that gets unreasonably happy reading lines of text like this. Overall: I've been talking to myself out loud the whole time I've been typing this. 

@emmypupcake - Burden of Despair

Flavour: Between the art and the flavour text, I can certainly feel the despondency of the situation. Mood. Mechanics: This is reasonably flexible removal, getting rid of little dorks entirely and mosty disabling bigger ones. The power drop feels pretty irrelevant since the creature can't attack or block anymore, but I suspect it's just there for symmetry. Templating/Nitpicks: Yours is one of only a couple submissions that correctly represented both title and artist in the flavour text. I'll be clearer about it in the future, but gold star for you in the meantime. Overall: Bog Big mood.

@fractured-infinity​ - Erase From Time

Flavour: I'm not sure what the art is showing me, but the flavour text does more than enough to set the tone. Gone for good. Mechanics: This is quite the clever little innovation, a variation on White's more permanent exile removal that is relevant in multiplayer. I'm a little curious why it phases instead of exiling, since the nonlegendary clause means it wouldn't hit Commanders either way, and the two are equivalent in most other cases. Templating/Nitpicks: No need for hyphens in "nonland" and "nonlegendary". Overall: This is one of those moments where you come up with a cool concept, you develop an awesome design around it...and somehow that design just no longer fits that concept. The biggest thing keeping you out of the winner's circle this week was that your innovation played in the opposite direction of your theme by making the removal less permanent. Solid design work, though.

@gollumni​ - Guildless Anarchist

Flavour: I assume the flavour text is mostly connecting with the first ability. Some designs just need the added context of a set or cycle to really make sense, and that's okay. Mechanics: Part of me suspects the first ability is a little overcosted, because it doesn't actually net you a card - see Haunted Crossroads for reference. That said, the repeatable removal and/or Lava Axe of the third ability seems pretty strong to make up for it. Templating/Nitpicks: Magic is picky, so you only "return" cards to the battlefield or your hand; you'll just "put" this one where it goes. Also, you'll want to include "untapped" in the cost of the third ability; the rules don't strictly require it, but templating praxis does. Overall: "Slaughtermatic" is my new word of the day.

@hypexion​ - Ravenous Extraction

Flavour: I've never heard it, but even just reading it that flavour text seems catchy. It has a clear message, and the Treasure tokens have added meaning thanks to the "inheritance" line. Mechanics: This hearkens back to Squandered Resources, both mechanically and thematically. Moving it to Red is probably correct in the modern color pie, though admittedly I'm not sure at what rate either of these effects would be fair. Nyxbloom Ancient triples your mana more permanently for seven, so...maybe five is fine? Templating/Nitpicks: For poetry, line breaks are as much a part of the writing as the words. If it's not possible to fit with line breaks intact, you'll want to include slashes to indicate where they should be. Geist of the Moors is an example of what that looks like. Overall: I'm going to have to look up this song to see how close it sounds to how I'm reading it.

@ignorantturtlegaming​ - Angel's Song

Flavour: An angel's song is definitely magic-appropriate flavour, and has a lot of room for interpretation. "Eternal life" as doubling your life total makes sense, though the burn part feels more like punishing the gathering than calling it. Mechanics: Moving Sphinx's Revelation to sorcery speed does hurt its power level, though I'm not sure it does it enough to compensate for all the upsides this has. Having the option of using it as a sweeper is huge, and the life doubling on top of the first mode seems like it gets out of hand quickly. Templating/Nitpicks: Modal spells only really have their modes. If you want the conditional part to occur regardless of which mode you pick, the correct way to do that is to include it in both modes. I agree this feels weird. Overall: A song called The Gathering was such an apt choice, kudos.

@illharg-the-rave-boar​ - The Key and the Gate

Flavour: I'm definitely picking up the "thrall to Yog-Sothoth" feel. And the card is powerful enough that it communicates a sense of powerlessness against cosmic forces. Mechanics: This card is quite the beating, but I suppose three-color, seven-mana spells generally should be. This is a pretty clear 'game over' in most cases - unless your opponents have another source of cards, the fact you're stealing one each turn and doming them for 7 every time they whiff should end the game pretty quickly. Templating/Nitpicks: There are enough details of the lyrics that lend themselves to Magic vocabulary (rainbow, cascade, even walls) that I wish the design were a little more explicit, but I understand there's only so much room. Overall: Songs these days really have nothing on great old ones.

@khyrberos​ - Neutral Physician 

Flavour: Few things make me happier than "deniability" on a card that  literally denies an ability. This has a few different things going on, but they're all pulled reasonably well from the text you're referencing. Mechanics: All the different pieces of this card kinda drag it in different directions. While they're clearly pulled from the lyrics, they don't really create a unified mechanical identity, which makes it hard to imagine how a card like this should be used. Templating/Nitpicks: If you want it to counter death triggers, you can actually just do that. "Counter target triggered ability if a creature dying caused it to trigger" does what you want without the weird timing restriction. Overall: I think there's actually something here, it just needs a little polish.

@macaroni-and-squeez​ - Rising Form-Claimer

Flavour: Using the untap trigger to show the creature "woke up" that way is really clever. Mechanics: The delayed trigger feels a little hard to track, and I can't help but think there must be a simpler way to achieve a similar feel. I do like the fact that the tap in the cost of the ability sets up the untap trigger, which makes the design feel internally consistent. Templating/Nitpicks: There's a comma missing between your costs, and you probably mean to say "When CARDNAME becomes untapped during your next untap step," otherwise the trigger hangs around indefinitely and goes off every time it untaps. Overall: Is this thing skinless until you activate the ability? Oh no.

@machine-elf-paladin​ - Goblin Firework Festival

Flavour: This line feels so much like a goblin rhyme, I'm really pleased that you felt that in it too. The unpredictability of the end result, and flavour of blowing up your friends and fireworks feels very resonant. Mechanics: This is a finisher, with a pretty clear multiplayer leaning. I think in practice this would generally kill whichever player is at the lowest life total, encouraging them to sacrifice everything they have, in turn possibly killing another player and encouraging them to do likewise. While the effect feels fun to read, I'm not convined the actual gameplay would feel interesting most of the time. Templating/Nitpicks: Gold star for the use of slashes to indicate line breaks in your flavour text. Overall: I hope this song is as fun as this design implies it is.

@martian-june - Blood Pact

Flavour: Combining a group hug effect with a group slug effect to convey "friends who bleed" is pretty clever. Mechanics: This is an interesting combination of 'White' and Black effects. The card draw is something that Black can do at this rate, and the opponents drawing cards probably covers any cost of the life loss. I'm not sure precisely what deck is looking for the combination of these effects, but it's neat to see them done together. Templating/Nitpicks: I don't think there's any strong reason for the "if" clause, there are very few effects that would prevent that from happening anyway. Overall: I like centered cards too.

@milkandraspberry​ - Taunting Slander

Flavour: I can see how "stupid butt" might get one's hackles up. Them's fightin' words. Mechanics: A fight effect with a little extra reach seems sensible enough. You'll often lose your creature along with theirs, so it's a little bit like a Heartfire. Templating/Nitpicks: "...each get +1/-1..." is the template you're looking for. Apart from that, I'd just like to see the flavour and reminder text italicised - it subtly communicates that I should be reading it differently, which is surprisingly helpful. Overall: Not too strong, not too bad.

