Category Archives: Tips for writers

Creating a sense of place

I was recently invited to contribute a piece to the Scottish Book Trust’s ‘Five Things’ blog. The Scottish Book Trust is a fabulous organisation that promotes reading and writing as having the power to change lives—and that’s my kind of ‘mission statement’!

My piece is on creating a sense of place in fiction, and you can read it here.

 

scottish book trust

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Working with an editor: 12 tips

iStock_000018482964XSmallWriters who are new to the editing process (and even some who are not so new) sometimes feel apprehensive about working with an editor. Here are a few tips that might help.

1 Don’t be defensive; approach the process with an open mind

2 Do remember that the editor’s role is to help you bring the manuscript to its full potential. The editor is on your side, and if it sometimes feels like that isn’t the case, remember that the editor is also the reader’s advocate

3 Don’t dismiss the editor’s questions without really thinking about them—let them sit in your mind for a while, take a walk around them to see what might be on the other side. If you’re unsure why the editor is asking a question or what it means, ask

4 Don’t feel you have to accept every suggestion the editor might make just to make them happy. This is a relationship of mutual respect and cooperation; it’s about getting the best result. It’s not about power and it’s not about keeping the peace

5 Make yourself familiar with the publisher’s house style and don’t berate the copyeditor for changing your double quotation marks to singles, or your -ize spellings to -ise—or, worse, undo all of those changes in the edited manuscript. If keeping double quotation marks or -ize spellings feels like an issue of life-or-death for you, discuss this with the editor and publisher before the editing process begins

6 Don’t format your manuscript with fancy headers and footers, headings, columns

7 Don’t ever submit a manuscript that contains text boxes

8 Don’t use the space bar to attempt to align lists or indent paragraphs (use tabs or indents)

9 Do hand over a style sheet, if you have one

10 Do hand over a chronology, if you have one (please have one!)

11 Do hand over any other relevant guide documents, e.g. genealogy, physical descriptions of characters, mud map

12 Do tell the editor if you’re computer-challenged and you’re unfamiliar with onscreen editing using Track Changes

I hope your experience of the editing process is as rewarding as those I’ve had—both as a writer and as an editor. Good luck!

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Submitting a manuscript: 10 tips

iStock_000018482964XSmallAt the beginning of a new year, writers have often been working hard on a manuscript and are trying to summon up the courage it takes to submit it to an agent or publisher. Here are 10 tips for those who are new to this stage of the journey to publication.

 

1. Don’t send your manuscript to a publisher who doesn’t publish in your genre. It sounds obvious, but publishers report that it happens all the time. Do your homework first. Take note of who publishes the books in your genre that you read, and research those publishers. Look for information in the newsletter or on the website of your state writers centre or other writers centres you belong to. Read the websites of publishers; if you’re still not sure, email a polite enquiry. Commercial marketplace guides, online or print, are also available (e.g. Australian Writers Marketplace).

2. Adhere to submission guidelines (e.g. what publishers or agents want to see, how much, what other information they want, whether to submit in hard copy or email, whether they use online submission processes).

3. Use double spacing, with wide margins left and right. Don’t use fancy typefaces and elaborate formatting. If you’re sending a hard-copy submission, don’t bind your manuscript in folders or files.

4. Don’t arrive at a publisher’s or agent’s office in person, expecting to discuss your manuscript.

5. Don’t follow up with phone calls and emails; if you haven’t heard back after two months, enquire but don’t make weekly contact.

6. Do avail yourself of the new submission processes that several publishers have put in place for unsolicited manuscripts (e.g. Allen & Unwin’s Friday Pitch, Penguin’s Monthly Catch, Hachette Australia). Follow the guidelines carefully. Receipt of your submission will be acknowledged. If they are interested in you and the preliminary sample you supply, they will ask for more. Take note of what they say about response times (e.g. some advise that if you haven’t heard back from them within a specified period, you should assume they are not interested).

7. Don’t submit your manuscript to a publisher or agent that states that it doesn’t accept unsolicited submissions—unless you’re prepared for it to go into the black hole of the slush pile.

8. Make your manuscript the best it can possibly be before submitting it. Revise and redraft it yourself, many times. Seek help from writing buddies/writing groups. Consider getting a manuscript assessment. If you can afford professional editing or proofreading help, consider that.

