When you wake up in the morning, do you whack the alarm clock to shut it up, or do you lovingly press the snooze button to show your alarm clock just how much you appreciate the job it does? When you get home from a long day, do you take your sneakers off and fling them to the side without a second glance, or do you kindly untie them and give them a nice, cool "bath" to help them relax? Did you ever take notice of how much we abuse the objects we use in our lives? Write a story or a poem from the point of view of something that you use every day—such as your cell phone, your hairbrush, your toothbrush, your car, etc. Give them a voice to let the world know just what it's like to serve you, literally, hand and foot.

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Than versus Then

"Than" is a conjunction and is used in making comparisons:

I would rather eat a banana than a kiwi.

"Then" is an adverb relating to time:

We'll catch the train, then meet at the library downtown.

Let's versus Lets

"Let's" is a contraction for "let us," and "lets" is a verb, meaning to allow or permit:

Let's hope he lets us bring our notes.

If versus Whether

"If" refers to one possibility; "whether" refers to more than one possibility.

I don't know if he wants to go with us. He'll have to decide whether he wants to get a ride or meet there later.

Infer versus Imply

"Infer" means to draw a conclusion.

The readers inferred that the article was meant to draw attention to the refugees' plight.

"Imply" means to suggest or hint.

The article implied that aloe vera can decrease scarring due to burns.

Compared To versus Compared With

"Compared to" is used when pointing out similarities:

My tuna casserole was compared to a science fair experiment gone bad.

"Compared with" is used to point out differences:

My casserole was delicious compared with the slop the others brought.

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Looking for that perfect quote to end your e-mails or to keep motivated as a writer? Some of these will help. 
As provided by D. Pacini and Mike Geffner's blogspot (http://mikeswritingworkshop.blogspot.com).

A writer is someone for whom writing is more difficult than it is for other people.
~Thomas Mann

Many books require no thought from those who read them, and for a very simple reason; they made no such demand upon those who wrote them.
~Charles Caleb Colton

Success is a finished book, a stack of pages each of which is filled with words. If you reach that point, you have won a victory over yourself no less impressive than sailing single-handed around the world. 
~Tom Clancy

If I lose the light of the sun, I will write by candlelight, moonlight, no light. If I lose paper and ink, I will write in blood on forgotten walls. I will write always. I will capture nights all over the world and bring them to you.
~Henry Rollins

The pen is the tongue of the mind.
~Miguel de Cervantes

It's true that writing is a solitary occupation, but you would be surprised at how much companionship a group of imaginary characters can offer once you get to know them. ~Anne Tyler

Like stones, words are laborious and unforgiving, and the fitting of them together, like the fitting of stones, demands great patience and strength of purpose and particular skill.
~Edmund Morrison

Books aren't written—they're rewritten. Including your own. It is one of the hardest things to accept, especially after the seventh rewrite hasn't quite done it.
~Michael Crichton

It is not a bad idea to get in the habit of writing down one's thoughts. It saves one having to bother anyone else with them.
~Isabel Colegate

You must want to enough. Enough to take all the rejections, enough to pay the price of disappointment and discouragement while you are learning. Like any other artist, you are learning your craft—then you can add all the genius you like.
~Phyllis Whitney

Everyone who has ever taken a shower has had an idea. It's the person who gets out of the shower, dries off, and does something about it that makes a difference.
~Nolan Bushnell

A writer doesn't solve problems. He allows them to emerge.
~Friedrich Dürrenmatt

There is only one trait that marks the writer. He is always watching. It's a kind of trick of the mind and he is born with it.
~Morley Callaghan

Writing is the only thing that...when I'm doing it, I don't feel that I should be doing something else instead. 
~Gloria Steinem

If you are pointing out one of the things a story is about, then you are very probably right; if you are pointing out the only thing a story is about you are very probably wrong—even if you're the author.
~Neil Gaiman

If any man wish to write in a clear style, let him be first clear in his thoughts; and if any would write in a noble style, let him first possess a noble soul.
~Johann Wolfgang von Goethe

I always try to write on the principle of the iceberg. There is seven-eighths of it underwater for every part that shows.
~Ernest Hemingway

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If you've ever wondered about the different kinds of editors out there, you're not alone. Here's a quick breakdown of the editing process:

An acquisition editor works for a publisher and makes the decision whether your work is something their house is interested in or not. He/she generally won't offer much in the way of editorial comment, other than "please send more" or "no thank you."