@misswamyn​ - Bardic Inspiration 

Flavour: I can definitely imagine how a great song could get your troops a-movin'. I do wish there was a little more to make me feel why this song has this effect, but the overall effect definitely makes sense. Mechanics: The biggest miss is that there's nothing particularly White about it. Otherwise, perfectly solid. Templating/Nitpicks: This is a really simple line of text that has apparently never appeared on a Magic card before. Those are always a treat. Overall: Makes me wonder what the actual greatest song ever would do.

@mistershinyobject​ - Ghastly Grasp

Flavour: Drain is definitely a classically Black way to illustrate the concept of touch. The impression I get is that the creature is the one overwhelmed by your touch, though I'm not sure I immediately connect with the "almost convinced me I'm real" line. That part seems especially poignant, so I'd love to see it show through in the mechanics. Mechanics: You expressed some concern over whether this was allowed in Black - personally, I don't think it's even a bend. Because Black can get full drain at roughly this rate, it certainly wouldn't be a break for it to get only half of that. Dealing damage without any lifegain would have to be a bend then, but this sets itself up to gain life almost every time it's used. I think you're fine. Templating/Nitpicks: Power seems like an odd choice over toughness, just because it feels like it's operating on an entirely different axis. Overall: Killing a Rampaging Ferocidon with this would be so satisfying.

@misterstingyjack​ - Keeper of the Fourth Mystery 

Flavour: I wouldn't have picked up on what this card's flavour text was saying without your explanation, though with the explanation I can pretty clearly see what motivated your decisions. Mechanics: Expanding your tutor effects is an interesting space to play in, I wonder if there's a good way to make it work. Templating/Nitpicks: Unfortunately, this template probably doesn't do it. I don't believe an effect can really look forward to see where the searched card is going to be put, and I'm not sure the search replacement would work as intended anyway. This is a tough templating challenge though, so I think this was a valiant effort. Overall: A honestly hope to see a more polished version of this in the future.

@morbidlyqueerious​ - Lethal Prominence 

Flavour: It works a little hard to convey its theme, but I think it gets there. Mechanics: You're right that it came out a little wordy, and I suspect there's probably a more elegant way to deliver on the notes this is trying to hit. I think it gets dragged in too many directions trying to incentivise everyone (the counters, the Gold, the attack requirement). That said, I do like where it's aiming. Templating/Nitpicks: Nothing stands out, which is good. Overall: This is exactly the kind of lyric I had in mind when I created this challenge.

@nine-effing-hells​ - The First Home of Crafters 

Flavour: It does do the work of tying Dwarves, Artifacts, and Artificers together thematically. Mechanics: Lands that tap for multiple mana are often a problem, and there are enough cheap artifacts that I would expect the other two types to be largey irrelevant. That deckbuilding restriction is a limitation, but history has shown that cheap artifacts tend to be good together without a lot of extra help. Templating/Nitpicks: You noted that the wording on the trigger is hard to follow, and I have to agree. I think it does function correctly though, so points for that. Overall: It's definitely a song.

@quillpaw​ - Mercury in Retrograde 

Flavour: It's hard for me to connect what the flavour text is telling me to the resulting effect, which is unfortunate because each of them seems cool on its own. Mechanics: This is definitely a variant of Kruphix that feels Red. I think it feels a bit bad that it costs so much, because by the time you can start holding onto your mana it's going to kill you pretty quickly trying to do so. I think the downside feels appropriate though. Templating/Nitpicks: Those are two different abilities, so they should be spaced a little differently. And generally you'll want quoted flavour text inside quotations marks. Overall: I still can't figure out if it's a friend or not.

@real-aspen-hours​ - South Wind 

Flavour: Cute to evoke the spell Hurricane for a song of the same name. The second half is...Shatterstorm, which I suppose is on the storm theme? Mechanics: Suspend is something we probably won't see much of soon, and this isn't the kind of effect that plays especially nicely with that mechanic. When your opponent knows a sweeper is coming, they just know not to play into it. Templating/Nitpicks: I put the card image together for you. I think I do good work. Overall: You've got at least three more winds to design now.

@reaperfromtheabyss​ - Question to the World 

Flavour: The design itself asks questions without answering them, which is kind of an interesting place for this to be. Mechanics: The coolest part of this design is that it asks your opponent whether they want to bother dealing with it (and giving you cards) or just letting it live as a minor inconvenience. This came close to winning, and my only problem with this design is that the combination of evasion and hexproof takes most of your opponent's ability to interact with it away, leaving that one interesting question pretty moot. Templating/Nitpicks: Cards would be exiled "with" it, not "by" it. Overall: Did they ever get an answer?

@scavenger98​ - Horizon's Turn 

Flavour: I definitely get the sensation of leaving the surface world behind and taking to the skies, which is a neat story. Mechanics: This a tough one. It's a six-mana (twelve, if you count the skipped untap) sorcery that can often do actual nothing depending on your opponent's deck. The frustrating part is that there's no real way to build around it, because it relies entirely on your opponent's things. Also, skipping untap steps is just rough. Templating/Nitpicks: Nope, nothing in particular. Overall: I feel like there's more story to this than I'm picking up on, and it genuinely makes me want to know more.

@shakeszx - Leave Breathless 

Flavour: The "doesn't untap" clause is normally used for ice effects, but I can see it being used for breathlessness. Adding the activated ability bit certainly sells it as something different. Mechanics: Split second isn't a favourite of mine, but I suppose it's there to make sure the activated ability line gets to do its thing. This is only moderately better than normal freeze effects, so I'm not sure the color-intensive cost is really necessary. Templating/Nitpicks: It's a little weird that the effects last for different periods. I'd probably just attach the activated ability limitation to "until it becomes untapped", as many activated abilities won't be usable until then anyway. Overall: That line is a pretty good choice, I gotta say.

@snugz​ - Caught in the Act 

Flavour: A song as well-known as this one is a bold choice because it comes with so many preconceptions. I'm not sure I'm picking up where all the different parts are fitting together thematically, and that could be part of it. Mechanics: This is some nifty little soft removal. It feels a bit like a Blue Stab Wound - most often, this will be used to immediately kill small opposing creatures (by leaving up a blocker big enough to eat it in combat), but occasionally it’ll be stuck on something harmless to achieve the recurring effect. In most cases, mill two each turn is not going to be too scary (and is even an upside at times), but in a mill deck every recurring source of mill is key. Templating/Nitpicks: Reimagining the artist of the song as a character was an interesting little addition. Overall: I would not be at all surprised to see something like this printed in an upcoming set.

@sorustyitshines - Fire-Forged Bond 

Flavour: This definitely conveys the theme of two creatures fighting and enduring hardships together. I feel like you have the space to do a little more to really sell the theme, but it's certainly clear from what you've got. Mechanics: This is an effect that doesn't exist yet, which means it's got that much going for it. I think the theme gives you space for a little more innovation than what you took advantage of; something like "those creatures gain indestructible for as long as you control both of them" is a slightly more unique space that leans a little harder into the story you're trying to tell. Templating/Nitpicks: The effect wants "each of two target creatures", otherwise it sounds like you're splitting the one counter between them. Overall: It probably doesn't need to be rare, but otherwise this is a very printable card.

