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Too late. j/k. I'm editing someone's story and i'm having a field day right now.
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MY SEVEN DEADLY SINS OF WRITING
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I'm ascared to even try to write a story now
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Quote by ladysharon
Too late. j/k. I'm editing someone's story and i'm having a field day right now.
Having a field day editing? Lol...that's one thing I hate...I'd rather write a whole new story than edit one...
Not to sound too dumb, but who is "j/k?"...can't think of anyone here with those initials...
I once knew a drinker who had a moderating problem...
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I'm sorry for not wrapping this up sooner, it has been a busy few days. Promise to get at least one more up once I get home from work. 
“Many people hear voices when no one is there. Some of them are called mad and are shut up in rooms where they stare at the walls all day. Others are called writers and they do pretty much the same thing.”
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Quote by DirtyMartini
You two sinners going to come up with a big sin list? Shouldn't be that hard...
I could probably come up with a couple myself...but, I try not to think about it too much...
Only for you, Alan.
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Quote by DirtyMartiniQuote by ladysharon
Too late. j/k. I'm editing someone's story and i'm having a field day right now.
Having a field day editing? Lol...that's one thing I hate...I'd rather write a whole new story than edit one...
Not to sound too dumb, but who is "j/k?"...can't think of anyone here with those initials...
j/k. just kidding.
this person's story is making me write the story for him.
www.szadventures.com
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The Sixth Deadly Sin: Dangling Modifiers
Dangling modifiers are hard to explain, but they often create illogical, even confusing
sentences. The best way to describe it would be when a writer unintentionally says something he or she never intended to.
For example:
While still a boy, my Aunt Clara and I went hiking in the mountains.
Can you see the clumsiness of this sentence? It sounds like he is implying that his Aunt Clara was a boy when they went hiking in the mountains (yes, I know that in this day and age that is entirely plausible, but I am sure that you get what I mean).
Let me use another example:
Having been thrown in the air, the dog caught the frisbee.
Did I just throw a dog into the air? Can you see how comical a dangling or misplaced modifier can sound?
And another:
Walking back from the carnival, my keys were lost.
As you can see, I’ve trained my keys to walk itself back from the carnival.
Now while I am certain that most of our readers are smart enough to figure out what we are trying to say, it isn’t their job to work things out, it is our task to keep our storylines clear and uncluttered. A story is about bringing across a message, sometimes the message can be serious, so if your reader gets a chuckle out of misplaced words, the overall effect is lost. Any time you draw attention to how you’ve said something instead of what you’ve said, the link between writer and reader is lost.
How do we avoid dangling or misplacing modifiers?
First you need to recognize your modifying phrase (it’s usually the first descriptive phrase in the sentence).
Then find the first noun after this phrase (it should be the noun you are trying to modify).
Make sure that your modifying phrase and your noun matches each other logically.
If it does not, rewrite the sentence so it makes sense.
Allow me to fix the examples:
While still a boy, I went hiking in the mountains with my Aunt Clara.
Having been thrown in the air, the frisbee was caught by the dog.
Walking back from the carnival, I lost my keys.
In conclusion, if your modifying phrase is describing or elaborating on a specific noun, place it immediately beside the word you are modifying.
Dangling modifiers are hard to explain, but they often create illogical, even confusing
sentences. The best way to describe it would be when a writer unintentionally says something he or she never intended to. For example:
While still a boy, my Aunt Clara and I went hiking in the mountains.
Can you see the clumsiness of this sentence? It sounds like he is implying that his Aunt Clara was a boy when they went hiking in the mountains (yes, I know that in this day and age that is entirely plausible, but I am sure that you get what I mean).
Let me use another example:
Having been thrown in the air, the dog caught the frisbee.
Did I just throw a dog into the air? Can you see how comical a dangling or misplaced modifier can sound?
And another:
Walking back from the carnival, my keys were lost.
As you can see, I’ve trained my keys to walk itself back from the carnival.
