Danging the Hook

By: Stephanie Burkhart 

You often hear: "A writer has to hook a reader quickly." I agree, yet creating a hook is not an easy thing to develop, especially for newer writers.

Consider the following: In today's world, there's an expectation of instant gratification. The average length of a commercial is 30 seconds. That's all a product has to "hook" you – 30 seconds.

So what's a hook in regards to a writer? A short, pithy sentence intended to make readers interested in your story.

Keep this in mind: When a reader is in a bookstore (or even browsing online) they consider the following when buying a book: #1 They notice the cover. #2 They read the book blurb. #3 They read the first sentence. If they like the experience, they're hooked. Total time? Between 30-60 seconds. Instant gratification.

Is your first sentence in your novel a hook?

Remember, a hook is a short, pithy sentence intended to make readers interested in your story, so it might very well be the first sentence. It could be the "pitch" sentence you tell others when they ask about your writing.

Remember: Hooks should be short, witty, and catchy.

What can you/should consider?

Make the reader scared or excited. (Blood soaked my shirt.)

Use a contradiction. (The world is going to hell around me, but I feel fine.)

Use an interesting description. (The obsidian forest bustled with life.)

Hooks should:

Grab a reader's attention.

Make readers hungry for more.

Make a great first impression.

Use strong, active verbs.

Imply or allude to the main conflict.

Consider the audience.

Examples:

Can Sofia's faith give Darrin his heart back?

Travel with Caterpillar through the meadow learning to share and care about others.

Jocelyn Dunkirk plopped down in a chair and fussed with the ring on her finger.

Zoltan jerked the steering wheel too late.

Question: How do you hook readers? Do you have any tips you'd like to share? I'd love to hear your thoughts.

Author Bio: Stephanie Burkhart is a 911 dispatcher for LAPD. Raised in New Hampshire, she spent 11 years in the US. Army before settling in California. She loves coffee, adores chocolate, and is a den leader for her son's Cub Scout's den. "The Giving Meadow" and "First Flag of New Hampshire" are published with 4RV Publishing.

FIND HER ON THE WEB AT:

WEBSITE:

http://www.stephanieburkhart.com

TWITTER:

http://twitter.com/StephBurkhart

FACEBOOK:

https://www.facebook.com/StephanieBurkhartAuthor

GOOD READS:

http://www.goodreads.com/author/show/4031660.Stephanie_Burkhart

YOU TUBE CHANNEL:

http://www.youtube.com/user/botrina?feature=mhee

PINTEREST:

http://pinterest.com/sgburkhart/

Ideas for writing blurbs

By: Stephanie Burkhart 

We've done it – we've written a great novel. It's going through edits with a publisher and then we get the email that makes us bite our nails to little bits:

Can you write a back cover blurb no more than 150 words and a 25 word short blurb?

Blurb writing is not easy. You've got a novel/novella/short story that you've got to sum up in a couple of paragraphs and you've got to make it sound jazzy so it will entice a reader to buy and read.

I try the following: I introduce the hero/heroine (main characters), state what the challenge is and what's at stake. My goal is to write paragraphs. It seems like a lot, but it all comes down to verb choice for me. After I write an initial rough draft blurb, I circle my verbs and strive to find stronger ones. "Went" and "was" are two that I try to replace. If I have an adverb, I try to eliminate it. Then I examine my adjectives and look for punchier ones – tormented, hunted, captivated, destroyed, ruined, enthralled, enchanted are all stronger words that come to mind.

When writing a short 25 word blurb, I try to state who my heroine (or hero) is and the challenge they face.

I'd love to hear your tips and what works for you.

Author Bio: Stephanie Burkhart is a 911 dispatcher for LAPD. Married with two boys, she lives in California. In her spare time, she's a soccer mom, dance mom, cub & boy scout mom, and a writer. Her story, "Made in America," won 8^th place in Mainstream Fiction in the 82^nd Annual Writer's Digest Contest this year.  You can find my story on my website under "short stories" at: http://www.stephanieburkhart.com

Take the Fifth

by Suzanne Y. Cordatos

www.suzannecordatos.blogspot.com

When a story has you hanging by your nails on the edge of a cliffhanger, how often do you correctly guess what happens next? Fifty percent of the time? Five?

If you can name the whodunit in the first chapter or can identify the mysterious thing lurking at the back of the dark adventure before the hero gets there, be honest. Don't you feel cheated? Wouldn't you rather feel the tingle of terror?  If you predict the next trick up James Bond’s tuxedo sleeve, doesn’t the movie get boring?


