Since and because. These are two little conjunctions that cause problems for some folks and represent yet another gray area in terms of accepted usage. Merriam-Webster lists because as a synonym for since and vice versa, but there are subtle differences.

Since is used in a temporal sense.

Since the weather changed, my allergies have improved. 

An easy way to test if since is appropriate is to substitute “from the time when.”

Since she was a toddler, music has been an important part of Cheryl’s life.

We have visited nearly every hobby shop in San Francisco since we moved to California.

When talking about cause and effect, use because. This leaves very little room for confusion, as the word itself spells out its purpose.               

Because of the new medication, my allergies have improved.

Also correct: Since I discovered this new medication, my allergies have improved.

Because we were missing so many ingredients, we had to find a new recipe.

Unfortunately, this does not clear things up completely.

According to more than one dictionary, since can also be used to mean because:

Since he emphasized how important it was, I ran right out and mailed it.

(I mailed something because it was important.)

Some folks insist that this is incorrect; and while it does lend itself to confusion (because would have made it more clear that this is a cause-and-effect situation), it is not necessarily incorrect. Some style guides insist on sticking to since for time-related usage, which helpfully removes any doubt. In most areas of creative writing, though, people have been happily using this construction for years and are unlikely to stop just because they’re told it’s wrong.

The author of this article is Keith Connes. He is at the 60-year point (give or take) in his burgeoning career as a professional writer. He started in radio, then became a TV-commercial writer for several major New York agencies. This enabled him to buy an airplane and morph into aviation writing. He’s now crafting more general articles, humor pieces, and short fiction and thinks he’ll stay put with those until he reaches the age of 100, which should be any day now.

Write a memoir. It doesn’t matter whether you are a beginning writer or a seasoned pro—or even if you don’t consider yourself to be a writer at all. Write a memoir to present the gift of your inner self to your family, friends, and perhaps a wider audience. You might publish only a few dozen copies for a very limited distribution, but then again, a really compelling story could become the propellant that launches your writing career.

A basic writer’s axiom advises you to “write what you know,” and what could be more familiar to you than an episode in your own life? And here’s what makes it so special: A memoir can give your loved ones a greater insight into who you are and how you got to be who you are—your thoughts, your feelings, your adventures through life, and the things you learned along the way. And you don’t have to wait until your sunset years; you can write a memoir at any age. You can do it now.

Let me be clear as to what I mean by “memoir.” Some people may think of the word “memoir” as meaning an autobiography. Well, yes, an autobiography is a very extensive memoir, taking in the entire life of the subject, but a memoir can also be just a small nugget of that person’s existence—a series of reminiscences or even a single recollection. So it’s not that daunting a task.

Even so, would your memoir really be that valuable to others? Well, think of somebody who is important to you—your mother, father, grandparent, friend—and even though you’ve known that person for years or decades, you sense that there are aspects of that person’s life that you don’t know about and wish you did. Not necessarily skeletons in the closet, but—well, wouldn’t it be fun to know that Grandma always wanted to be a trapeze artist but somehow never got around to it?

My best friend since high school was, for most of his adult life, a sales executive whose high-powered drive enabled him to found and manage several insurance companies. I thought I knew him pretty well, but I was astonished when he sent me a book of sensitive and lovely poetry that he had written! I saw an aspect of Frank I had never suspected, and my respect and admiration for him became even greater.

Well, you may not be a secret poet or even a wannabe trapeze artist, but aren’t there some unrevealed parts of you that you wouldn’t mind sharing but you haven’t gotten around to it, or maybe you’re just a little shy about it?

Write it down. Write your memoir. If it seems too daunting, you have a tape recorder—everybody has at least one. Go to a quiet place, turn the recorder on, and speak your thoughts. Don’t worry about grammar or punctuation—just talk. You can fix it later. If it would help get the thoughts flowing, sit down with someone you feel comfortable with and start chatting about a topic for your memoir. Can’t find enough quiet time? Do it in the car. Let others talk into their cell phones. What you’re doing is for posterity!

Regardless of where your memoir begins, it can take on a life of its own—because it is, after all, your own life.

Write your memoir. Do it for the ones you love, for yourself, and maybe for some great-great-grandchildren you will never know. But, through your memoir, they will get to know you.