Now while I am certain that most of our readers are smart enough to figure out what we are trying to say, it isn’t their job to work things out, it is our task to keep our storylines clear and uncluttered. A story is about bringing across a message, sometimes the message can be serious, so if your reader gets a chuckle out of misplaced words, the overall effect is lost. Any time you draw attention to how you’ve said something instead of what you’ve said, the link between writer and reader is lost.
How do we avoid dangling or misplacing modifiers?
First you need to recognize your modifying phrase (it’s usually the first descriptive phrase in the sentence).
Then find the first noun after this phrase (it should be the noun you are trying to modify).
Make sure that your modifying phrase and your noun matches each other logically.
If it does not, rewrite the sentence so it makes sense.
Allow me to fix the examples:
While still a boy, I went hiking in the mountains with my Aunt Clara.
Having been thrown in the air, the frisbee was caught by the dog.
Walking back from the carnival, I lost my keys.
In conclusion, if your modifying phrase is describing or elaborating on a specific noun, place it immediately beside the word you are modifying.
“Many people hear voices when no one is there. Some of them are called mad and are shut up in rooms where they stare at the walls all day. Others are called writers and they do pretty much the same thing.”
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Quote by ladysharon
j/k. just kidding.
Thanks for clearing that up Sharon...I'm not real up on the text and net lingo these days...I'm a bit "old-school"...it's actually a wonder I can use a computer at all...
Let me go read about how Yas taught her keys to walk home from the carnival...
I once knew a drinker who had a moderating problem...
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You are very welcome, alan. I thought you used a typewriter from the late 1890s. Did they even have typewriters then?
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Quote by ladysharon
You are very welcome, alan. I thought you used a typewriter from the late 1890s. Did they even have typewriters then?
It funny you mentioned that...my grandparents actually met over a typewriter...my grandfather worked with my grandmother's brother who mentioned to my grandfather one day that his sister had a typewriter...my grandfather went over the house to see it, and that's how he met my grandmother...
He had never seen a typewriter before...not sure exactly what year they met, but they got married in 1926...
I have the typewriter actually, but no, don't write stories on it...looks like this picture, it's a Royal 10 with the beveled glass sides...and yeah, they had typewriters in the late 1800's...
I once knew a drinker who had a moderating problem...
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Quote by DirtyMartiniQuote by ladysharon
You are very welcome, alan. I thought you used a typewriter from the late 1890s. Did they even have typewriters then?
It funny you mentioned that...my grandparents actually met over a typewriter...my grandfather worked with my grandmother's brother who mentioned to my grandfather one day that his sister had a typewriter...my grandfather went over the house to see it, and that's how he met my grandmother...
He had never seen a typewriter before...not sure exactly what year they met, but they got married in 1926...
I have the typewriter actually, but no, don't write stories on it...looks like this picture, it's a Royal 10 with the beveled glass sides...and yeah, they had typewriters in the late 1800's...
My grandfather used to be a typewriter salesman. He sold and repaired them for most of his life. Everytime I see one I'm taken back to his workshop. I can almost smell the turpentine he used to clean them. And the 'bing' noise they made when they got to the end and had to be reset to the right. He always used to type the ' the quick brown fox...' phrase to use all the letters in the typewriter.
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Quote by Louise
And the 'bing' noise they made when they got to the end and had to be reset to the right.
Yeah, they should figure out a way to put the "bing" noise in Word...
I happen to have it in storage at the moment, along with a lot of my things, but that's another story...anyway, it used to be quite a conversation piece...I used to have it in my bedroom during the 90's...and any time I had a girl over, they always seemed to have to try it out and type their name on it...
Not sure that was always a good idea, though I just had to remember to replace the paper every now and then...convenient though, if I forgot a girl's name in the morning, I just had to go over to the typewriter and look at what she typed the night before...
I once knew a drinker who had a moderating problem...
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The Seventh Deadly Sin of Writing: Head Hopping
Firstly, allow me to apologise for my tardiness in wrapping this up.
Point of view refers to the character or person narrating the story (in other words, whose head we are in).