As writers, it is our job to craft the surprises. The trick is, how?

Stories—Picture Books through Adult—lose their luster if the author doesn’t have richer surprises in store. Translate boring to mean “stop reading” (or the nastier “I’ll never buy another book from that author”) and you’ll understand the importance of the surprise.

Exercise Creativity Muscles

Not sure from which SCBWI (children's writer society) keynote speaker I heard this golden nugget, but here’s a solution that works for me and is easy to implement in your own Work-in-Progress:

Need an escape hatch? Heroic deed? Creepy creature? Make a list. Write down the first solution that comes to the top of your head.

Jot down more ideas. Work fast. Don’t think too much.

DISREGARD the first three on the list. Your readers will think of these quickly as you!

Delete deus ex machina—Greek for any solutions handed down by the “gods” without the hero’s direct involvement. Maybe there's another blog topic in here, but you don't want readers to feel like it would have been impossible to guess the outcome.

Now, take the fifth . . . or sixth idea on the remaining list. This is the one more likely to be a creative solution unique to your book—and not the stock scene played out in a hundred books and movies already.

The Ah-Ha Moment

If your solution is believable and true to the world you've created, true to your character's skill set and talents hinted throughout the story, readers will come to the reveal surprised but think, “I should've seen this one coming.”

Keeping it easy for Kids

Joe Burkhart reading The Giving Meadow

By: Stephanie Burkhart

I volunteer in my son's classroom every other week. He's in 1st grade now. The experience is especially rewarding because I love watching my son interact and grow with his classmates.

The children enjoy having books read to them. Their eyes really light up when its reading time.

After reading my story to them this past week, my son's teacher began asking questions. It was a nice reminder to me, as a writer, how important it is to keep it easy for kids. Most five-year-olds appreciate how you, the author, put story elements together and the proof is in their smiles. Some elements to keep in mind:

Setting

The setting should be something the kids can relate to – a house, backyard, forest, lake, or beach.

Characters

Characters should be easy to relate to. For example: Mom, Dad, a dog, a cat, or bugs. What makes them easy to relate to? Heartwarming qualities such as kindness, sharing, and giving. Characters should embody emotions children see everyday.

The Problem

The kids in my son's class had a harder time indentifying the problem of the story when the teacher asked, but when she stated what it was, a lot of them said, "Oh, yeah!" The problem should be one the kids can understand. For example, frustration or loneliness. 

The Solution

The solution has to be something they can identify with. Examples include an act of kindness, sharing a toy, or even a smile.

Being a children's writer can be challenging, but hanging around children, reading to them, and even watching a children's show with them can help to give you the perspective needed to craft a special story they can relate to.

Author Bio: Stephanie Burkhart is a 911 Dispatcher for LAPD. She enjoys working with children at her church. Her books with 4RV Publishing include The Giving Meadow and First Flag of New Hampshire.

FIND ME ON THE WEB AT:

WEBSITE:

http://www.stephanieburkhart.com

TWITTER:

http://twitter.com/StephBurkhart

FACEBOOK: 

https://www.facebook.com/StephanieBurkhartAuthor

GOOD READS:

http://www.goodreads.com/author/show/4031660.Stephanie_Burkhart

YOU TUBE CHANNEL:

http://www.youtube.com/user/botrina?feature=mhee

PINTEREST:

http://pinterest.com/sgburkhart/

Stop Whining, Already!

by Suzanne Cordatos

www.suzannecordatos.blogspot.com


Are your characters a bunch of whiners? Characters who whine are like static blizzards on TV. The white stuff adds a lot of noise, but it sure isn't entertaining.

My critique partners pointed out the static in my work-in-progress after reading a scene with a typical brother-sister spat. The dialogue? Believable. The action? Lifted from life. Well then, I opened my mouth to debate their thumbs-down verdict. What’s the problem? A total lack of value to the story. Ouch!

Look at these similar scenes:

            “Give it back,” demanded Jon. “It’s mine.”

            Julie ran around the room, the key dancing from her fingers. “You’ll have to catch me.”

            “Give it back OR ELSE!” Jon grabbed at her hand and got a fistful of long hair.

            “MOM, Jon pulled my hair!”

            Mom came to the door, an angry expression denting her brow. “What’s going on?”

OR

            “Give it back.”

            Julie danced the key out of reach from Jon’s grabbing fingers. “Only if you show me.”

            “If I open the box,” said Jon, “can you keep a secret? Can you handle the truth?”