Those of us who spend much of our time hunching over keyboards or reading books in armchairs aren’t exactly known for being the washboard-abs crowd. But even if we suffer from too much “butt-in-chair” time, we writers can tone and shape our writing for maximum impact by kick-starting our verbs.

The verbs we use in our normal, everyday conversations aren’t always the best verbs to use when we’re writing. When we’re talking we can use our hands, our tone of voice, and our facial expressions to get our point across, and so we can settle for verb choices that are wimpy and flat. For example:

He ran through the crowd.
I didn’t like my moccaccino.

These phrases might come off as emphatic when they’re uttered in conversation. But when text is our medium, the primary way we can emphasize the tone of the words is by making stronger word choices.

He sprinted through the crowd.
I hated my moccaccino.

Sometimes amping up a verb requires restructuring a sentence.

He darted among the pedestrians.
My moccaccino nauseated me.

And other times the verb choice will need to reflect a character’s dialect or personality.

He bullied his way through the crowd.
I'm not feeling my moccaccino.

But, whatever the case, the verb is often the driving force behind the momentum of a sentence, so it’s important to choose wisely.

One other “problem area” to work on when you’re ramping up your verb choices is the dreaded adverb. Overusing adverbs is the equivalent of trying to do crunches by pushing yourself up with your hands—it’s a way of “helping” the main action, but it makes the results less dramatic. Sometimes adverbs are absolutely necessary, but when you can get rid of them, you should. 

Compare:

I went quickly through the crowd.
I zipped through the crowd. 

I didn’t completely appreciate my moccaccino.
I dumped out my moccaccino.

As you can see, the main idea behind each of the above examples—the subtext—changes subtly from one sentence to the next. It’s these subtle shadings and nuances that make the difference between writing that’s muscular and writing that’s flabby.

Unfortunately, there is a danger of getting a little too carried away with colorful verb choices. It’s tempting to overinflate the action for dramatic effect or because the verb in question “sounds cool.” But that can make the action feel forced or artificial. And when the style of language is not consistent, when one verb screams “exceptional” within a whole paragraph of “normal” verbs, the effect is like looking at a body builder who has never exercised anything but his biceps—kind of distracting.

We recommend that writers exercise their verb use in order to increase strength and flexibility but all in moderation. After all, even if we armchair athletes can’t be powerful and vigorous, at least our verbs can be!

A good novel is often revised several times before it makes its way to publication. As daunting as this seems, revision is simply part of the process of taking that first draft and turning it into a polished and coherent novel and, hopefully, one that will make you a star.

If the process seems intimidating, break it down into manageable steps. Some writers make one thorough sweep, and others make multiple passes, concentrating on different areas each time (characterization, plot, theme). However you work best, take the time to find those weaknesses that could halt the flow of your plot or take credibility away from your main character.

Set a date. Give yourself a firm deadline, and break down what steps you need to take and when. Stick to your deadline.

Take a break. Now, walk away from your masterpiece, and let it sit untouched for at least a week or two, longer if you can stand it. Give your brain some time to remove itself from the process for a more objective view.

Print it out. Have a double-spaced copy of your manuscript in hand, with two-inch margins for note-taking. A spiral-bound notebook and a few pens of different colors can help you stay organized. For example, use a red pen for deleting words or sections, a blue pen for additions, and use the notebook for more detailed revisions or notes to yourself.

Revision. As you go through your novel chapter by chapter, ask yourself the following questions:

1) Story line
• Is my plotline solid all the way through?
• Are there any holes that leave the reader confused?
• Is the story set in an appropriate time, place, season?
• Is my theme resolved at the end?

2) Point of view
• Is the point of view effective in telling my story?
• Is the point of view consistent throughout?

3) Characters
• Do my characters stay consistent throughout the story? If not, have I developed situations that account for any changes in personality?
• Are my characters flat or one-dimensional, or are they believable and richly developed?
• Are my characters unrealistic or stereotypical, or are they realistic, with flaws and idiosyncrasies?
• Do my characters evoke emotional responses from the reader?

4) Scene
• Are my scenes predictable?
• Do I provide concrete details or vague generalizations?
• Do they contain a good mixture of dialogue, action, narration, and introspection?
• Is each scene relevant to the story (moves the story forward) or could it be considered filler?
• Are my scenes bogged down by too much narrative (“telling”)?