@teaxch​ - Sink and Drown and Die 

Flavour: I had to actually listen to the song to piece together what was going on, as the flavour text only went so far. That said, aligning the three effects with the three verbs was really cleverly done. Mechanics: My only real qualm here is that your opponent makes all the decisions. This would probably be in the winners’ circle if you picked the three permanents and they picked what to do with them (a kind of Kiss, Marry, Kill effect). Templating/Nitpicks: The existing templating looks perfect, so instead let's imagine the Kiss, Marry, Kill version: "Choose three nonland permanents controlled by the same player. That player returns one of them to its owners hand, puts another on top of its owner library, and sacrifices the rest." Overall: Just hoping the flavour text wasn't aimed at me.

@tmstage​ - The Lone Digger Club

Flavour: You were correct in assuming I'd seen the video, so I did have a sense of what was going on here. That said, I warned that the card was the context I was most interested in, and it doesn't serve to communicate all of that itself. Mechanics: This is a really cute way to evoke the effect you were going for. Forced blocks (and attacks, for that matter) can be done within Blue, and the aggressive feeling definitely justifies the Red inclusion. Templating/Nitpicks: Nowadays attack restrictions refer to "combat" rather than "turn", so that it's clear how they interact with multiple combat phases. Overall: The purple art on a Blue-Red card is so satisfying.

@whuh-oh​ - The Demon Within 

Flavour: I can see how each of part of the lyric is supposed to correspond to one of the activated abilities, though it's not immediately obvious which effect is which line. Mechanics: Free mana is often very strong, and being able to turn 2 life into three mana each turn feels strong - I suppose it's only a turn sooner than Gilded Lotus with a higher color requirement, but it's also a lot more flexible than that. The fact that the third ability doesn't seem to interact with the other two makes it feel a little out-of-place, especially since three abilities and the activation restriction means you could pretty easily have them work cyclically (i.e., have the last ability read "BBB: You gain 2 life."). Templating/Nitpicks: You'll want it to read "only once each turn", because templates. Overall: Form of the Demon is a pretty neat idea.

@wolkemesser​ - Memnarch's Manic Plan 

Flavour: The strongest flavour points for this card go to the fact that it makes you think like the character; you immediately start to imagine the payoffs for doing the thing, and the costs just become an afterthought. I think that was really cleverly done. Mechanics: The biggest obstacle is that this is a bit of a one-card combo. As long as your deck has any game-winning combo somewhere in it, you just build up a lot of permanents and play this, hoping to draw into your combo and immediately have the mana to play it out. Either you succeed and win on the spot, or you don't and your opponent picks you apart while you try to piece things back together. It's possible this gives you enough resources when it works not to immediately fold to pressure, but if that's the case there's just not much risk to playing it after all. Templating/Nitpicks: Looks like you missed the word "cards" after "draw X", otherwise you're golden. Overall: I was really pleased to see Memnarch show up on this, thanks for that.

--

That’s our feedback this week - I wanted to get it out of the way so that you all could focus on @teaxch​‘s challenge starting today. Thank you all again for letting me share one of my favourite design exercises with you, and I hope that some of you will keep it in mind the next time you’re struggling to nail an idea down.

Until next time,

~Mod [ @3smuth​ ]

[rosecorcoranwrites]

Editing Advice Part 4: Copyediting

Now that you have checked your WIP for continuity, addressed every plot hole, and finished all rewrites, it's time to put on the final touches by copyediting!

Now, just to be clear, the term "copyediting" usually refers to when an editor, not the writer, reads the manuscript looking for errors, and it actually does include a lot of continuity editing and fact checking. But this series is for writers editing their own work before another soul reads it (regardless of if the work will then be self-published or sent out to agents and editors). It is my belief that, for a writer, continuity editing should come long before the final stage of the editing process. Thus, for our purposes, I'm going to use "copyediting" to refer to correcting errors in grammar, spelling, punctuation, and other such things.

Obviously, this involves going through your manuscript with a fine-toothed comb, on the lookout for misspellings and typos. However, there are a few items to especially  watch for, roughly broken down into the categories of spelling; grammar, usage, and style; and punctuation, spacing, and everything else.

Spelling

Spelling of made-up or unusual words: If you write fantasy or sci-fi, odds are you're using at least a few words that don't exist in the regular lexicon. Make sure you use consistent spelling for these. This is especially true for different forms of said words. For example, I chose to spell "Lesse" in Lesse's Moor with and "e" at the end, which is easy to remember. Yet, when spelling the adjectival form of that word, I used either an "e" or "a": Lesserian and Lessarian. I had to choose one to use throughout. This goes for non-made-up words as well. "Empyreal" of the Empyreal Palace is a real word (it means celestial), but it's not like I've known how to spell it from my youth, so I still had to double check it every time I came across it to make sure it was spelled correctly.

British vs American spelling: If you spend a lot of time reading books from across the pond, you might have picked up some foreign spellings. As a child, I would always spell "gray" as "grey", because I liked it better, and to this day, that spelling sneaks into my writing from time to time. There are many such words in the English language that you should watch out for.

Hyphens: Make sure that you know which words are hyphenated, and that they are always hyphenated in your manuscript. Pay attention to height and ages: "six-foot tall",  "four-year-old" and so on. Keep consistent for made-up words as well. Will you use "mechano-magical" or "mechanomagical"? Whichever you choose, you have to use that spelling every time.

Homophones and similar words: You might think that this is dumb to mention, since you, of course, know the difference between all the homophones in the world, but that's irrelevant. I know the difference too, yet I mix them up all the time in my writing. Some people picture the spellings of words even as they speak, and I am not one of them. I know the difference between "their", "they're", and "there" like the back of my hand; I still write the wrong one about a third of the time. Why? Because when I write, I'm picturing how the words sound and, moreover, how the scene looks, not how the text will appear on the page. That's what copyediting is for. You can Google lists of commonly misspelled or mixed-up words, or write down your own list if you have certain words you personally get confused.

Grammar, Usage and Style

Subject-verb agreement: By the time you're at this stage of editing, your manuscript is likely a Frankenstein's monster of sewn-together old drafts, and that tends to lead to some weird grammar. Make sure your subjects and verbs agree. That means that if the subject is plural—they, policemen, the dragons, or whatever—the verb has to be one you use on plurals—were, know, have eaten. If the subject is singular—he, a policeman, the dragon—the verbs similarly have to match—was, knows, has eaten. If you're not too keen on grammar, read it out loud and see if it sounds right; even if you don't know all the proper grammatical phraseology, you know English and you'll be able to pick up on errors that you hear.

Writing out numbers or not: Generally speaking, for narrative prose, you should write out the numbers zero through one hundred. For larger numbers, 101 to infinity, you can use numerals, but some guides suggest that numbers ending in two or more zeros should also be written out: two hundred, five million, etc. But I think you can get away with writing out larger numbers as well, like three hundred seventy-three; it looks nicer to me. Whatever you choose to do with larger numbers, stay consistent. Special numbers like years and addresses, however, should be written in numerals: 221 B. Baker Street, 1984, etc.