9. Be professional in your communications with publishers. And be brief. Don’t hold back on telling them anything that might make you stand out in a crowd—awards you’ve won, or that you have a blog with 900,000 followers, or any ‘marketable’ facts about you or your work (e.g. you recently won Master Chef; your novel is based on your experiences as a retired ASIO spy; your manuscript has been endorsed by Greenpeace and the National Heart Foundation). But don’t exaggerate, don’t make outrageous assertions (this novel is the best thing you’ll ever read in your life!), don’t send them a six-page letter about your aspirations as a writer, and don’t send false or dubious endorsements from others.

10. Proofread your covering letter and proposal several times. This is your first chance to make an impression. Don’t compromise that opportunity by sending out a document littered with typos or grammatical errors.

Happy New Year, and good luck with your submissions in 2016!

 

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Quick tutorial: it’s worth its weight in gold

iStock_000018482964XSmallFirst of all, apologies for the title of this post: I’m not trying to make extravagant claims for a very modest quick tutorial. But it does illustrate the point.

A friend who is a retired university professor tells the story that he used to begin each unit with a short lesson on the difference between its and it’s. He’d warn his students to listen carefully because every time they made an its/it’s error in their assignments, he would be deducting a 1% penalty mark. He swears it made a difference—but also said there were always students who had to pay his rather high price.

If you have difficulty with this one, here’s a recap, with a couple of easy guidelines:

its is a possessive, the neutral equivalent of his or her.

If you can’t replace its with his or her (leaving the gender issue aside!), you probably mean it’s.

Mary is publishing her novel. Wally is publishing his memoir. The company is publishing its annual report.

 

it’s is a contraction meaning it is or it has.

If you can’t replace it’s with it is or it has, you probably mean its.

It’s not unusual. [It is not unusual.]

It’s always been this way. [It has always been this way.]

So, to return to that clichéd title with the grandiose claim:

It’s worth its weight in gold means It is worth the weight of it in gold—but you knew that, didn’t you?

Give it a try next time you’re proofreading. And let’s all be thankful that editors don’t apply penalties.

 

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Another quick tutorial on apostrophes…

iStock_000018482964XSmallThis especially quick tutorial is to clarify a single apostrophe usage that often confuses writers.

In manuscripts—and even in print—I frequently see the following:

Let’s go to the Molloy’s house.

Grammatically, this means:

Let’s go to the house of the Molloy.

Now, perhaps there is a big burly guy out there who is referred to as ‘the Molloy’, as in ‘Give that burrito to the Molloy before he chews someone’s arm.’ In that case, the above would be correct. But what the writer usually means is:

Let’s go to the Molloys’ house.

meaning:

Let’s go to the house of the Molloys. [a couple, or a family, or the three banjo-playing Molloy sisters]

If, on the other hand, the writer is referring to a particular Molloy:

Let’s go to the house of Molloy. [e.g. Joe Molloy]

then it would be:

Let’s go to Molloy’s house. [singular Molloy; no definite article]

Again, it comes down to singular versus plural: one Molloy or a bunch of them!

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Quick tutorial: where does that damned apostrophe go?

iStock_000018482964XSmallA friend asked me recently to explain where the apostrophe should go in the phrase my parents house. I realised that this is something I’ve corrected many times when editing manuscripts, so it seemed a good subject for a quick tutorial. Here’s an easy way to work it out.

Ask yourself: How many parents are we talking about? If only one (singular), then the apostrophe goes after the word parent:

my parent’s house
meaning: the house of my parent

But if we’re talking about plural parents—mother and father, two mothers, two fathers, any combination of people playing parental roles!—then the apostrophe goes after the plural s:

my parents’ house
meaning: the house of my parents

In summary, to indicate possession:

add apostrophe + s to a singular term

add apostrophe only to a plural term

Where it gets complicated is when the singular term ends in s. There are acceptable variations here, and it becomes a matter of style rather than a rule. I prefer the recommendation of the Style guide for authors, editors and printers (6th edn, John Wiley & Sons, 2002), which is:

apostrophe + s (i.e. no change to the rule above for a singular term)
Dickens’s novels
meaning: the novels of Dickens
Burns’s poems
meaning: the poems of Burns
For: It’s easy to remember because it’s the same style!
Against: Some people think it looks clumsy.

Feel free to disagree! Here are a couple of alternatives.

Some guides recommend:

apostrophe only
Dickens’ novels
Burns’ poems
For: Some people think it looks neater.
Against: Why complicate things?

Others recommend different styles depending on the number of syllables in the singular term:

more than one syllable: apostrophe only
Dickens’ novels
but
one syllable: apostrophe + s
Burns’s poems
For: I can’t think of one!
Against: It looks inconsistent, and why complicate things even further?