In developmental (or substantive) editing, the editor works closely with the author, offering suggestions on subject, format, organization, and general style. In some cases, this consultation begins before the actual writing. Throughout the editing process, the editor will suggest ways to improve readability, overall flow, and the general tone of the piece; he/she will identify gaps in the plot, pacing problems, and faulty character development. The focus is on the overall content, and the development editor will not be looking for spelling errors or punctuation problems.

Next comes the copyediting, which focuses more on the technical than the content. The copy editor makes sure your spelling, grammar, and punctuation are correct, your similes make sense, and your villain doesn't tie up the heroine with "duck" tape. This editor will also check for awkward sentence structure, confusing metaphors, and subject/verb agreement. Consistency is also checked so that the spelling of the main character's name doesn't change halfway through the work and the name of the planet she lives on stays the same throughout. Copy editors in publishing houses often work off style sheets to ensure that the house style is consistent, and freelance copy editors usually defer to style manuals such as The Chicago Manual of Style, unless otherwise instructed.

Proofreading is much the same as copyediting, unless it's production proofing. Technically, production proofreaders check the final galley proofs before they go to print. They check for formatting issues (margins, fonts, headings) and catch any errors the copy editor may have missed. They may also check two manuscripts against each other for uniformity.

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A writer's group is an informal gathering of writers who meet once a month or more to share their work, offer advice and criticism, and generally support each other. These groups are also a great source of writing-related news and industry leads (especially online groups).

Writing is a solitary endeavor, so it's only natural that some writers are drawn to groups of like-minded souls. No one but a fellow writer can properly appreciate the pain of a terse rejection or the angst of yet another creative block. And when it comes to encouragement and constructive criticism, leave it to your fellow writers to step up.

That's the concept behind writer's groups. Reality is often different, and even if you find a group that fits your criteria, you may find that you don't work well in a group dynamic. If you do work well with others, you may have to try out several groups before finding that perfect fit.

What to look for:

Dynamics. Does each member contribute more or less equally? Or does everyone defer to the strongest personality in the group? Does everyone contribute work to be read, as well as read other writers' work? Or do the same two people do all the critiquing while the rest do all the writing? Look for a group dynamic where equality reigns.

Positive atmosphere. There's far too much rejection in the writing world already, and an overly negative atmosphere does not do anyone good. Look for a group that offers constructive criticism as well as encouragement and praise. If you feel like a minnow in a pool of bloodthirsty sharks, it's time to seek out another group.

No fawning! Just as biting comments and harsh criticism hurt, so do the insipid remarks of the well-meaning. While "It was so great!" feeds our ego, it does nothing to improve our craft. Intelligent insight is welcome—vague, obsequious praise is not.

A common goal. If your goal is publication, find a group with the same collective goal. Or it might be your intent to get your feet wet and start learning how to be a better writer. Find a group that will help you with your particular goal.

Logistics. Obviously, you're more likely to attend meetings if they aren't held 40 miles away at 9:00 p.m. And you prefer meeting in a bookstore or a quiet café over that punk rock bar in the red-light district.

Online Groups

Online writer's groups are also very popular and especially handy for those who live in less populated areas. It's also convenient to operate this way, as you may pick and choose what you want to crit, when you want to crit. However, this can also translate into a lack of commitment, as folks pop in and out as they like.

In a physical setting, each writer gets their work read and critiqued. In an online group, stories and poems and portions of manuscripts are either posted online or e-mailed to select members. Critiques can be posted in either a public forum or on the writer's personal area. You have the freedom to choose to critique work of a certain genre or form (only poetry or horror, for example) or by a few select writers whose work you like.

A word of caution, however. Sometimes it's easier to be cruel when you're not looking a fellow writer in the face, so take care with your criticism when in cyberspace. On the other hand, if you've encountered someone who is offensive to you in some way, it's easier to avoid them than if you sat next to them in a physical setting.