As writers, we are offered the chance of allowing our readers to wander through the mind of a character. This is something that sets reading apart from watching a movie. We are throwing our readers into one character’s head, which allows them to connect with that character, grow a bond with, and even identify with his or her problems or conflicts. In order to keep that connection strong, we need to keep the point of view fixed. While switching point of view is not wrong, it does weaken the impact of the story.
Have you ever read a story written in the first person, then without warning the author reveals the thoughts of a different character? And you’re thinking, “Whoa! Did I misunderstand?”
And you scroll back up to make sure you didn’t miss anything. Well, good news is, you probably didn’t. Even better news is, you are an astute reader, so you can give yourself a congratulatory slap on the back.
Point of view breaches aren’t limited to first person tales; it is amplified when writing in third person, especially since most fiction is written in third person. Always remember that when you’re writing from one person’s point of view, he/she can only assume what another character is thinking or feeling by guessing from that character’s dialogue, actions, expression, etc. The only person whose thoughts and feelings he/she can plausibly reveal, is his/her own.
In a nutshell… always be aware of whose viewpoint you’re in and why. If you need to change viewpoints, never do it without warning.
Firstly, allow me to apologise for my tardiness in wrapping this up.
Point of view refers to the character or person narrating the story (in other words, whose head we are in).
As writers, we are offered the chance of allowing our readers to wander through the mind of a character. This is something that sets reading apart from watching a movie. We are throwing our readers into one character’s head, which allows them to connect with that character, grow a bond with, and even identify with his or her problems or conflicts. In order to keep that connection strong, we need to keep the point of view fixed. While switching point of view is not wrong, it does weaken the impact of the story.
Have you ever read a story written in the first person, then without warning the author reveals the thoughts of a different character? And you’re thinking, “Whoa! Did I misunderstand?”
And you scroll back up to make sure you didn’t miss anything. Well, good news is, you probably didn’t. Even better news is, you are an astute reader, so you can give yourself a congratulatory slap on the back. Point of view breaches aren’t limited to first person tales; it is amplified when writing in third person, especially since most fiction is written in third person. Always remember that when you’re writing from one person’s point of view, he/she can only assume what another character is thinking or feeling by guessing from that character’s dialogue, actions, expression, etc. The only person whose thoughts and feelings he/she can plausibly reveal, is his/her own.
In a nutshell… always be aware of whose viewpoint you’re in and why. If you need to change viewpoints, never do it without warning.
“Many people hear voices when no one is there. Some of them are called mad and are shut up in rooms where they stare at the walls all day. Others are called writers and they do pretty much the same thing.”
Divine Rapscallion
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Quote by Sherzahd
The Seventh Deadly Sin of Writing: Head Hopping
Yes, yes, and a resounding YES! Switching points of view willy-nilly is a sure sign of an amateur writer, in my opinion.
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Quote by Sherzahd
The Seventh Deadly Sin of Writing: Head Hopping
Firstly, allow me to apologise for my tardiness in wrapping this up.
Point of view refers to the character or person narrating the story (in other words, whose head we are in).
As writers, we are offered the chance of allowing our readers to wander through the mind of a character. This is something that sets reading apart from watching a movie. We are throwing our readers into one character’s head, which allows them to connect with that character, grow a bond with, and even identify with his or her problems or conflicts. In order to keep that connection strong, we need to keep the point of view fixed. While switching point of view is not wrong, it does weaken the impact of the story.
Have you ever read a story written in the first person, then without warning the author reveals the thoughts of a different character? And you’re thinking, “Whoa! Did I misunderstand?”
Point of view breaches aren’t limited to first person tales; it is amplified when writing in third person, especially since most fiction is written in third person. Always remember that when you’re writing from one person’s point of view, he/she can only assume what another character is thinking or feeling by guessing from that character’s dialogue, actions, expression, etc. The only person whose thoughts and feelings he/she can plausibly reveal, is his/her own.
In a nutshell… always be aware of whose viewpoint you’re in and why. If you need to change viewpoints, never do it without warning.