Capitalization of titles of people: Obviously, if the the title comes right before the persons name, and is thus part of their name, it's capitalized: Queen Delilah, Doctor Mario, Professor Moriarty, President Coolidge. But what about when the title is by itself? Well, it depends on how you're using it. If the title is used to address the person, it's capitalized: "You saved his life, Doctor!" or "Well, Professor, it looks like your theory was wrong." Obviously special title have special addresses which are obviously capitalized: Your Majesty, Mr. President, etc. If, on the other hand, you are talking about the person, or the office in general, it's not (usually) capitalized: "The professor is getting on my nerves!", "That doctor is a quack", "The president has to be an American citizen". However, for certain fancier offices, if you are talking about a particular holder of that office, you do capitalize it. Now, I found a few competing sources on this, but from what I could figure, the only titles that work this way are Pope, King, Queen. Again, you have to be referring to a very specific person to do this: "The Queen has been slain!" "The Pope blessed the travelers". Some sources also said this could be done for the president's of countries, but other said not to, so... I guess pick which way you'll do it an stay consistent.

Punctuation, Spacing, and Everything Else

Extra spaces: Get rid of 'em. This included two spaces after a period (for us old people who learned that that was the correct way to type!) as well as space at the end of paragraphs, between two words, and so on.

Missing punctuation: Don't forget commas after opening phrases like "Well, you see..." or "Of course, I'd never say that," or when separating a name when being addressed: "Are you ok, Constance?". Double check that every paragraph has a period or closing quotation marks; somehow, these seem to disappear on me and I've never figured out why.

Smart quotes, … vs ..., and m-dashes: This is almost getting into formatting territory, but I'm going to include it here anyway. Depending on what word processor you use to write your WIP, there might be some differences in how certain characters are automatically formatted. For example, some programs will turn quotation marks ( " " ) into smart quotes, i.e., one that wrap toward the text and have different opening and closing characters ( “ ” ). Something similar happens to ellipses, which may be typed as three periods (...) but turned into a single character (…). Finally, there is the m-dash, that long dash used in a way similar to a colon. When you type it by itself, it typically looks like two dashes (--), but if you type a letter, then two dashes, then another letter with no spaces between, it turns into a single character (—). I'm in favor of all of these automatic changes, as they look nicer, but depending on where you typed what part of my WIP, they don't always happen. It's a good idea to go though your manuscript and add them in, or set your word processor to change them automatically.

Personal foibles: Finally, know thyself. Are there weird mistakes that you always tend to make? I myself tend not to use question marks (they are a silly punctuation mark and ought not exist!). I have to be careful to check that all of my questions are, in fact, marked as such. Maybe you tend to spell one particular word incorrectly, or are really bad at using commas. Know your weaknesses and make an effort to fix them while writing and catch them while editing.

Tips to Make Life a Little Easier

The greatest tip I can give you is to embrace your Find and Find/Change or Find/Replace functions of your word processor. You'll find these in your edit menu.

Find should be used to check homophones and commonly misspelled words. When editing, I'll Find the word "its" and go through my entire document to check each instance of this word to make sure it should not be "it's". then, I do the reverse, searching every instance of "it's" to make sure it should not be "its". I do this for each of the words that I, personally, confuse. Know thyself; if you never confuse "it's" with "its", don't bother checking it, but if you know that you often confuse "principal" and "principle", use the Find function. You can also use this to Find quotation marks and replace them with smart quotes if your word processor doesn't have the option to replace all quotation marks with smart ones at once.

And then there is my favorite, Find/Change. This should also be found in your edit menu, sometimes with the "Find..." feature and sometimes as a separate "Replace..." option. What Find/Change allows you to do is enter in some word, like, say, "Lessarian" and replace every instance of it with a new word, like "Lesserian". I use this to do a quick fix of made-up words and British to American spellings. I also use this if I have changed character and place names, so that I can replace every instance of, say, "Robert" with "Brother Roberto". It's also useful for catching double spaces, as you can Find "  " (two spaces) and Replace them with " " (one space). You can also replace two dashes with an m-dash or the three-character ellipsis with a single character ellipsis.

And with that, you'll have a sparkly new manuscript, ready for the eyes of agents, publishers, or—should you go the self-published route—your readers. Speaking of which, you self-pub peeps out there might need a bit of advice on formatting and proofreading. I just so happen to have some such advice! But it will take some doing (mostly in the form of screen shots), so that post will have to wait for a while. In the meantime, get to work polishing that manuscript! If you come across some weird editing issue and need particular advice, my email, Facebook messenger, and Tumblr asks and messenger are always open. Happy editing!

[joking-mr-feynman]

A Fiction Writer’s Guide to English

Tips, tricks, and complaints on how to make your story sound a lot better

By a five-year-old someone not qualified to talk about writing

Disclaimer: By no means am I a writer, a linguist, or an expert on any of the subjects discussed below. However, I do read a lot (a lot), published and unpublished works alike, and this post is made to address certain syntactical, structural, grammatical, aesthetic, and linguistic issues that irk me whenever I come across them. The following is my personal opinion (albeit a well-researched one), and if I've said something horribly wrong, by all means tell me and I shall fix it post-haste. Probably.

Again, this is by no means fully comprehensive, and I doubt it is fully accurate, but from what I've read, this list could do a lot, with a few simple tips, to ameliorate fiction and fanfiction stories a thousand-fold; because, to be honest, a spelling mistake or a grammatical error is one thing that will infallibly take me out of a story and will get me to look at it with a much more critical eye. 

Note: the grammar and punctuation rules below (mostly) follow the American set of rules as standard, since I am American, and most fanfiction stories use this standard as well.

I will probably, once the initial post is out there, come and update it when I come across something that would be a helpful addition; feel free also to shoot me a message or an ask if you have a question or need clarification on anything.

These tips are ordered in no specific way whatsoever, and credit goes to all the original creators of the images and posts I reference herein.

Use the passive voice wisely. You'll hear a lot of English Teachers tell you that the passive voice is bad bad bad, and should never ever ever be used. This is not the case. While one should shy away from using it too frequently, there are some cases where the passive voice is acceptable, and even preferable. As a reminder, the passive voice is when the subject of the clause receives the action:        "The ball was kicked." Use the passive voice sparingly; it is best used when "the thing receiving an action is the important part of the the sentence—especially in scientific and legal contexts, times when the performer of an action is unknown, or cases where the subject is distracting or irrelevant". (For more info, go here.

Pay attention to the setting and the time period of your story. While this may seem self-explanatory, I have seen far too many stories where everything is going perfectly until the student who is supposed to be in a London primary school asks his "Mom" to help him with his "math" homework. (The correct words are, of course, "Mum" and "maths”.) Similarly, a gentleman living in 1880's New York will not greet his friends with "Yo, what's up, man? You good? Cool." (Yes, that is an actual line I have actually read.) I know that this can be hard, especially for authors who don't live in the country their story is set in, but a little bit of research goes a long way in making your story sound better. (This doesn't apply to writers who use anachronisms and the wrong words purposefully, for humor or otherwise).

Accents and dialects. When you want a person to speak in a certain accent or dialect, research that accent or dialect a bit to understand the most prevalent words and grammatical form, and use them in your dialogue, and, if in first person, your narration as well. You can also think about adding certain regionally-specific words, spellings and grammatical structures. If imitating a work written in that region, definitely watch the spellings and alternative words, and incorporate them in both your dialogue and your narration. ( “mom” vs. “mum”, “math” vs. “maths”, “color” vs. “colour”, etc.).    e.g., in England:         I was sitting there, laughing --> I was sat there laughing.         curb (street), jail, tires, tv --> kerb, gaol (sometimes), tyres, telly, etc. 