In a real-world situation, you're generally forced to deal with the members of your group. And while this is a wonderful opportunity to make new friends and gain valuable input from your peers, there are always those members who make you a bit uncomfortable. We've listed a few types to avoid if you can possibly help it.

Dysfunctional Writer's Group Members

--The Warrior. This is the member who can't just make a point—he has to win the author over to his side of the argument and fight to the bitter end. It's all about winning. And chest-thumping.

--The Alpha-Critiquer. Don't argue with her. She's right at all times, and you are but a lowly, no-talent wimp.

--The Wimp. This is the member who bursts into tears at the first sign of a frowny face, yet has no trouble whatsoever hurling literary barbs at others.

--The Name-Caller. If you write a passionate love scene, you're a sicko. Every sci-fi author is a freak, and watch out if you've used a naughty word or two—you might be labeled a Perv with a capital P. You know this lady. If it's not G-rated and based on her idea of classic American literature, she's not going to like it. And you might end up with a new nickname.

--The Lecturer. This guy has several obscure degrees and was published once in the 1970s. His crits tend to go on for quite some time and are often delivered in a mocking, condescending manner. Gird your loins and grab your dictionary, because this guy uses all the six-syllable words at his disposal.

--The Vampire. This woman lives for blood spillage. She delights in other people's misery and considers writing a combat sport. Sit far away and protect your neck at all times.

--The Egomaniac. This guy has confused "critique" for "brag," and he is a good friend of The Lecturer. Everything he says is designed to show others just how much he knows, how insightful he is, and how many books he's read. You may have to remind him there are others in the room. Don't be surprised if it doesn't help.

--The Genre Freak. Everyone should stick to writing in this woman's favorite genre. Anything else and she'll try to convert you.

--The Wanna-be. She wants to be a writer but doesn't actually want to do any of the work. So she hangs out with writers and talks the talk instead. Give her a goal of 20 pages a week and watch her slink away.

--The Out-of-His-Leaguer. This guy hasn't yet mastered the art of a simple sentence, and the last book he read was in 1980. (Unfortunately, it wasn't a book on improving basic writing skills.)

--The Time-Waster. This woman manages to divert attention from anything related to writing and spends an inordinate amount of time fiddling with her things, clicking pens, searching through her bag, and generally doing anything but paying attention.

--The Obsessed. This writer uses one theme and one theme only for all her work. Or all her characters have red hair and green eyes—no exceptions. Mention this trend and watch her head explode.

--The Creep. This guy's work is a little too focused (obsessed) on preteen girls and their physical development. Plus he wears a trench coat all year round?

Create Your Own Group

If you have tried out a few groups or searched in vain for anything resembling a writer's group, you may have to start your own.

--Find like-minded writers. Teachers, librarians, people who hang out in bookstores, and college students are great candidates. Don't feel guilty about picking and choosing members carefully—it's important to find a good mix of personalities and writing styles.

--Some groups find it best to keep the skill and experience levels of their members similar. You may want to ask for a writing sample from prospective members to make sure they are serious.

--Keep it small, between four and eight members. If you have 20 members, you'll find yourself buried in critiques. Create a plan to keep membership under control.

--Lay out the specifics up front and in writing. When and how often will you meet? What is expected of each member? How much is each person expected to submit and critique?

--Agree on a setting that is quiet and doesn't distract from your work. Avoid meeting places where you have to spend more than the price of a good cappuccino, and make sure it's a location convenient for everyone.

--Set time limits for crit sessions and stick to them. Each person may have ten minutes to evaluate the writer's work, and then it's time to move on.

--Discourage too much chitchat and avoid a happy-hour atmosphere. Make plans to socialize after the meeting.

--Set a positive tone and encourage submission goals. Support, support, support.

Critiquing 101

Critiquing another's work is helpful for you as well. You hone your self-editing skills and fine-tune your sense of what works and what doesn't. You don't have to be filled with the wisdom of the ages to give a good crit. Your input as an intelligent person and a lover of books is valuable. If your first impression is that the work is jumbled and disorganized, the plot difficult to follow, or the characters contrived, the author needs to know this. More experienced writers/critiquers will likely spot more technical problems, such as transition or weak character development, than the general, overall suggestions of the newer writers in the group—but both perspectives are useful.