5) Dialogue
• Is my dialogue practical and does it accurately reflect the character speaking?
• Is the dialogue essential to the scene?
• Is my dialogue weighed down by “he said, she said” construction?

Line-by-line editing 
 
Once you’ve resolved plot, character, and scene issues, make a final pass through your manuscript with an eye toward the basics: punctuation, grammar, word choice, and sentence structure. Run a spell-check and keep an eye out for embarrassing typos as well. (At this stage it is often helpful to have a well-versed grammarian and objective reader take a stab at this.)

• Have I repeated a favorite word or phrase too often?
• Is my sentence structure varied and interesting, or do I use the same length and phrasing throughout?
• Do I rely on clichés?
• Have I used gender-neutral language?
• Have I stayed consistent regarding hair color, age, dialect? Are my characters’ names spelled consistently throughout?

And, finally, once you’ve made these revisions, take a little break and then reprint your masterpiece (with one-inch margins). One more pass through should reveal how effectively your revision strategy has worked. When satisfied take time to revel in the moment. You’ve accomplished a monumental task.

Dialogue can be tricky to write and, sometimes, tricky to punctuate. A few pointers:

I. It is standard form to give each speaker his or her own line of dialogue.

     "Brad, I’d like you to meet my sister, Joanne,” Jill said as they walked into the room. 
     “It’s nice to meet you, Joanne. Or may I call you Jo?” Brad said.
     “I go by Joanne, but you can call me anything you want,” Joanne answered with an impish grin.

Sometimes this rule can be broken.

     “Quick, grab the rope,” he yelled, but when he turned around, his partner quietly said, “It’s too late.”

II. Other times, a character’s dialogue continues for more than one paragraph. In this case, use an initial quotation mark for each paragraph, and insert a closing mark at the end of the final paragraph.

     Doug said, “Dialogue paragraph one.
     “Dialogue paragraph two.
     “Dialogue paragraph three.”

Now the reader knows that Doug is finished speaking, even though he’s rambled on for three paragraphs…

III. Never use quotation marks in a screenplay, where every line is dialogue.

IV. And, finally, do not use laughed, smiled, or grinned as speech tags. These should be used as separate sentences, as it is impossible to grin or laugh a sentence.

     “Oh, you think you’re so funny.” She grinned. “But you have mustard on your face.

When the protagonist of your story pauses to think something, you need to set it apart somehow from the regular text and dialogue. There are a few different ways of setting characters' thoughts.

The most straightforward way to do this is to paraphrase the characters' thoughts into the narrative. For example:

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. Why hadn't they gone home first to change into play clothes? Oh well, they were already in trouble for being late for dinner, and they might as well get it over with. The trio trudged home reluctantly.

Another useful technique is to use italics, which is an effective tool when both thoughts and spoken dialogue are interspersed. This technique is becoming standard practice among publishers—and for good reason. The different type style makes it quite clear when a person is thinking versus speaking aloud:                                   

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. Why didn't we go home first to change into play clothes? Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

This style is also popular with science fiction and horror writers, who use italics to show telepathic communication between characters. Some writers use quotation marks to set off thoughts, but this can get complicated, especially when thoughts and spoken dialogue are mixed. 

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. "Why didn't we go home first to change into play clothes?" Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

There is nothing to differentiate between the spoken sentence and the thought. This can be avoided by using single quotation marks around the thought, but this is an awkward fix, and we don't recommend it.

When the brothers climbed up the riverbank, their school clothes coated with mud and filth, it occurred to them for the first time that their mom would be furious. 'Why didn't we go home first to change into play clothes?' Roger thought. "We're already in trouble for being late for dinner, so we might as well get it over with," he told his brothers, and the trio trudged home reluctantly.

If your character is thinking something to himself, it is redundant to say so.
 
Wow, that sure is a small car, the large man thought to himself.

But if he is thinking out loud, tell this to your reader. 

"Wow, that sure is a small car," the large man thought aloud. 

Finally, whichever style you choose to follow, make sure it stays consistent throughout your work, and make it easy for your reader to follow what your characters are thinking, as well as saying.