Beware punctuation with dialogue. Use commas. (NEVER EVER EVER CLOSE A DIALOGUE QUOTATION WITHOUT SOME FORM OF PUNCTUATION! There must ALWAYS be either a period, a comma, a question mark or an exclamation point, or an em-dash before the quotation marks close.) The following image perfectly illustrates the proper ways of punctuating dialogue: WARNING: Use em-dashes instead of en-dashes for interruptions. See below. 

Dashes vs. hyphens "-":  hyphen, used to separate parts of compound words and last names. (e.g. five-year-old; pick-me-up; short- and long-term; Lily Evans-Potter) "–":  en-dash (because it has the width of an "N"), used in number and date ranges, scores, directions, and complex compound adjectives. (e.g., he works 20–30 hours per week; the years 1861–1865 were eventful; FC Barcelona beat Real Madrid 3–2; Ming Dynasty–style furniture is expensive) (Note: when you use "from" before a range of numbers, separate the numbers with "to" instead of an en-dash.) "—": em-dash ("M"), can be used instead of parentheses, commas, colons, or for interruptions in dialogue, thought, or narration. (e.g., I know I'm right, and you're — stop throwing things at me!) (For more info, go here.)

Vary sentence lengths. When your sentences are all the same length and all the same complexity, your story starts to sound monotonous. Experiment with length, clauses, commas and semicolons, etc.: “This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety. Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And sometimes, when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals—sounds that say listen to this, it is important.” ��� Gary Provost For more on sentence and paragraph structure, see thewritersguardianangel’s post.

Don't be afraid of contractions. Contractions are common in everyday speech and in everyday writing. Use these, especially in dialogue, since contractions will be used almost all the time, unless the character is older, teaching, or speaking intentionally formally. (A college student is not going to tell his friend "You have got to do this homework assignment, or you will fail the class, and the teacher has caught on to you. He will not be lenient." It'll look more like "You've got to do this homework assignment, or you'll fail the class, and the teacher's caught on to you. He won’t be lenient.")

Avoid overly verbose and complex wording, especially in dialogue. Don't use words that are very grandiose and complicated, especially in dialogue with younger people. A teen might use "merely" once or twice, especially in more formal speech, but will very probably use "just" instead. It makes dialogue more realistic too; real conversations don't often have very hypotaxical, full-of-dependent-and-subordinate-clauses language.

Use italics. Italics are, fortunately, available in all softwares and formatting when writing a story, so one mustn't shy away from using them. They provide a very good way to indicate emphasis, as well as to show anger or frustration without the use of capitals, which just make sentences sound like a petulant child throwing a tantrum. Compare "'I CAN'T BELIEVE YOU!' I yelled." and "'I can't believe you,' I hissed." Much more effective, no? (A good rule of thumb is: italics for everything except someone blowing their top. Think the end of Harry Potter and the Order of the Phoenix.)

Narrative Perspective. Unless using third person omniscient, stick to one narrative point of view for one section of text, and don't change the perspective style in the story. Don't start in third person close (like Harry Potter) and end in first person (like Percy Jackson). A note about third person close: you can change whose perspective the story is told in throughout the story, but separate those perspective changes, either via a new chapter or a scene break ("******"). Perspectives: First Person: usually singular, occurs when the narrator is telling the story. (Moby Dick, Percy Jackson). Can sometimes be plural (A Rose for Emily). Third Person Close/Limited: the narrator is separate from the main character but sticks close to that character’s experience and actions. The reader doesn’t know anything that the character could not know, nor does the reader get to witness any plot events when the main character isn’t there (Harry Potter). Third Person Omniscient: features a god-like narrator who is able to enter into the minds and action of all the characters (Little Women, The Scarlet Letter).

Use the subjunctive for conditionals and hypotheticals. This might be a bit of a controversial topic, so i'll make this optional, but strongly recommended. The subjunctive mood is what characterizes verbs in conditional and hypothetical situations, so wishes, dreams, hopes, predictions, etc. One should be wary of it in dialogue, though, because it isn't widely used. Use it freely in narration. Usually comes after if or that (e.g., I insist that he leaves leave now; If I was were there, I would be happy.)

Write out numbers. Don't use digits, use words. The man doesn't have 200 dollars, he has two hundred.

The verb "said". Unlike many who tell you never again to use the word "said" when constructing dialogue, I won't. "Said" is a good word, and should be used, but not over-used; find synonyms when it starts to get repetitive, and you can also use it with different adjectives to spice it up. Sometimes you don't need a dialogue tag at all. However, don't try to come up with a different synonym for "said" for every dialogue tag, since it just sounds excessively wordy and extremely trite.  A mistake a lot of writers make is the above, which is to replace every single instance of the word "said" with some outlandish synonym. Also, be wary not to replace a dialogue tag with an action verb (which can also lead to a comma splice) (e.g., "I can't believe you," Mike raged, "you're such an idiot!" vs. "I can't believe you!" Mike growled. "You're such an idiot!")

Connect independent clauses correctly. Independent clauses are sentence fragments which have a subject and a verb, and can stand alone as sentences. If one wants to join them into one sentence, however, there are three ways of doing so: One can use a semicolon (as discussed in the punctuation section below), or one can use a comma + coordinating conjunction. A coordinating conjunction is a word that can, after a comma, join two independent clauses, and they are FANBOYS (For, And, Nor, But, Yet, So). (e.g., Alex went to swim in the pool, but Max couldn’t come.) The last way one can connect two independent clauses is with a conjunctive adverb. Conjunctive adverbs look like coordinating conjunctions; however, they are not as strong and they are punctuated differently. Some examples of conjunctive adverbs are: accordingly, also, besides, consequently, finally, however, indeed, instead, likewise, meanwhile, moreover, nevertheless, next, otherwise, still, therefore, then, etc. When you use a conjunctive adverb, put a semicolon (;) before it and a comma (,) after it. They can also be used in a single main clause, and a comma (,) is used to separate the conjunctive adverb from the sentence. (e.g., There are many history books; however, none of them may be accurate.; I woke up very late this morning. Nevertheless, I wasn’t late to school.) These words can be placed pretty much anywhere in the second clause after the semicolon as long as they’re separated by commas on either side (e.g., Mark was happy to have finished his essay; his dog ate it, however, before he could hand it in.)

Punctuation, Punctuation, Punctuation. Watch your punctuation closely, because it can make or break your story. Dialogue punctuation has already been discussed above, but that is for formatting quotations, not for narration and the content of the quotations themselves.

Every sentence or sentence fragment, even it it’s a single word, MUST end with either a period ("."), a question mark ("?"), or an exclamation point ("!"). It can also end with an em-dash ("—") if and only if the thought or sentence is interrupted.

Commas are for separating sentences into more manageable chunks, to separate dependent clauses, and independent clauses with coordinating conjunctions (see below), and to mark off lists. (e.g., I wanted to talk to her, but she had to go shopping for milk, eggs, bread, and cheese.)

Use the Oxford comma. For those who don't know, the Oxford comma is the last comma in a list of things, just before the last item, usually before an "and" (e.g., milk, eggs, and cheese). It helps reduce a lot of confusion, and, while this is a topic that can be controversial, use it to be safe, and to avoid sentences like this: I dedicate this to my parents, my editor and Random House Publishing.