A critique may well be glowing, but this kind of review is rare and may not be helpful. What is more helpful are specific areas of praise: I loved your transition to the city scene in Chapter 2, or Great metaphor! Criticism sounds like a negative word, but constructive criticism serves a higher purpose. It is designed to give insight from a fresh perspective, and if delivered politely and respectfully, again with concrete examples rather than "I just didn't get it," then it is a positive thing.

Keep an eye out for elements of pacing, characterization, plot, transition, conflict, and dialogue. This is not the time to point out comma errors or typos, unless you've been specifically asked to proofread. You may go over the work more than once with different elements in mind.

Listen to the writer and take your cues from her. If she is a new writer and hesitant to hand over her work, be gentle. This is not the time to tear into her work, or she may never get up the courage to share it again. Some broad, helpful advice is warranted here. On the other hand, if she insists that you be "brutal," then she's looking for some honest advice no matter how hurtful. If the work is posted online, be sure that it is work open for criticism and not just posted for sharing.

Take a moment to assess what the writer is trying to accomplish before you begin your critique. If you take the time to realize the author is going for a dark, humorless stance, you won't irritate him by insisting that he "lighten up." Give specific suggestions and comments. Don't ask the writer to explain himself. This is a group endeavor, not a debate.

Keep it short and to the point. Unless you're posting online crits, you don't want to take up the others' time with long, rambling speeches. It's not feasible to cover every point you'd like to make in one session. Take notes and approach it from another angle next time, if appropriate.

If the writer is hurt or angry over a crit, back off. There may be many reasons for her defensiveness, and you're not going to help the situation by belaboring your point.

Dealing With Criticism

As a writer, you're used to dealing with rejection. Be sure you are able to accept constructive criticism as well, as painful as it may be. Especially when the wide-eyed youngster joins your group and says, "I really loved your characters, but the plot was, like, totally boring!" It's especially painful if the youngster is right. What won't help is to take a defensive stance. If you feel the need to clarify the point, a level-headed discussion is fine if time permits. Sometimes these discussions lead to wonderful and enlightening conversation, but, for the most part, your job is to sit back and LISTEN.

Take notes and review them later when the crit is less fresh (read: less painful). After your ego has had a chance to recover, you may find that your critiquer had a valid point.

Be prepared for many different forms of critique. You may get a story or poem returned with only technical errors pointed out, while another's take might be more theme-oriented. Some members may hate your work, while others love it. Embrace the input as a whole, and take away what you find valuable.

End on a positive note, even if you have to fudge it a little. Egos are fragile, and it takes courage to lower the walls of defense and share your most personal creations. Don't kill this spirit of sharing by trying to be too "helpful."

The common lot of writers is that we all share the anxiety and fear of rejection, whether we're newbies or experienced, published authors. And we all share the love of the written word. So, set your ego aside for a while, and open yourself up for a little constructive criticism. If it doesn't kill you, it'll make you a better writer!

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by D.B. Pacini of www.astarrynightproductions.com, Writer's Relief Client

I serve as a writing mentor for teens and young adults. Fairly frequently, with the desire to be unique, a young person will intentionally spell a word differently than the generally accepted spelling. This is fine in special cases, but I feel it is unwise in most.  For example, if a character is portrayed as a street thug, I don't have a problem with him speaking in slang. If a character is portrayed as a country-folk person, "I'm gittin' ready to fix supper" works.

Recently a young writer wished to spell “skillfully” as “skilfully,” and I advised against it. She provided no reason for the spelling to her reader. She told me that it is an accepted spelling in the dictionary, so she wanted to use it. Although skilfully is indeed an accepted spelling alternate, it is not commonly used in literature, medical, or scholarly text. I believe that most readers will think skilfully is a misspelling and book editors will mark it as a misspelling. Unless this young writer has a specific reason for the unusual spelling, that is obvious to her reader, I think she should use the standard spelling.

When I intentionally use an unusual word, unique expression, or atypical spelling, I make sure that the reason is obvious. An excellent case in point is the current trendy expression: My bad. It is slang and is used to apologize for a mistake. Example: “Sorry, my bad! I forgot to tell you he called and left a message.” This relatively new expression is enjoying huge popularity. Consequently, it is used in a number of TV commercials and TV shows. Actors as young as kindergartners and as old as great-grandparents are saying it to the cameras.