This one is one of my biggest deadly sins, actually. I like knowing who's warped mind I'm in while I'm reading. *hugs to Yas on posting this one.*
www.szadventures.com
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Quote by Sherzahd
The Seventh Deadly Sin of Writing: Head Hopping
Firstly, allow me to apologise for my tardiness in wrapping this up.
Well...I think you should apologize...in fact, I think you should more than apologize, maybe even buy us all ice cream...
Quote by Sherzahd
Have you ever read a story written in the first person, then without warning the author reveals the thoughts of a different character? And you’re thinking, “Whoa! Did I misunderstand?”
No...actually, I can't recall this, though I'd think it would be pretty bad...I've seen people go from first person to second person in a short story...sort of go into this "you do, I do" thing, and that can be annoying...
I've also seen people put two POV's in the same paragraph...and that's just wrong...
I once knew a drinker who had a moderating problem...
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Stories Space newbie here.. Great job. Might want to place these in a single, sticky, post.
Rumple deWriter
Rumple deWriter
It happened at a church summer camp so it must be true, right? ;)
OF WAR, AND PEACE, AND MARY BETH: my contest winner, honest
For Whom the Good Tolls an 'RR' and it's short, no kidding[/url]
OF WAR, AND PEACE, AND MARY BETH: my contest winner, honest
For Whom the Good Tolls an 'RR' and it's short, no kidding[/url]
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Just recently, while editing a story someone sent me, I came across a myriad of errors that I had no idea any writer would still be making outside of writing a high school essay. It made me realise how ill equiped some of us are at this whole writing game. I have attempted in a small way to help by posting this thread, but i have come to realise that what I have posted here does not even come close to being the tip of an enormous iceberg of commonly made errors.
I would like to open up this forum to anyone who has a pet sin of their own they would like to discuss here. Mostly because I am too lazy to think
of any new ones right now, also because it might be fun to hear varying viewpoints.
I would like to open up this forum to anyone who has a pet sin of their own they would like to discuss here. Mostly because I am too lazy to think
of any new ones right now, also because it might be fun to hear varying viewpoints. “Many people hear voices when no one is there. Some of them are called mad and are shut up in rooms where they stare at the walls all day. Others are called writers and they do pretty much the same thing.”
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I hate to mention just one; there are so many. On a general level, the most aggravating thing is an author whose work makes it obvious that he/she has not even bothered to attempt to edit.
Some authors feel that adherence to basic grammatical ground rules detracts from their freedom of artistic spirit. They forget how confusing and disorienting it is for readers to cope with multiple, gross errors and how these errors can sometimes obscure the author's intended meaning. Literature is a two-way street (excuse the cliche) between author and reader. Sometimes we get so wrapped up in our side of the work we forget the other side.
On the technical side, one area to look at is the proper punctuation of dialogue. Sometimes I read a story and it appears to me that the author was so unsure of the grammar rules in this area that he/she avoided using dialogue in the story, and that is a big loss.
Some authors feel that adherence to basic grammatical ground rules detracts from their freedom of artistic spirit. They forget how confusing and disorienting it is for readers to cope with multiple, gross errors and how these errors can sometimes obscure the author's intended meaning. Literature is a two-way street (excuse the cliche) between author and reader. Sometimes we get so wrapped up in our side of the work we forget the other side.
On the technical side, one area to look at is the proper punctuation of dialogue. Sometimes I read a story and it appears to me that the author was so unsure of the grammar rules in this area that he/she avoided using dialogue in the story, and that is a big loss.
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Quote by AutumnWriter
On the technical side, one area to look at is the proper punctuation of dialogue. Sometimes I read a story and it appears to me that the authir was so unsure of the grammar rules in this area that he/she avoided using dialogue in the story, and that is a big loss.
That's an interesting one...I had some problems with proper punctuation in dialogue when I started, but it didn't prevent me from using dialogue anyway...
So, Miss Yas is surprised at seeing work that wouldn't rate a high school level, eh? Come on now, are you really surprised? Lol...