            Jon and Julie shook hands. Mom came to the door, eyebrows raised. “What’s going on?”

           

Which story would you keep reading? In the first example, I wanted to tell the kids to settle down--The End. The scene contains “loud” action. Running, grabbing, pulling hair. Yet what does it add but a sibling relationship scene that is already familiar to just about everybody? No surprises. No story.

The quieter example propels the reader into a story filled with conflict and tension. Conflict does not have to involve spectacular car chases and fist fights. I want to turn the page to discover answers: What’s in the box? Can Jon trust Julie? Can Julie keep a secret? Can she handle the truth? What truth? How will they answer Mom? All of that in fewer words than the first example!

The more surprise and tension, the faster readers will turn your pages. Check scenes for these points:

            Is the dialogue a time filler?

            Would it change or harm the story if cut?

            Is there tension on every page? In every paragraph? In every sentence?
            Can the action or dialogue be blended with another scene?

            Does the scene add value on multiple levels? Characterization? Plot? Setting? Mood?

            Does the scene conjure questions that compel readers to turn pages?

Questions for you: 1) Did you ever cut a major scene for the sake of a story? Were you glad you did?
                             2) Any guesses what's in Jon's box? 

Improve writing: Know about sentence variety

by Vivian Zabel   

sentence (noun): a group of words that expresses a thought and is complete in itself (starting with a capital letter and ending with a period or question/exclamation mark)
variety (noun): the quality of being different; not having uniformity or sameness

            Varying sentence length and patterns or types results in a natural form of writing that flows smoothly. If all sentences in a writing are the same length and type, then the writing becomes boring and dull. A variety of sentences not only holds a reader’s attention but causes the writer’s mind to think creatively and complexly. 

          Review of variety in sentences:

            Simple sentences offer one thought and are one independent clause. They generally have a subject and verb and maybe an object.
The moon rose last night.
The boy laughed at the joke.
Small birds awoke and sang. 

    

            Four main types of simple sentences exist.

1. Declarative sentence (most common): The sky is blue.
2. Interrogative sentence: Why is the sky blue?
3. Exclamatory sentence: The sky is blue now! (It was black just a minute ago.)
4. Imperative sentence: Don't go outside! (It's pouring rain.)

          Compound and complex sentences can also be any of the four main types.

            Compound sentences contain two simple sentences (two independent clauses) joined correctly.
The moon rises at night, and the sun rises in the morning.
Roses bloom in my front yard, but irises bloom in the side yard.
Terry and Joe wanted to go to town, but the car needed gas.

            Complex sentences contain one independent clause and one or more dependent (subordinate) clauses.
Mary thought about her grandmother, whose poor eyesight kept her from reading.
If you want a cake for dessert, you will have to bake it.
When the clock struck  midnight, Cinderella had to leave the ball before her gown turned back to rags.

            Compound-complex sentences contain two or more independent clauses and one or more dependent clauses.
Mary thought about her grandmother, whose poor eyesight kept her from reading, and the decision to buy books on tape seemed a good one.
If I want to finish my novel, I’m going to have to spend more time writing; however, I have so many other things that I run out of hours in my days.

            There are a number of ways to add variety to writing. If the writer imagines himself cutting up a sentence into individual words and placing them in a paper bag and shaking it up, he can lay out the sentence parts and experiment: make two sentences out of one; put the sentence back to front; turn the sentence into a question. If you the sentence is too short, he may want to add another sentence to it. If he has a really important point, perhaps a famous person has said something similar and a quote would help. Sentences might begin with a prepositional phrase one time, a dependent clause another. 

            A good writer avoids using sentences that are all the same length. Short sentences are powerful. Combining short sentences with long sentences makes writing flow more naturally. The most important sentences should be clear and concise. Those sentences should be kept short. Descriptive sentences can have more length but need to flow naturally.

            Writing only in short sentences causes the material to be choppy, monotonous, and does not reflect the variety of complex thinking patters found in the human mind. Using dependent or subordinate clauses adds variety.

            Now how do we write dependent or subordinate clauses? Subordinating conjunctions are key words to begin subordinate or dependent clauses. Such key words, subordinating conjunctions, include the following:

after                 although                      as (far/soon)                as                                 as if or as though

because            before                          even if                         even though                how

if                      in case                         in that                          in as much                   in so far as

lest                   no matter how             now that                      once                             provided (that)

since                so that                         supposing that             than                             through

till                    unless                          until                             when, whenever         where, wherever

whether           while                           why

            When a  subordinate (dependent) clause begins a sentence, a comma follows the dependent clause – always. However, when a dependent clause comes within the independent clause (the main sentence), it is not set off by commas most of the time.