Bottom-line point: We may use any words, expressions, and unusual spellings we wish if we do so wisely and if our readers can easily understand our reasons and our intentions.

Children across America cheered when Dr. Seuss' The Cat in the Hat was first released. It was easy to read and had cool pictures. But best of all, it was interesting. No more "See Jane run. See Spot run. See Jane and Spot run." Theodor Geisel had changed the nature of children's primers by deviating from the traditional monotonous primer style. Instead of using nothing but short, simple, choppy sentences, as children were used to, Geisel worked the same 25 words throughout his text to reinforce vocabulary, and he did this in longer, silly, and varied sentences. It's no wonder his books continue to fly off the shelves today. When a child has a choice between a Dick and Jane primer and Green Eggs and Ham, that child is far more likely to choose "I like green eggs and ham! I do! I like them, Sam-I-am!"

Whether or not you're writing for children, you should watch your own writing for signs of primer-style construction. There's nothing wrong with using short sentences, especially when they're used with a variety of other, more complex sentences. Short sentences pack a punch. But if you find that your text is reading choppy, check for the overuse of primer-style construction. Variety and surprise keep the reader alert and interested, and the same goes for the construction of sentences. A text that reads in primer style is often flagged as amateur.

Here are a few examples of how to create more complex sentences, not only making them more suitable for an intelligent audience but also making the most concise and effective use of words.

Combine independent clauses:

We traveled to the desert. We forgot to bring water.
We traveled to the desert but forgot to bring water.
We traveled to the desert; however, we forgot to bring water.

Use a subordinate clause:

Officer Smith had only two years on the job. He was assigned to the toughest neighborhood.
Although Officer Smith had only two years on the job, he was assigned to the toughest neighborhood.

Eliminate repetition:

My dog is a Beagle. My dog is named Sally. My dog loves to run along the riverbank.
My dog Sally is a Beagle who loves to run along the riverbank.

Use "and" to join two related ideas:

In school Sally learned to multiply double digits. She also learned how to divide fractions.
In school Sally learned to multiply double digits and divide fractions.

Use "but" to show contrast:

Officer Smith had only two years on the job. He was assigned to the toughest neighborhood.
Officer Smith had only two years on the job, but he was assigned to the toughest neighborhood.

Use a participle phrase:

Mr. Jones decided to go bowling without his wife. He wanted to join his friends for a men's night out.
Deciding to go bowling without his wife, Mr. Jones planned to join his friends for a men's night out.

Use an absolute phrase:

Bob clutched his trophy firmly to his chest. He left the bowling alley with a triumphant grin.
His trophy clutched firmly to his chest, Bob left the bowling alley with a triumphant grin.

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Write about eating your favorite ice cream dessert, whether it's in a cup or cone. Once you've described all the possible ways you love it, now write about it without your sense of taste and smell. How do you make that hot fudge sundae appealing to someone who has never had fudge or ice cream before? This writing prompt is designed to bring out the poetics and metaphors in you.

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A blurb is a short summation of your book to help readers decide if they want to invest the time in reading it. The blurb can also be a sentence or two of glowing praise written by a fellow author to help market your book, but for this article we'll focus on the copy that appears on the back cover of a book.

A blurb is much like a short synopsis—you have approximately 250 words in which to summarize your book in a concise, engaging package. And before you panic, you should know that the traditional publishers have editorial staff to write blurbs for you, or they hire freelance help. But if you're self-publishing or need to write a blurb for promotional purposes, such as for your Web site, that's cause for celebration not panic—you have something to blurb about! Your task is to give potential readers an enticing peek into the nature of your book and leave them wanting more.

Here's how.

Carefully follow the publisher's guidelines for length and for other information that must be included. You may also want to study samples of blurbs on other books they've published. The average length of a blurb is between 100 and 250 words. You don't have much wiggle room, and the blurb is no place to try to cover the entire plot, so make each word count.