I take it this thread is going to go way beyond "Seven" Deadly Sins...it's more of a continuous blog of writing gripes, and I could contribute...heck, I could post some of my own stories here...um, never mind...
Don't think it was mentioned before, but one of the most common errors I find among beginning writers is not starting a new paragraph often enough...
I have a general rule..."If in doubt, start a new paragraph"...I think it's safe to say you're better off starting a new paragraph too often than not often enough...
I once knew a drinker who had a moderating problem...
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I heartily agree on the paragraph breaks.
On one hand, many authors run on and lose readers' attention. On the other, many don't begin a new paragraph when switching speakers in dialogue.
I use a practice to attempt to limit the number of sentences in any one paragraph to six. I might break the rule once per story, but there must be a compelling reason to do so.
On one hand, many authors run on and lose readers' attention. On the other, many don't begin a new paragraph when switching speakers in dialogue.
I use a practice to attempt to limit the number of sentences in any one paragraph to six. I might break the rule once per story, but there must be a compelling reason to do so.
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This forum topic is great! I will be using this as a reference for my writing quite a bit.
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I was reading a free book off kindle and they did the whole thing in a passive voice. I got to about page 10 and deleted it off my kindle. My problem was that I didn't give a flying fig for the protaganist or anyone else in the novel because I wasn't engaged at all. If ever I could do a 'how not to write a book' guide I'd point that book out.
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The Observer
The Observer
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One of my pet peeves is when someone creates a character who is totally unbelievable without any flaws or someone who is too whiny. As someone who writes from a first person perspective I find character layering very important. Human beings are complex creatures and they should be portrayed in fiction as such.
It's called a one-dimensional character.
It's called a one-dimensional character.
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The Observer
The Observer
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Quote by Louise
One of my pet peeves is when someone creates a character who is totally unbelievable without any flaws or someone who is too whiny. As someone who writes from a first person perspective I find character layering very important. Human beings are complex creatures and they should be portrayed in fiction as such.
It's called a one-dimensional character.
I agree. I need to feel a connection to the protagonist before truly enjoying a story. It doesn't really matter if he/she isn't likeable as a person, they need to be interesting as a character. "Layering" is the best word to describe it, every veil lifted should reveal something new and unexpected. I have to feel everything the characters feel, which is why passive voice would never work for me. I subconsciously end up writing only in first person, not sure why, but I should try something fresh soon.
“Many people hear voices when no one is there. Some of them are called mad and are shut up in rooms where they stare at the walls all day. Others are called writers and they do pretty much the same thing.”
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Authors should avoid using cliches and hackneyed phrases. Although we might use them in everyday conversation, a literary work is a work of art and should be original. In addition, a cliche is usually a metaphor that is intended to imply a certain meaning to a situation ("Love is a two-way street"). It is never certain, however, that every reader will absorb the meaning of the metaphor in its intended way.
For example, love may be a relationship in which two people give and take to/from each other in a reciprocal way. A person might take that phrase to mean that Love is a situation in which a person gets trampled on from two directions.
This is especially true with internet publishing which reaches people in a number of countries and cultures.
There can be exceptions, such as when writing dialogue and trying to give characters certain attributes. Other cases might be those when the writer is attempting humor or satire. Those are specialized cases.
We are all guilty from time to time. Editing is the best way to weed out cliches prior to publishing.
For example, love may be a relationship in which two people give and take to/from each other in a reciprocal way. A person might take that phrase to mean that Love is a situation in which a person gets trampled on from two directions.
This is especially true with internet publishing which reaches people in a number of countries and cultures.
There can be exceptions, such as when writing dialogue and trying to give characters certain attributes. Other cases might be those when the writer is attempting humor or satire. Those are specialized cases.
We are all guilty from time to time. Editing is the best way to weed out cliches prior to publishing.
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Quote by AutumnWriter
This is especially true with internet publishing which reaches people in a number of countries and cultures.
Interesting thought, though I'm not sure a writer should necessarily avoid certain subjects or phrases simply because not everyone would be familiar...