            Simple sentences contain one clause. More advanced types of sentences are "compound" (combining two sentences with a conjunction and proper punctuation or correct punctuation) and "complex" (using at least one dependent clause and one independent clause). Writers also need to know how to use conjunctions, adverbial phrases, prepositional phrases, conditionals, and noun phrases to add to sentence variety.

Next article: Using prepositional or participial phrases to vary sentences.  

4RV Publishing website  
4RV Bookstore  
 

Five Ways to Avoid Boring Writing

 by Vivian Zabel 

          At times, readers feel as if writers are using a completely different language, or at least a completely boring one. I tried to read three different books last week, two of which were mysteries or sub-mystery genre. I couldn't force myself to plow through the words between the covers.

          I'm a avid reader. When I can't find anything else, I may read the back of cereal boxes. But these books defied my attempts to force myself to read them. So, I decided to analyze the problem or problems as to why the reading was labored and uninteresting.

          Using three books (but not identifying them to protect the poor authors) as examples, I can give several reasons that books can be unreadable, things that an author needs to avoid. However, this time I'll discuss five.

1.Too many subplots can become confusing. Confusing, and thus losing, readers isn't a good thing. That doesn't mean that having subplots is a bad thing, just that too many spoil the book. Too many subplots makes the overall plot too complex.

2. Making "make-believe" world unbelievable. Readers can suspend belief IF authors develop a world in writing that a reader can accept, can suspend belief enough to accept. However, a reader must be able to say, "Oh, yes, I can see how that might happen if such a world or circumstances did exist." Therefore, as Laura Whitcomb states (Writer's Digest, March/April 2009), "Readers need to buy into the reality put forward by what they're reading." An author cannot go too far with a plot point or not far enough as the reading audience is being prepared. The plot cannot become too far fetched, or readers will not be able to suspend belief enough to accept it.

3. Dialogue can't be just talking heads. Action needs to be involved as well as conversation, and conversation with action should move the plot along and reveal character.

4. An unsatisfactory conclusion should be avoided. A twist or surprising ending that has a good foundation laid in the story can be creative. An ending that does not "fit" is bad.

5. Forced emotion can destroy believability. Most people do not sit mulling over their inner most thoughts and emotions in the midst of action. Yet, I'm discovering many novels that have a character do just that. Not only does such needless and in depth thinking tell and not show, but it becomes monotonous.

          There, five ways that cause books to become targets for the waste basket, when avoided, can improve a story. Of course more ways exist, but those can be covered another time.

4RV Publishing website  
4RV Bookstore 

Writing tips - Subjects and Verbs Stop Fighting: Subject-Verb Agreement

by Vivian Zabel  

            Since I was dealing with a husband who is very ill and in the hospital, I missed posting my next writing tips article this past Wednesday. Therefore, I'll leave it up Sunday and Monday.

            

            Using correct grammar improves writing, allowing the reader to understand better what the writer means.

            When subjects and verbs cannot and do not agree, the resulting battle creates an incorrect sentence.  More and more this problem appears not only in speech but also in writing.  However, learning how to make subjects and verbs agree isn’t very hard.  First one needs to recognize the problem areas and then correct the error.

            A verb must agree in number with its subject: A singular subject requires a singular verb; a plural subject requires a plural verb.  Let’s examine some rules of subject-verb agreement,  instances of incorrect usage, and how to repair the problem.

 1.  If a group of words including one or more nouns, such as an object of a prepositional phrase, comes between a subject and verb, be sure the verb agrees with the subject, not one or more nouns in the group of words or prepositional phrase.  A subject separated from its verb still must agree with the verb.

            Error: According to Mary Ellen, the boys on the team arrives late every day.

            Correct: According to Mary Ellen, the boys on the team arrive late every day.

           

            Error: The sea otter as well as the sea lion inhabit the waters of Alaska.

            Correct: The sea otter as well as the sea lion inhabits the waters of Alaska.

 2.  Singular subjects joined by and should have a plural verb under most circumstances. 

            If the parts of the subject refer to more than one thing, use a plural verb.

            Error: Oklahoma City and Tulsa is the largest cities in the state.

            Correct: Oklahoma City and Tulsa are the largest cities in the state.

            If the parts of the subject refer to the same thing, use a singular verb.