Identify your audience. If you've written a book of poetry, sum up the general flavor or tone of your work—it could be "a dark collection of soul-wrenching prose," or perhaps they're poems that focus on relationships or nature or Southwest culture. Either way, potential readers will want to know what they're getting into. If your book is an action-packed adventure, you'll want to focus on the major plot points. And a blurb for a romantic saga with a dashing hero should focus on the element of romance and the heroic character rather than the plot itself, unless the plot is as strong as the element of romance. The setting can also be a crucial detail to include if it is central to your book.

Identify what makes your book unique. If your book has a quirky take on a subject, convey this to your potential readers. Is it a true story or based on actual events? If your book is nonfiction, consider the benefits to the reader—does it teach something important and valuable? Impart unique wisdom? Use whatever hook you've got to engage readers.

Match the tone and style of your book to your blurb. If your book is humorous, make sure your blurb reflects that. A dark, ominous tone works well for a thriller but would scare off readers looking for historical romance.

Once you've sketched out your blurb, check to make sure it's clear, concise, and engaging. A rambling, unfocused, wordy blurb gives the impression that your writing will be more of the same. Test your summary out on fellow writers or friends and colleagues who haven't read your book. You need their honest opinions, specifically: Does the blurb make them want to read more? If it does, you've accomplished your goal. Congratulations!

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We've all felt it. The blank look that creeps across our face as we stare at the computer screen. The utter lack of inspiration. The lack of fire. Sometimes we can't bring forth even a scrap of creative genius, and sometimes a once-inspiring idea suddenly goes stale. It's something that happens to every writer, and everyone has his/her own way of dealing with the problem. We've put together a few ideas we hope will help get the word party started.

Coming up with fresh ideas:

Change of scenery. Yes, we know. You hear this all the time, but if it works, it's worth a try. Jump on a bike, hop a train, pull on the sneakers, and go someplace different. It may be a new coffeehouse down the street, an unexplored neighborhood, even a tropical vacation, but the change of scenery may be just what you need to get a fresh perspective.

Eavesdrop. Blatantly and unabashedly eavesdrop on interesting conversations. Take notes. If nothing develops (and you don't get caught), at least you will have honed your dialogue skills.

Carry a notebook. Sometimes our best ideas strike out of the blue, so be prepared and carry a notebook to capture them. Take notes on things you observe, capture interesting characters you encounter on the subway, or record great one-liners you overhear. Sometimes even one word can evoke an entire scene as you review your notes later.

Read. It can be an author whose style you admire or Gerbils Monthly magazine. Read something that inspires you, or check out something you've never considered reading before. If you've always been too embarrassed to buy a cheesy tabloid, do so now with the confidence of a good excuse: we'll call it research. See what ideas are generated by the outrageous headlines, and get out of your own head for a while.

Take a class. Most writers spend an ungodly amount of time in front of a computer screen. Try taking a class that has nothing to do with writing, such as tai chi or cooking. You may meet some interesting people and develop new ideas from the setting. And you'll be more relaxed as you create the perfect souffle.

Free write. Sometimes the act of writing itself can get things started. Get a blank piece of paper and just start filling it up with whatever comes to mind. Be silly, shocking, or close your eyes and try to connect with the other side. Whatever it takes.

Give yourself a deadline. Generate a false sense of panic and tell yourself you have two hours to (fill in the blank). Sometimes working under pressure creates the best product, even if you know you won't be fired if you miss the deadline.

Revitalizing old ideas:

Take a break. If you've been like a puppy and have worried an idea half to death, take a break and work on something else. If the idea is worth salvaging, it will eventually come back to life. If it doesn't work after several breaks, it might be time to start over with something new.

A new angle. Research your idea from an entirely new perspective. Writing a short story about a farmer's disastrous harvest season? Try approaching it from a new angle, such as a farmer's daughter's joyful wedding in the middle of a disastrous harvest season. Want to write about dogs? Imagine your subject from different perspectives, such as dogs from a vet's point of view versus a child's point of view. Brainstorm all possible angles surrounding your idea, and see what develops. If you're unable to revive your passion for the once-hot idea, it may be time to scrap it, either temporarily or permanently. Our world provides a rich feast of ideas for the creative mind, and when the right concept comes along, you'll know it. And write it.