Beware the comma splice. Never ever ever separate two independent clauses (i.e., full sentences with subject, verb, and object) with just a comma. Use a period, a semicolon, or a coordinating conjunction instead. (e.g., A comma splice walks into a bar, it has a drink and then leaves. (for this example, make the comma a period or a semicolon, or eliminate "it" from the sentence.))

Colons (":") are for denoting lists and setting up quoted text (not dialogue. Use commas for that.) (e.g., What I need is this: eggs, flour, and milk.; In Moby Dick, the main character, in the beginning of the book, says: "Call me Ishmael.")

Semicolons (";") are for separating two independent but related clauses, as discussed in the comma splice section above.

Tenses and tense agreements. This is a big one. When writing a story, choose a tense for your narration and stick with it throughout. If you start in the past, as a lot of fiction does, stay in the past until the end. Also, make sure all the tenses in your narration agree with the main tense of your story. (For flashbacks, one of two ways are possible: a blocked off section in italics, with the same tense as the main story, or within the narration, in the tense past the tense of the story (i.e. has -> had; had -> had had)) If events A, B, C happen in order, and we take B to be the "present" in the story (i.e. when the events are unfolding):

Present: B is happening. C will happen. A happened. (I walk down the aisle, happy. Hopefully nothing bad will happen. I wasn't able to cope when the incident last year happened.)

Past: B happened. C would happen. A had happened. (I walked down the aisle, happy. Hopefully nothing bad would happen. I hadn't been able to cope when the incident last year had happened.)

Give your story to someone who hasn’t read it yet. Writing and editing a story is a very comprehensive process, and both you and your beta reader will probably have read it so much that your and their eyes will be jaded and will slide over mistakes. A fresh pair of eves will always be beneficial in sussing out mistakes, typos, plot holes, and the like.

Watch for homophones, misspellings and incorrect word usage. This is the one that is most obvious, and the one that the most people catch and the most people hate. For this reason I will list the most common errors I have seen in hopes of helping those lost souls find they’re way. (See what I did their?) I’ll put in a break to not make this post any longer than it already is: 

Index: v. = verb; n. = noun; adj. = adjective; prep. = preposition; adv. adverb; conj. = conjunction.

There vs. their vs. they’re There = In, at, or to that place or position (Look over there! Who’s in there?) Their = third person plural possessive pronoun (my, your, his, our, their) (This is their car, that one is mine.) They’re = contraction for they are (They’re window shopping.) ex: If you look over there, you can see the Simpsons. They’re looking for their car.

Your vs. you’re Your = second person possessive pronoun (This is your card, that one’s mine.) You’re = contraction of you are (Stop shouting! You’re so loud!) You’re insufferable when you get your report card back.

Too vs. to Too = adverb: to a higher degree than is desirable, permissible, or possible; in addition, also (It's too hot in here; You love the Beatles? I love them too!) To = (prep): expressing motion in the direction of; identifying the person or thing affected; concerning or likely to concern something; identifying a particular relationship between one person and another (walking down to the mall; he was very nice to me; a threat to world peace; he's married to that woman over there) (infinitive marker): used with the base form of a verb to indicate that the verb is in the infinitive, in particular. (He was left to die.)

-'s vs. -s  vs. -s' (and similar apostrophic conundrums) -'s = a contraction for is, has, or us; possessive indicator for nouns. (it's = it is; let's = let us; he's = he is; a car's = of a car; she’s done it = she has done it); NEVER A PLURAL -s = indicator for plural nouns; with it, a possessive indicator. (phones = more than one phone; cars = more than one car; its = of it, owned by it) -s' = indicator of possessive plural nouns, and possessive for words ending in -s. (cars' = of multiple cars; Iris' = of Iris) Come on, let's go, he's not gonna come anytime soon. Iris' car's broken down, and the car's tires' air pressure is almost zero, and its exhaust pipe is clogged. The towing company workers are going to come soon. 

Were vs. we're Were = plural past tense of "to be"; subjunctive of "to be" (We were really happy; If I were rich, I would do this.) We're = Contraction of "we are" (We're going out tonight!) If I were you, I would have made your announcement when we were all together. Now we're all doing our own thing.

Who’s vs. whose Who's =  contraction of who is (Who's doing this?) Whose = belonging to or associated with which person (Whose pen is this?) Who's drawing on the board? Can you tell whose handwriting that is?

Who vs. whom Who = what or which person or people, the subject of a verb; used to introduce a clause giving further information (Who ate my apple?; Jack, who was my best friend) Whom = what or which person or people, the object of a verb (By whom was my apple eaten?) Who left this jacket here? To whom does it belong?

X and I vs. X and me X and I = (= we) used when both subjects are the subject of the verb. (Mike and I went to the mall.) X and me = (= us) used when both subjects are the objects of the verb. (My father took Mike and me to the shop.) A good way of figuring out which one to use is to get rid of the second person altogether, and see which pronoun you would use in that case: Mike and I went to the shop –> I went to the shop; He took Mike and me to the shop –> He took me to the shop.

Wary vs. weary Wary = (adj.) feeling or showing caution about possible dangers or problems. (Be wary of strangers.) Weary = (adj.) feeling or showing tiredness, especially as a result of excessive exertion or lack of sleep; reluctant to see any more of; (v.): to cause to become tired (He looked at me with weary, sleepless eyes.) His long day’s march had made him weary, but, wary of possible dangers, he made himself stay awake and keep watch.

Affect vs. effect (for our purposes, excluding obscure definitions) Affect = (v.) to have an effect on; to bring a difference to (The US foreign policy greatly affected European trade.) Effect  = (n.) a change that is a result or consequence of an action or other cause (The US policy's effect on European trade was largely detrimental.) Judaism's effect on Christianity largely affected the New Testament.

Could of, would of, should of THESE ARE NOT WORDS. They sound like real ones, but they're not.  The correct forms are: could have, would have, should have. (You can also contract them to could've, would've, should've.)

Lose vs. loose Lose = verb; to be deprived of or cease to have; to become unable to find something; to lose a game (I always lose my keys; If we don’t score soon, we’ll lose; I can’t keep losing people) Loose = adjective; not firmly or tightly fixed in place; detached or able to be detached (These pants are too loose; Let loose! You're too strung-up!) Loose shirts and pants are comfortable, but don't wear them to interviews or you'll lose your reputation and respectability.

Except vs. accept Except = (prep.): not including; other than (everything except for my socks) (conj.): used before a statement that forms an exception to one just made (I didn't tell him anything, except that I needed the money). Accept = (v.) consent to receive; give an affirmative answer to; believe or come to recognize (an opinion) as correct (he accepted a pen as a present; he accepted their offer; her explanation was accepted by her friends.) He accepted every one of her excuses, except for her claim that her dog had eaten her homework.

Peak vs. peek (vs. peaked/peaky) Peak =  (n.): point or top of a mountain; point of highest activity; (v.): reach a highest point (He climbed to the peak of Mt. Everest; I peaked in sixth grade) peaked (US), peaky (UK)= (of a person) gaunt and pale from illness or fatigue. (You look a bit peaked/peaky. Are you ill?) Peek = look quickly, typically in a furtive manner; protrude slightly so as to be just visible (Faces peeked from behind the curtains; his socks were so full of holes his toes peeked through) Don't peek through the curtains!, he said, then climbed to the peak of a nearby hill.