It can be hard to develop a believable character for your story. Most of us don’t have close relationships with dashing heroes or beautiful yet gutsy medical examiners named Desiree. This makes it tempting to take inspiration from people we actually know, and often the resulting characters are thinly disguised versions of ourselves or our friends and relatives. Your wacky Aunt Mabel may be familiar to you and a hoot at holiday get-togethers, but as anything more than a minor comic relief character, Aunt Mabel is going to be an unlikely heroine. It might be better to enlist the scary guy who lives down the street and develop a villain (or an unlikely hero) based on him. Sure, all you know about him is that he rides a loud motorcycle, and his biceps are frighteningly large and tattooed, but boring he’s not!

Successful writers usually develop a detailed character sketch and biography in advance, noting physical, as well as personality, traits. The greater the detail of the sketch, the greater dimension the character develops.

Think about your biker neighbor. You don’t know him, but you can assume that he probably isn’t the son of two college professors, he probably doesn’t attend the opera on a regular basis, and he isn’t likely to be meek and shy. It’s more realistic to assume he’s the son of working-class parents, prefers football to the opera, and he’s pretty brave and tough. And if we’re working on avoiding stereotypes (which is usually our goal), this character could surprise us and become our unlikely hero, despite the prison tats.

The personality needs to fit the fiction. If you’re looking for a hero to save the world from destruction, you can choose the dashing and dapper John Q. College Graduate with broad shoulders and a deep, calm voice, or the scruffy biker dude, who saves the day despite his looks. If you want Aunt Mabel to be the heroine of your novel, you better develop some interesting traits that would support her superhero ways—perhaps she’s not as frail and wobbly as she looks! Just don’t leave Aunt Mabel exactly the way she is in real life, or her character may fail to deliver.

The point is to get to know your characters and make them three-dimensional. Be familiar enough to be able to predict what each character would do if he or she were faced with a certain choice or put into a certain situation. Every person has a darker side or a secret. Give the warmhearted schoolteacher a secret vice, a bit of a temper, or a scandalous past. When you’re sketching your character, include a basic history, his/her dreams and ambitions, obstacles and hurdles, social status, and sexual and economic power. Also include physical characteristics, so that you can make sure Desiree stays a redhead throughout her adventures and Biker Dude’s tattoos stay on the correct shoulder.

The short story presents a different problem. There simply isn’t time or space to let the reader get to know your main character, so you have to present them with as much information as they need to know as succinctly and subtly as possible (show, don’t tell!). If it’s not relevant to the plot, we don’t need to know that the warmhearted schoolteacher is allergic to shellfish or has a degree in Russian literature. We might, however, need to know that she’s a closet smoker, addicted to chocolate truffles, and harbors a long-standing grudge with her sister. For the short story writer, it’s essential to have a fully developed character in mind; but rather than giving us a bulleted list of traits, let your character’s actions demonstrate who she is. Hold back a secret or two about your schoolteacher and surprise the reader.

As writers, we are asking our readers to visualize our characters and relate to them. We want our characters to be realistic so that our audience can connect to them—we want the reader to cheer them on as they surmount obstacles and shed a tear when they fall. Readers care about people, and a fantastic plot populated with bland or one-dimensional characters isn’t enough to hold their interest. Your audience should feel involved with your characters, so that they become vivid and real people. And this isn't easy. If you can get your readers to fall in love with and cheer for the scary biker dude, you can consider him a successful character.

The following guidelines can help you determine when to use capital letters (and when not to).

Capitalize the first word of a sentence, including the first word of a quoted sentence.

It wasn't easy to ignore him when he yelled, "Get a life, you weasel!"

Capitalize proper nouns.

Lake Michigan, State Street, Williams Welding Company, Jupiter, Pacific Ocean

Capitalize titles that precede the name. Do not capitalize if the title is a description that follows the person's name.

The best course was taught by Professor Leo Smith.

Leo Smith, one of the college's professors, edited the literary magazine.

Capitalize titles when used in address.

The stand is yours, Officer Higgins.

Is it possible, Doctor, that you made a mistake?

Capitalize family relationships only when used as proper names.

I went to visit Uncle Frank, but my other uncles couldn't go with me. I was able to convince Father to come with me, but my mother didn't feel well.

Do not capitalize directions unless they are part of a proper name or refer to a specific region.