There’s yet another variation involving pronunciation (i.e. whether you sound the s or not), but that, in my opinion, is a highly dubious way of deciding which style to use: not everyone pronounces words the same way. So let’s not even go there.

As with any point of style for which there are variations, what’s important is that you choose one (or follow the style set for you) and use it consistently.

Happy apostrophising!

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Quick tutorial: the singular subject in plural disguise

iStock_000018482964XSmallThis quick tutorial is on a point of grammar that often trips people up. But before I begin, I want to offer an observation and a disclaimer.

Over the years, some of the writers whose work I’ve edited have expressed embarrassment over their lack of grammar knowledge. But, as I always tell them, it’s probably more to do with failures of the education system than with any lack of aptitude on their part. From about the 1960s, education theorists decided that grammar—the structural basis of language—inhibited children’s creativity. It imposed on them too many rules. It was boring. It was hard. And so it was pretty much wiped from the curriculum. (You can read more here and here.)

Thankfully, grammar is making a comeback in today’s schools (more about that here)—too late, of course, for those generations who missed out.

I was lucky enough to have a mother who was ‘good at English’, and I’m so glad she instilled in me a few boring rules when I was in primary school. I want to emphasise that: I was lucky. And then, in high school, I learned more about English grammar by learning French and German than I had ever learned in an English class. Since then, my work as an editor has required the study of grammar, and frequent revision, although I don’t consider myself to be an expert—a term I reserve for the few editors I know who studied Latin and for whom the parsing of a sentence was a primary school exercise as familiar as reciting the times table.

So that’s the context for my posts on grammar. For greater authority than mine, there are any number of tomes available, though I confess to a fondness for one that is delightfully quirky and satisfyingly gothic: Karen Elizabeth Gordon’s The Deluxe Transitive Vampire: the ultimate handbook of grammar for the innocent, the eager, and the doomed.

And so on to today’s quick tutorial: the singular subject in plural disguise.

 ~~~

Being able to identify the subject of a sentence is important, because the verb needs to agree in number with the subject—that is, a singular subject takes a singular verb; a plural subject takes a plural verb.

The girl is eating ice-cream. (singular subject = The girl; singular verb = is eating; object = ice-cream)

The girls are eating ice-cream. (plural subject = The girls; plural verb = are eating; object = ice-cream)

But the subjects above are simple subjects, and subjects are not always simple. They can come carrying baggage in the form of modifiers. Take a look at the following sentences. In each of these, the subject (including all of its modifying baggage) is highlighted in blue:

The girl wearing slippers and pyjamas is eating ice-cream.

The girl who told us about the snakes is eating ice-cream.

The girl, whose brothers have all been scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles, is eating ice-cream.

The girl with the friends who are helping themselves to the salad bar is eating ice-cream.

The girl wearing slippers and pyjamas, whose brothers have all been scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles and whose friends are helping themselves to the salad bar is eating ice-cream.

The girl who has been watching her brothers scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles and her friends helping themselves to the salad bar is still eating ice-cream and, frankly, is tired of it.

As you can see, these are complex subjects with many modifiers (words that tell us something about the subject), but the base element of the subject is The girl. She’s the one eating the ice-cream. She’s the singular subject taking the singular verb. In terms of the sentence, all these other words, all these other people, are subordinate to her, performing the following modifying roles:

The girl wearing slippers and pyjamas is eating ice-cream.
defines which girl is eating the ice-cream: the one wearing slippers and pyjamas

The girl who told us about the snakes is eating ice-cream.
defines which girl is eating the ice-cream: the one who told us about the snakes

The girl, whose brothers have all been scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles, is eating ice-cream.
gives us incidental (non-defining) information about the girl: her brothers have all been scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles

The girl with the friends who are helping themselves to the salad bar is eating ice-cream.
defines which girl is eating the ice-cream: the one with the friends who are helping themselves to the salad bar

The girl wearing slippers and pyjamas, whose brothers have all been scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles and whose friends are helping themselves to the salad bar, is eating ice-cream.
defines which girl is eating the ice-cream: the one wearing slippers and pyjamas; and gives us incidental (non-defining) information about the girl: her brothers have all been scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles, and her friends are helping themselves to the salad bar

The girl who has been watching her brothers scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles and her friends helping themselves to the salad bar is still eating ice-cream and, frankly, is tired of it.
defines which girl is eating the ice-cream: the one watching her brothers scoffing cheeseburgers, onion rings and potato wedges with cheese and pickles and her friends helping themselves to the salad bar

The girl is the subject of the action. Power to the girl!

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