Advice vs. advise Advice = noun: guidance or recommendations (e.g., He's in dire need of some relationship advice.) Advise = verb: offer suggestions about the best course of action to someone; to recommend; to inform. (I often advise my friends regarding their scholastic endeavors; I advise you to take this class; you will be advised of the requirements) Go, advise him about what to do for his relationship; he'll heed your advice.

Suit vs. suite Suit = (n.): outfit, set of clothes, men's outfit with jacket and pants (He's wearing a very nice suit.) (v.): be convenient for or acceptable to; act to one's own wishes; to go well with. (He lies when it suits him; suit yourself; that hat suits you.)    to follow suit = conform to another's actions. (James started eating and Lily followed suit.) Suite = a set of rooms designated for one person's or family's use or for a particular purpose; a set of instrumental compositions (I rented out the honeymoon suite; I love Gustav Holst's The Planets' Suite) The man, dressed in a sharp suit, stepped out of the honeymoon suite, and his newlywed wife followed suit.

Curb vs. curve Curb = (n.): a stone or concrete edging to a street or path (He parked his car on the curb) (v.): to restrain or keep in check (Curb your enthusiasm) Curve = noun: a line or outline that gradually deviates from being straight for some or all of its length; verb: to form or cause to form a curve (The parapet wall sweeps down in a bold curve; her mouth curved down) He parked his car on the curb, just where the road started to curve into the suburbs.

Ladder vs. latter vs. later Ladder = a structure consisting of a series of bars or steps between two upright lengths of wood, metal, or rope, used for climbing up or down something (He climbed the ladder.) Latter = situated or occurring nearer to the end of something than to the beginning; denoting the second or second mentioned of two people or things (The latter half of 1946; Arthur and Richard were friends, and the former died while the latter lived.) Later = comparative of late. (I was late, he was later.) Frank and Emma, while friends, had a falling-out; the former went into the ladder-making business, and, two years later, the latter moved to France. 

Lay vs. lie (re: the reclining or putting down definitions)

Break vs. brake Break = (v.): separate or cause to separate into pieces as a result of a blow; to interrupt (If you pull on the rope too much, it'll break.) (n.): an interruption; a pause from work (You're way too tired! Take a break!) Brake = (n., with equivalent verb) a device for slowing or stopping a moving vehicle. (If you want to stop your car, you have to press on the brakes.) Don't step on the brake so hard! You'll break both our necks!

Taught vs. taut Taught = past tense of "to teach" (I taught middle schoolers in Boston for three years.) Taut = (adj.) stretched or pulled tight, not slack; (of muscles) tense and not relaxed (The rope was pulled taut; all his muscles were taut and straining) In the fitness class my friend taught, he said that you shouldn't keep your muscles taut all the time.  

Through vs. threw Through = (prep.): moving in one side and out of the other side; continuing in time toward completion of; so as to inspect all or part of; by means of (a process or intermediate stage) Threw = (v.) past tense of "to throw" I threw the ball straight through the doorway.

Retch vs. wretch Retch = (n., v.) make the sound and movement of vomiting (When I saw the blood, I retched.) Wretch = (n.) an unfortunate or unhappy person; a despicable or contemptible person. (the wretches were imprisoned; ungrateful wretches) I almost retched at the thought of being nice to that ungrateful wretch.

Ring vs. wring Ring = 1. (n.) a circular band; a group of people or things arranged in a circle. (Her engagement ring was beautiful; the men stood in a ring.) 2. (v., associated n.) make a clear resonant or vibrating sound; (of a place) resound or reverberate with (a sound or sounds) (Church bells are ringing; the room rang with laughter) Wring = (v.) squeeze and twist (something); break by twisting it forcibly (I wring the cloth out into the sink; I wrung the animal's neck) If you don't stop that alarm from ringing, I'm gonna wring your neck!

Bear vs. bare Bear = 1. (v.) To carry; to support; to endure. (He was bearing a tray with a tea service on it; weight-bearing pillars; I can't bear it!) 2. (n.) a large, heavy, mammal that walks on the soles of its feet, with thick fur (Polar bear) Bare = (adj.) not clothed or covered; basic and simple (He was bare from the waist up; the bare essentials of a plan) Apparently, men can't bear to see women's bare shoulders.

Pose vs. poise Pose = 1. (v., w/ associated n.) assume a particular attitude or position in order to be photographed, painted, or drawn (She posed for the camera). 2. (v.) to present or constitute (a problem, danger, or difficulty); to raise (a question) (This storm is posing a threat to our summer plans; a statement that posed more questions than it answered) Poise = (n.) graceful and elegant bearing in a person. (Poise and good manners can be cultivated.) Poise is not just striking a haughty pose; it's about how you hold yourself.

Pore vs. pour Pore = 1. (n.) a minute opening in a surface (this opens up the pores in your skin) 2. (v.) be absorbed in the reading or study of (I spent hours poring over my physics textbook). Pour = (v.) (especially of a liquid) flow rapidly in a steady stream; to cause a liquid to do so (The water poured off the roof; I poured myself a glass of milk). As I was cleansing my pores with a face mask and poring over my favorite book, I accidentally spilled the water I had poured myself all over my pants.

Breech vs. breeches vs. breach Breech = the part of a cannon behind the bore. Breeches  = short trousers fastened just below the knee Breach = an act of breaking; failing to observe a law, agreement, or code of conduct, or the action of doing so (A breach of contract; the river breached its banks) (Come on, guys, no one wants to hear about an army trouser-ing the perimeter.)

Rend vs. render Rend = (v.) tear (something) into two or more pieces (teeth that would rend human flesh to shreds) — Note: the correct term is heartrending, since whatever does that rips the heart in two. Render = (v.) provide or give (a service, help, etc.); cause to be or become; represent or depict artistically (A reward for services rendered; the rain rendered my escape impossible; the eyes are exceptionally well rendered) The artist's rendering of the wolf's fangs, which would easily rend human flesh to shreds, was amazingly realistic.

Damnit It's either dammit or damn it. The "n" disappears if it merges into one word, but stays if it's two.

Conclusion: Look. Writing is hard. I know. Some of the above tips seem fairly obvious, and I know that mistakes, errors, and typos happen and go unnoticed. That being said, if you apply these tips regularly, and devote a bit more time to proofreading and editing, the quality of your story and the satisfaction of a lot of your readers will increase tremendously. Authors, I know writing is a thankless job, and many of you are sacrificing your own time to satisfy your followers and your readers; and for that, on behalf of your readers, and even on behalf of those that read and don’t leave reviews, thank you. Do not ever think that this post is meant to belittle you or your devotion to your craft; it is just a list of hopefully helpful suggestions that can help you and, with it, please those readers — like me — who are unfortunately too picky for their own good. And again, use these tips freely (I take credit only for putting them together), good luck, and know that you are universally loved for your efforts, past, continuing, stopped, or postponed. Thank you.

[scribero-blog]

What’s the difference between editing and proofreading? Jan. 10

The discussion about the definition of proofreading and its difference from editing is pretty long. Here is what Leah McClellan thinks:

“A lot of beginner writers and even more experienced writers wonder: What’s the difference between editing and proofreading?

And what’s copyediting?

Then there’s developmental editing, substantive editing, and stylistic editing. Structural editing, line editing, project editing, technical editing, and fact checking. Even proofreading is sometimes (erroneously) called editing, although there is such a thing as editorial proofreading.