Each week I travel a few miles south to West Yorkshire.

They're packing up and heading for the Southwest.

Capitalize the names of God, religious figures, and holy books. Do not capitalize the nonspecific use of the word "god."

She covered her all her bases and sent up prayers to God, Buddha, and the Virgin Mary.

In some cultures, the worship of many gods is more common than monotheism.

Capitalize the days of the week, months, and holidays. Do not capitalize the seasons unless the season has been personified—and even then it's optional and sometimes considered old-fashioned.

We celebrate Thanksgiving in November, just as fall begins its transition into winter.

Suddenly, the icy breath of Winter chilled our skin.

Capitalize periods and events. Do not capitalize century numbers.

Great Depression

twentieth century

Capitalize political, social, military, and athletic groups.

Seattle Mariners

Republicans

Native Americans

Mothers Against Drunk Driving

Army, Air Force, Marines, Navy

And one final tip. In creative writing, it's tempting to capitalize words that are important to your sentence, such as "love" or "justice." This is generally frowned upon.

The past tense is fairly easy to comprehend. When we talk to our friends we use past, present, and future tenses with ease, but as writers we use other tenses to enhance our work and help explain the sequence of events to our readers. One of these is the past perfect tense, which is, in essence, a little more past than past. When used correctly, this tense tells the reader that we’re going back in time, even beyond the usual past tense that is employed in most fiction. Technically speaking, it is used to refer to a noncontinuous action in the past that was already completed by the time another action in the past took place.

The past perfect can be very useful in fiction writing because you can go back to a previous event without confusing your reader.

She had worried about her sister’s drug problem when their mother died and had taken steps to find a suitable rehab program. But her sister continued to push her away over the years, and eventually, Joann decided to step back from the problem and stay available should her sister need her. She knew how stubborn and independent Julie could be.

It can also be annoying if overdone. Once you’ve established that you’re going back in time, you can revert back to the simple past tense. In the above example, we reverted back to the past tense after "rehab program." The flashback had already been established, and there was no need to continue with the past perfect.

The past tense becomes the past perfect with the addition of the verb "to have."

Past: I wrote that poem.

Past perfect: I had written that poem.

The past perfect tense implies that I wrote that poem before something else happened, as in "I had written that poem before experiencing a broken heart." Another example:

Past: I wanted to learn more about Italy, so I called my friend Stephanie, who lived in Florence.

Stephanie was probably still in Florence at the time of the call.

Past perfect: I wanted to learn more about Italy, so I called my friend Stephanie, who had lived in Florence for several years.

Stephanie no longer lives in Florence.

If you’d like to test your skills, take a crack at our little quiz.

Thomas Edison invented/had invented the lightbulb.

They never owned/had never owned a dog before Samson padded into their lives.

By the time Mr. Johnson got home, his family ate/had already eaten dinner.

As soon as he spotted the guard, he ran/had run off.

When the music started, the teenagers started/had started to dance.

Andrew couldn’t open the door because he forgot/had forgotten his key.

Bobby has never been/had never been to a baseball game before that night.

If I knew/had known, I would have come by yesterday.

The women fell ill a short while after they ate/had eaten the crab salad.

My son already read/had already read that book before the movie came out.

Answers:

invented

had never owned

had already eaten

ran

started

had forgotten

had never been

had known

had eaten

had already read

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.

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.

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

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.

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

Imagine you’re a fly on the wall at a busy magazine publishing house. As a writer of short stories and a diligent submitter to dozens of similar magazines, you are naturally interested in the process of selection. As you hover in the corner of the ceiling, you intently study the small group (okay, two people) of first readers as they plow through the stack of hopeful submissions piled at their feet. And you watch in horror as they tear through story after story, sometimes merely pulling a submission halfway from its manilla envelope and scanning the first paragraph before tossing it carelessly over their shoulders.

From your point of view, it appears that these stories are barely being considered at all, and in some ways, you’re right. In a typical publishing house, the number of short story submissions far outweigh the number of pieces selected for publication (by an incredibly wide margin), and first readers have no choice but to make lightning-quick decisions, often based on a first glance alone. What, then, makes the difference between forwarding this piece on to an editor for further consideration, or being gobbled by the Round File? For the short story writer, it all comes down to the first sentences. Because, quite literally, those first sentences are often all that you will be judged on.