For instance, I wrote a small series of erotic stories I had originally posted under the name 67Goat which were set back in the sixties...with references to sixties cars, music, etc...
I had someone translating some of my stories into Spanish for a site which largely reaches people in South America and the like, and I avoided those stories because I felt those readers would not understand the references...but, I would never avoid the subjects altogether in my stories...
Same with "cliches and hackneyed phrases" especially in dialogue...if it is normal for a character to use them in conversation, it would be wrong for an author to avoid them...as a US type person, I have had to look up certain English phrases when reading some authors, but I certainly would never expect a writer from that area to avoid them if they felt them appropriate...
I once knew a drinker who had a moderating problem...
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All I said was that cliches can be misunderstood easily in a number of ways, and I did mention the exception for dialogue.
Cliches are really shortcut metaphors to imply a meaning. If a cliche doesn't add to the value of a piece, then find a better way to express your thought.
****************
Anyway, here's a new one. Using the word "now" when describing a progression of action taking place in the past tense.
Eg, "He was exhausted and panting now."
The word "now" means 'at this moment in the present time.' Using it as described above is incorrect. It is, however, a commonly committed error. I just heard it in a narrative on TV last night.
What would have been wrong with "He was exhausted and began to pant."?
Cliches are really shortcut metaphors to imply a meaning. If a cliche doesn't add to the value of a piece, then find a better way to express your thought.
****************
Anyway, here's a new one. Using the word "now" when describing a progression of action taking place in the past tense.
Eg, "He was exhausted and panting now."
The word "now" means 'at this moment in the present time.' Using it as described above is incorrect. It is, however, a commonly committed error. I just heard it in a narrative on TV last night.
What would have been wrong with "He was exhausted and began to pant."?
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Quote by AutumnWriter
Anyway, here's a new one. Using the word "now" when describing a progression of action taking place in the past tense.
Eg, "He was exhausted and panting now."
The word "now" means 'at this moment in the present time.' Using it as described above is incorrect. It is, however, a commonly committed error. I just heard it in a narrative on TV last night.
What would have been wrong with "He was exhausted and began to pant."?
I agree. It is important to check for inconsistencies in tense when doing a final edit. I know that I've made those very mistakes in the past. For example, with my story "Even the Clocks Stopped", I found quite a few tense errors a day or two after posting it. My suggestion would be to have someone with "fresh eyes" read your story before trying to submit it anywhere.
“Many people hear voices when no one is there. Some of them are called mad and are shut up in rooms where they stare at the walls all day. Others are called writers and they do pretty much the same thing.”
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One solution is to use a volunteer editor. Some other sites have a program by which volunteers will edit and propose corrections to a story prior to publication. Of course, an editor can be wrong, too. Some are good and some only "fair". At the least they can detect errors that are difficult to pick up when editing one's own work. When I first started writing I did all my own editing, thinking that I couldn't share the creative process with another person. Later, I changed my mind and I am glad that I did.
Some editors limit themselves to the mechanics of spelling, syntax, punctuation and grammar. Other will add the service of questioning things like clarity, connotation, consistency and other similar factors. I have a good back-and-forth relationship with my editor in this way. Sometimes I heed his advice and other times not. More often he will suggest an alternative to my version and in the end both versions get scrapped in favor of something better. The nature and limits of the editor's work has to be agreed at the outset of the relationship, and might grow over time.
It is not impossible to edit one's own work, but it is difficult. Your brain tells you what you want it to and a lot of things can get skipped.
Some editors limit themselves to the mechanics of spelling, syntax, punctuation and grammar. Other will add the service of questioning things like clarity, connotation, consistency and other similar factors. I have a good back-and-forth relationship with my editor in this way. Sometimes I heed his advice and other times not. More often he will suggest an alternative to my version and in the end both versions get scrapped in favor of something better. The nature and limits of the editor's work has to be agreed at the outset of the relationship, and might grow over time.
It is not impossible to edit one's own work, but it is difficult. Your brain tells you what you want it to and a lot of things can get skipped.