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Write about the vacation you're going on this summer. Who are you going with, and what are your destinations at that vacation spot? Or are you the spontaneous type of person who recuperates at home with a good book? What? No plans yet? Here's your time to get your ideas out and to write your plan into reality. Write about how you will budget your money and/or time to give yourself the treatment you so deserve. Even if you opt not to write a personal essay, writing personal goals on paper can be one of the healthiest things you can do for yourself and your spirit.

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If you pick up a newspaper and a novel, you'll find that numbers are treated differently in each. A newspaper, for example, uses AP style, while most publishers of creative writing follow The Chicago Manual of Style. And while each publisher has its own modified in-house style guide, there are some basic rules you can safely follow for handling numbers in your text.

Spell out whole numbers from one to ten. I found seven mistakes in your essay.

Use numerals after ten. She noticed 37 spotted deer and 46 squirrels.

Round numbers should be spelled out. This year, twenty thousand people are expected to show up. More than six million people crowded the desert city in 2002.

Spell out the number if it is the first word in a sentence. Twenty-four hours are not enough. Nineteen forty-two was a banner year for the company.

Spell out simple fractions, and use numerals for mixed fractions. Altogether, we walked two-thirds of a mile. Use 3¼ cups of milk.

Always use numerals with a.m. or p.m., but spell them out with "o'clock." It is 6 p.m. They'll arrive at seven o'clock tomorrow.

Use numerals to emphasize exact times of day. Catch the L train at 6:23 sharp.

Use a hyphen to join words in compound numbers. The alarm is set for six forty-five.

Spell out the "percent" symbol in creative copy and use numerals. She found 70 percent of the pieces.

For organizations and products, follow the organization's style. 7-Eleven, Six Flags

Use numerals for decimals. Measure it to .09 inches.

Stay consistent within a sentence unless the numbers are unrelated. I needed 6 new patients, not 60! OR: I needed six new patients, not sixty! I have 60 new patients but only three new nurses.

Some other examples:

SPELLED OUT
a hundred years
the nineties
a hundred dollars

NUMERALS
107 years
'90s or the 1990s
$2.41
Highway 66
3198 Main Street
pages 35-37

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As much as writing is a part of our soul, our personal expression, when we’re trying to sell our work, we must keep in mind that we’re writing for an audience. And today’s audience can be tough to please. As you read what you’ve written, consider possible ways your work can keep a reader interested and happy. Is the piece wordy, confusing, or filled with sexist language? Do you overuse certain words or phrases or bore the reader with too much jargon? It’s worth a second look to make sure you’re keeping your reader happy.

You’ve probably never read a novel in which pages and pages are devoted to tedious dialogue, and the reason is simple: chances are slim to none that such a book would get published.

"So, would you like to use our telephone?"

"Yes, please."

"I’ll find it for you."

"Thank you."

"Oh, here it is."

"Great."

"Do you need a phone book?"

"Yes, please."

At that moment, my companion keeled over dead. So I decided to go home and recuperate from the trauma.

The next day, I decided to go to the grocery store...

The trivial interchange above does not influence the plot or define the characters. It provides nothing but filler. And when a pivotal moment does occur, it is given but one full sentence, and we’re off again onto more inconsequential pursuits, like passing dishes at the dinner table, or ticking off items at the grocery store. It’s monotonous and meaningless.

Timing and plotting issues can ruin the flow of a story, and while these are the mistakes of a brand-new writer, it never hurts to review a few of the issues that may turn your reader off. After all, what reader wants to relive all the trivial moments of life? Don’t we pick up novels in the hopes of being transported? Riveted by new experiences and interesting characters? Removed from our mundane lives for a little while?

The above example may be extreme, but the point is simple: keep your reader in mind at all times. Have others read what you’ve written and consider their comments.

Here are some other things to avoid in your quest to make your reader a happy camper:

Wordiness

I, myself, have not decided what to do in the event that I don’t graduate this year. Perhaps I could utilize my parents’ connections to secure a job, like many individuals before me have done.

Today’s reading audience appreciates a straightforward, concise read. They’re busy, and they appreciate concise, economical language. Why use the word "utilize" when you can say "use"? Or "in the event of" when you can say "if"? And save the "myself" and "individuals" for police reports…

Sexually or racially biased language

The serving girl arrived with Cokes for the lady doctor and the Oriental gentleman.