Our advice? Hit the ground running. Start with some sort of conflict or threat. Grab the reader’s attention with the unusual or the unexpected. Create tension, and make the reader anxious to read more, to learn what happens to this character and how this character will deal with the threat or the change.

A moving van pulls up to the curb, and a bizarre-looking family begins to emerge...

The doctor calls with some startling news...

The doorbell rings. Who is that familiar-looking stranger at the door?

Weather reports are boring and probably have no bearing on the story (unless your story involves a hurricane or some other exciting weather event). Long, flowery descriptions of the story’s setting do not count as attention-grabbers. Neither do detailed histories of the characters or their motivations. If you must include some background or describe the setting, do so later, after your reader has been intrigued enough to read further.

Writers of short fiction should bear in mind this fact: Readers (and busy editors) are more impatient than ever before. They will not tolerate a story that takes several paragraphs to warm up—they want to get right to the action, and they want it now. So get the story started right off the bat, and give the reader what they want: a powerful opening and a great story.

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

Many of us keep journals to reduce stress or to record life’s events for posterity, and writers especially should make use of this creative outlet. Journaling can be a great tool for writers—the journal becomes a repository for fresh ideas and a safe place to write. Whether it’s a spiral notebook or a leather-bound book with a beautiful cover, a writer’s journal should be a source of inspiration.

There is an endless variety of journals to choose from. Select something that inspires you, that makes you eager to crack your journal open and turn to a fresh page. A beautiful diary with fun pockets or an elegant cover will make writing a pleasure. Invest in a fun or really fancy pen to use just for your journaling. Then, you are always ready to write!

Keep your journal handy for jotting down those whimsical ideas or brilliant first sentences that pop into your head at the oddest moments. If your journal is large or bulky, keep a spiral-bound pocket-sized notebook around. You can then transfer your ideas to the larger journal.

Write regularly and on a schedule. Get into the habit of writing each day, and you’ll be perfecting your craft at the same time.

A journal is meant for no one’s eyes but your own, so let those ideas flow unfettered. A little stream of consciousness is good for the soul, and no one will be looking over your shoulder, judging you on punctuation issues or your choice of simile. Sometimes when we let ourselves go and just write, we gain priceless personal insights—and these insights can help us to be better writers.

If the ideas aren’t flowing, try some writing prompts and power your way through writer’s block. Sometimes the very act of writing will clear the path for new ideas and recharge your sagging muse. A Poet's Companion by Kim Addonizio and Dorianne Laux includes writing prompts applicable to either prose or poetry at the end of many chapters.

Some writers add newspaper clippings, sketches, or magazine articles to their journals—anything that inspires them. Others keep pictures or make lists. That’s the beauty of a journal—there are no rules, and this freedom is the catalyst that can unleash your creativity.

We can also go paper-free and buy journaling software, keeping a record of our thoughts and ideas on our personal computers. These programs have the standard word-processing capabilities, and most allow the user to add graphics, sound bites, and charts. If you’re thinking of buying, try the 30-day free trial period available with most of the software. If a trial period is not available, make the most of user-review sites like www.epinions.com. A few to check out:

Alpha Journal (www.alpharealms.com/journal/index.htm)

Digital Diary (www.ajebe.com)

The Journal (www.davidrm.com)

VistaWrite (www.digitalwriting.com/vwrite/default.asp)

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

Writers, especially inexperienced and unpublished writers, are usually advised to master writing in one genre at a time, and this is generally good advice. When you're still learning your craft, it pays to focus on one thing at a time. Less often, new writers are advised to experiment in several different genres to discover their strong points. For some, this exploration is a worthwhile learning experience.

The question of genre loyalty is the subject of some debate, but it seems to boil down to personal preference. Many writers prefer to establish themselves in a particular genre. It may be their area of strength, their greatest love, or a combination of the two. If you love horror and read horror exclusively, why not stick to writing horror if you're good at it? If you don't enjoy reading science fiction, why would you want to write it? Some writers stick to one genre out of fear of the unfamiliar, while others simply have limited writing time and prefer to concentrate on one style.