Gah! What’s a writer to do?

If you Google “types of editing” you’ll get all sorts of confusing information. On top of that, in the blogging world an “editor” is sometimes more of a WordPress geek or administrative assistant than anything.

But it’s not really all that complicated. And every writer should have a good understanding of the editing and proofreading process. Even if you never hire or work with an editor or proofreader, you should be taking care of these steps yourself.

And chances are good you already are.

Stages of writing

Editing is probably the most confusing concept whereas copyediting and proofreading are fairly specific. Let’s take a look.

Any type of writing ideally goes through four stages in order: writing, editing, copyediting, and proofreading.

We know what writing is, so let’s skip that part and move on to editing.

Editing definitions are confusing partly because of the overlap with writing early in the editing process. And later, a bit of a blur occurs between final copyediting and proofreading.

Plus, professionals use terms in their own way, and that might be different from the ways others use them. Publishing houses, editorial service companies, and freelancers all have their own definitions within certain boundaries.

For example, developmental and substantive editing are often used interchangeably. Stylistic editing can be performed as a separate step, but it’s more often part of some other editing process. And copyediting is usually synonymous with line editing—but not always.

Let’s look at editing as improvements made after the writing is in fairly good order but before focusing on small details.

This stage is most often called developmental or substantive editing.

The big picture: Developmental or substantive editing

Think of a novel. The first step in the editing process is developmental editing, sometimes called substantive editing.

During this process, editors review the entire manuscript from a broad perspective and suggest improvements in organization, structure, and consistency. They might also point out problems with characterization, point of view, tension, or conflict. Or maybe the story has too much dialogue or the setting needs more detail.

At this stage, editors don’t focus on fixing awkward sentences, misspelled words, or punctuation. Instead, a developmental editor’s job is to improve the story itself—the big picture—from beginning to end. This applies to non-fiction writing as well.

And bloggers, by the way, do the same thing with their blog posts, especially the lengthy epic posts. The big picture has to be in place before detailed editing can begin.

Developmental editing can blend into substantive editing, which focuses on the finer points of structure: chapter or paragraph organization, transitions, and even sentences. It all depends on the company or organization and how they’re defining editing.

Substantive editing can also refer to heavy copyediting (discussed below), and it can mean almost a complete rewrite at the sentence and paragraph level. As you can see, there’s an overlap in each direction.

In your own writing—let’s say a blog post—developmental editing includes deciding on details you want to include or delete. Organizing your information and refining your focus is also a part of this stage. And if you’re using an extended metaphor, you’ll want to be certain it’s carried through the entire blog post, as in this case.

When the blog post is in 100% solid shape—or you think it is—it’s time for copyediting.

The fine-tuning: Copyediting

Also called line editing, copyediting takes place mainly at the sentence level.

It means correcting grammar, spelling, and punctuation. Awkward sentences are reworded, and verbiage is eliminated for conciseness. Excess passive verbs are exchanged for active verbs, and transitions might be added in between and within paragraphs.

Style issues can also be a focus during this stage. In my own writing, for example (even in this blog post), I have a tendency to use formal, academic language even when I want a casual tone. By reading out loud, I can spot it and improve it since I don’t talk that way (far from it).

Consistency issues are also checked such as capitalization, hyphenation, and numbers spelled out or represented as numerals (four vs. 4). Plus, lists are checked for parallelism; each item should have similar structure and start with the same part of speech (nouns, verbs, etc.).

Think of it this way:

Copyediting isn’t the big picture, but it doesn’t require a microscope.

You can break it down into three different types: heavy, medium, and light copyediting.

Heavy copyediting is the kind that blurs into substantive editing as described above. It can mean almost a complete rewrite at the sentence level.

But it could also mean working with a non-native, non-fluent English writer. The content might be fantastic from a developmental perspective, but sentences are cumbersome, paragraphs need better organization, and word choices aren’t the best. And that means heavy copyediting.

Light copyediting means the writing has little need for improvement. Wordiness is corrected here or there, punctuation or a subject-verb agreement mistake is corrected, or a few sentences are broken up or joined for clarity.

In some cases, light copyediting is what the writer has requested of a freelance editor regardless of actual existing issues. In this case, only the most glaring or problematic issues are corrected.

Medium copyediting, of course, comes in between light and heavy.

And by the way, you might see copyediting spelled copy editing (with a space) or even copy-editing (British). I prefer copyediting since it’s a single concept just like copywriting, which is always spelled as one word.

The goal of copyediting is to produce writing that’s as close to perfection as any writing can ever be. But one final step is critical, and that’s proofreading.

Now put it under the microscope: Proofreading

No matter how skilled a copyeditor is, proofreading requires a different focus. And even if a copyeditor is an excellent proofreader, the two tasks should be done separately.

And that applies to writers doing all the work on their own. When you’re thinking about grammar and style, you won’t see that extra space or missing quotation mark.

It’s like using a different part of your brain for writing and copyediting and another part for proofreading.

Proofreading is science, editing is art.

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Here are two ways to remember what proofreading is about:

1. Proofreading proves the article or manuscript is ready to be published.

Everything else is—or should be—done.

2. Proofreading makes tiny adjustments and corrections, not big changes.

A proofreader scrutinizes the writing for minor spelling errors, extra or missing spaces, missing or double end punctuation, margin consistency, fonts, numbering, and so on. With website copy, links are checked for accuracy, and a proofreader might even examine keywords and meta data behind the scenes.

If copyediting errors are found, professional proofreaders check back with the copyeditor (if one exists) rather than make the changes themselves.

Proofreading can overlap into copyediting

Like types of editing, proofreading doesn’t have strict boundary lines. Proofreaders don’t ignore misspelled or incorrectly used words (peak instead of pique, for example) that a copyeditor missed.

But whether a proofreader has liberty to make changes depends on the job definition within a publishing house or other company. Sometimes a large company employs editorial proofreaders who have more leeway with copyediting than typical proofreaders. Other times, only one or two editors do all the editing and proofreading work.

At a small local newspaper, for example, a freelance writer might submit articles to the only person who sees them before they’re published: the editor. That editor might be one of several department editors, but if the budget is tight, copyeditors or proofreaders don’t exist. And in that case, editors either approve articles as they are or handle copyediting and proofreading themselves (or pass it on to an assistant editor).

For your own proofreading:

If you’re reworking convoluted sentences or replacing technical jargon with more common words, you’re not proofreading. You’re still in the copyediting stage, and it’s best to start fresh with proofreading or you’ll miss something.

If you do find a bigger problem while proofreading, you could highlight it and return to it later. That way, you won’t lose your proofreading focus.

But be sure to re-proof the entire paragraph when you make changes during this last stage. It’s very easy to introduce new errors when switching between proofreading and copyediting. (Ever see a double or missing word in a blog post? Yep, that often happens at this stage.)

~~~

Remember, developmental and substantive editing are the main types of editing, and they’re all about the big picture.

Copyediting is a separate entity, and it focuses on fine-tuning at the sentence level.

Proofreading is a completely different step. It requires a microscope (so to speak), and it’s done only when all other editing is complete.

Your turn! What challenges have you faced while editing or proofreading your own writing? Have you worked with an editor or proofreader? What was your experience like? Comments and questions are always welcome.”

Source: http://simplewriting.org/whats-the-difference-between-editing-and-proofreading/