Someone is bound to be offended by this sentence.

Shifting tenses

It had been awhile since Sarah saw Bruce, and she is in love with him. They will have been a couple for two years now if it weren’t for their three-month separation.

Confusing? Yes. Irritating? Extremely.

Comma splicing

There was a lovely fragrance in the air, she was so taken by the local flora that she vowed to make a stop at the garden center before leaving town.

Make these two separate sentences, or add a conjunction to join them. Please.

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Author’s Submission Service Since 1994

Spring is in the air, and summer is just around the corner. Recall some of your memorable moments at an amusement park. Then write everything you can about one moment that particularly strikes you, then focus on the surroundings in that memory. Who were you with? How was the weather? How was your first time on a roller coaster? Did you find love in line at the Ferris wheel? Be spontaneous in your writing; you can always revisit and revise these memories later, working toward your next personal essay.

http://www.writersrelief.com/
Author’s Submission Service Since 1994

When editing your writing, keep a sharp eye out for these tricky little errors that seem to crop up in nearly everyone’s work at some point.

Its or It’s?

It’s is a contraction of it and is.

I’m not sure if it’s going to be a success.

Its is possessive and shows ownership.

When bathing a dog, avoid getting water in its face until the end of the bath.

Remember, "it’s" never means anything else but "it is" or "it has."

For "its," try substituting "his"— if it doesn’t make sense, it should be "it’s."

That or Which?

Compare the following sentences:

We need to get the lawnmower that is in the garage.

We need the lawnmower, which is in the garage.

Here’s the rule: Use which for a nonrestrictive clause and that for a restrictive one.

For sentence #1, we are looking for the lawnmower that is in the garage, not the lawnmower in the garden shed or at the neighbor’s. Our choice is restricted to the lawnmower in the garage. The "that" clause is essential to the meaning of the sentence.

In sentence #2, we need the lawnmower, and by the way, it’s located in the garage. The "which" clause is much like an aside—it adds more information but is not essential to the meaning of the sentence.

Another rule: Always use a comma to set off a nonrestrictive clause (which), and don’t use a comma if the clause is restrictive (that).

A few more examples:

He served her a slice a pizza, which she quickly devoured.

She chose the slice of pizza that had pepperoni.

I bought my music from Best Buy, which is my favorite CD retailer.

The music that I download legally is from Emusic.com.

The car that is covered in racing stripes has just come in first.

The car, which is covered in racing stripes, has just come in first.

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Here are but a few tips to help you on your way:

Get creative in your use of punctuation. Use it willy-nilly and at random, in places the reader would never expect to see it. Have fun with multiple exclamation points!!! Don’t worry about the proper use of "quotation" marks or hyphen-ated words. And don’t fret about not using punctuation to break up run-on sentences the reader will love to unravel the mysteries of your thoughts it makes it more fun this way.

You may feel it necessary to impress your readers with pedantic language, forcing them to make a dash for the dictionary to get through your first few paragraphs. Good plan! Every reader longs to learn ten new words per page. Erudite expositions will create admiration in your exalted readers, and all will be inspired by your flowery vocabulary…if they manage to hang on long enough.

In the same vein, you may score points by creating long, convoluted sentences with multiple clauses and wandering phrases that continue to entrance the reader with their convoluted paths taken along the strange and uncharted path that is the language of our modern world, which is far more exciting than plain, simple, and concise language, which is purely boring and doesn’t give the writer an opportunity to show off his or her mastery of the English language, therefore ignoring the admonition to avoid using too many unnecessary and inessential words, irregardless.

Use your dictionery to avoid mispellings, because its a good idea to check they’re version against your own. However, it can be fun to come up with knew and creative spellings for words, just as it can be fun to change the tents of certain verbs that have creeped into your work.

Some people will tell you that verbs should agree with its subject, and a pronoun should agree with their antecedent. This is entirely up to you, and they should be able to make sense of it.

Metaphors and similes can be very fun to use, especially if they’re a little off—or mixed-up like a salad with too many veggies. So take the bull by the hand and get cracking! Cloud your ideas in a sea of imagination, and create conflicting images for your valued readers. They’ll thank you for it.

http://www.writersrelief.com/
Author’s Submission Service Since 1994