It is not at all unusual for more experienced authors to write in more than one genre, despite being advised against it. Writers who want to be published write for a specific market—they adhere to the context, audience, and purpose of the genre they've chosen, and if they don't write for the market, their work won't sell. When the popularity of one market cools, these authors are prepared to write for the next hot market. They're adaptable, with a good business sense.

Writers cross genres for many reasons. Some follow the trends and write for the market. Some seek the exposure. Others skip over into other genres simply out of boredom or a desire to stay fresh. They feel limited by their genre and seek to break out of their comfort zone. And still others simply enjoy writing in a variety of styles. Sometimes authors write in multiple genres within a single piece of work—they may combine elements of a mystery with those of a historical romance, for example, and this overlap, if skillfully done, can be very successful. And many of the defining lines of genres have blurred in recent years, giving writers greater freedom than ever before. One of the most obvious examples of this is the latest trend, blending mystery with romance.

Many authors adopt pen names to suit their different styles. Perhaps the paranormal writer doesn't want his books to be associated with his Westerns and so pens them under different names. The author who writes both torrid romances and young adult fiction doesn't want her two audiences to overlap, so she uses a pseudonym.

The industry seems to prefer authors who stay within their defined genres—an established science-fiction writer who veers off course and produces a chick-lit novel will likely be pressured by his agent or publisher to stick with science fiction. But there are agents out there who are willing to represent multi-genre authors, and it is not always necessary to have multiple agents for multiple genres. As the lines between genres blur, so will the number of multi-genre agents increase. An established author who can show that she can sell in more than one market will have an easier time finding an appropriate agent, and she'll likely be shown more leeway. Unpublished writers, however, should steer clear of this altogether, and pitch one story at a time.

If you're considering crossing the great genre divide, read widely in the genres you love, and create a unique voice for each. If you're a playwright, try your hand at poetry, or experiment with short fiction if your novel is complete (or stalled). Play around and discover fresh talent within yourself. If you're proficient in multiple genres, find an agent who will represent you no matter what you write. And scoff if you must at the advice of those who refuse to cross that line: sometimes the stories just come, genre be damned!

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

Every writer has her/his own system for staying organized. Some writers prefer the old-fashioned pen-and-legal-pad method, while others prefer a more elaborate system to keep various projects, complex plots, and characters straight. Whatever your needs or your particular system, we’ve found a few tools on the Internet that you may want to investigate, including software for a wide variety of uses. Let us know if you have any feedback on these or other writing tools that work for you.

Ashleywilde Publishers. Software to help generate solid story plots and outlines.

Autobiography Software Program. For family heirloom documents.

Backpackit.com. An online account where you can keep your to-do lists, notes, and ideas organized.

Biography Software Corporation. For biography writing and genealogy.

Circa Letter Notebook. A notebook specially designed to keep your paper note-taking system organized. Pages can be moved around from section to section, and printed notes can be easily inserted.

Character Pro for Writers 2.0. Character development software.

Dramatica Pro 4.0. Story and character development software.

Great Dialogue Software. Interactive database with thousands of dialogue samples.

LifeJournal. An interactive journaling software designed for writers.

New Novelist.com. Software to help novice writers complete a novel.

StoryView. Software to help plan and present story ideas for novels and screenplays.

StoryCraft Writer’s Software. Story development software

StyleWriter. Software designed to run within your word processor. This program analyzes documents and offers editing, a dictionary-thesaurus, an outliner, and writing guides.

Writer’s Companion. Brainstorm, organize, edit, and publish ideas in one program.

Writer’s DreamKit 4.0. Fiction writing system for the beginner or intermediate writer.

WriterScreen Software. Retains story writing in one place and keeps it organized.

WriteItNow. Novel-writing software.

Novelists and researchers can use these virtual note cards to organize ideas and facts for works in progress: Miss Lonelynotes, SuperNotecard, and Writer’s Blocks (Ashley software).

If you’re looking for idea generators these are helpful: Idea Fisher, WriteThis, and Xerotron.

And, finally, these software packages offer help in editing:

BookWright. An add-in template for editing and formatting book manuscripts.

Editor Software. Offers more coverage and precision than spell-checker and grammar-checker programs already installed.

ScriptWright. Add-in template for editing and formatting screenplays.

WordDog Plain English Editor. For more clear and concise writing.

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