            Error: The capital and largest city are Oklahoma City.

            Correct: The capital and largest city is Oklahoma City.

 3.  When a compound subject is joined by or, either-or, nor, or neither-nor, the verb agrees in number to the subject closest to it.

            Error: Either hyperbole or personification are used in each poem.

            Correct: Either hyperbole or personification is used in each poem.

            Error: Mary or Terry are next.

            Correct: Mary or Terry is next.

 4.  A compound subject preceded by many a, every, a number, the number or each requires a singular verb.

            Error: Each man and woman enjoy a delicious meal.

            Correct: Each man and woman enjoys a delicious meal.

 5.  A verb agrees with the subject rather than a subject complement/ predicate nominative.

            Error: The books on the table is the package that arrived today.

            Correct: The books on the table are the packages that arrived today.

 6.  Make sure the verb agrees with its subject even if another word or phrase begins the sentence and/or the subject follows the verb (inverted order).

            Error: There is several reasons for the test results.

            Correct: There are several reasons for the test results.

            Error: On much of the Alaskan landmass lives many animals.

            Correct: On much of the Alaskan landmass live many animals.

 7.  A singular subject that ends in s requires a singular verb.

            Error: The television series Da Vinci’s Inquest take place in Canada.

            Correct: The television series Da Vinci’s Inquest takes place in Canada.

 8.  A singular verb is needed for the title of a work as the subject.

            Error: The Princess Diaries tell the story of a young woman who discovers she is a princess.

            Correct: The Princess Diaries tells the story of a young woman who discovers she is a princess.

 9.  A noun naming an amount that is used as a subject takes a singular verb.

            Error: Six months of darkness make winter difficult in the far north.

            Correct: Six months of darkness makes winter difficult in the far north.

10.  Collective nouns may be singular or plural as used.

            If the subject is considered as a whole group, a singular verb is required.

            Error: A group of Native Americans, the Cherokee, live in northeast Oklahoma.

            Correct: A group of Native Americans, the Cherokee, lives in northeast Oklahoma.

            If the subject refers to each individual in the group, a plural verb is needed.

            Error: The group offers different opinions as to how to spend the money.

            Correct: The group offer different opinions as to how to spend the money.

11.  Indefinite pronouns take a singular or plural verbs under different circumstances.

            If the indefinite pronoun is singular, a singular verb is needed.

            Error: Each of the girls take art.

            Correct: Each of the girls takes art.

            If the pronoun could be either singular or plural but refers to a singular noun, a singular verb is needed.

            Error: Some of the catch are bass.

            Correct: Some of the catch is bass.

            If the pronoun, which could be either singular or plural, refers to a plural noun, a plural verb is required.

            Error: Some of the parts is sold at discount stores.

            Correct Some of the parts are sold at discount stores.

            Keeping a few guidelines at hand can help writers remember how to make those subjects and verbs agree.  Then writing becomes more peaceful and smooth.

Author of mystery suspense Midnight Hours

Writing Dos & Don'ts

by Vivian Zabel

            The following writing tips have become mine through study and usage, but they are based on techniques advocated by English textbooks, creative writing books, composition books, and various published authors and other experts in the field of writing.

            The list of tips is broken into two parts: Things that should be done, and the things that should not be done, many reinforcing the things to do.

DO the following

1. Do use first or third person when writing. Second person should be used only when writing directions or in dialogue.

Example of third person: "Roger grabbed his suitcase off the rack."

Example of second person: "You grabbed your suitcase off the rack."

Example of first person: "I grabbed my suitcase off the rack."

* * *

2. Do experiment with a variety of sentence beginnings. The following list gives some different ways to begin a sentence:

 A. Subject followed by adjective

      Example: Curtains, lacy and white, ruffled in the breeze.

B. Adverb

    Example: Lazily, the toy duck floated in the tub.

C. Prepositional phrase

    Example: Behind the tree, the two boys giggled as they hid.

D. Subordinate adverbial clause

     Example: When she saw the knife in his hand, she screamed.

E. Adjective

    Example: Lively curls tumbled around her face.

F. Present participle

    Example: Laughing, the man felt more relaxed than he had in a long time.

G. Past participle

    Example: Frightened, the little girl started crying.

H. Infinitive

    Example: To find the truth, Margery vowed she would search wherever needed.

I. Absolute phrase

    Example: Her hands shaking from the cold, the woman dropped the valuable vase.

* * *

3. Do remember and use the seven C’s of composition:

Clarity - the writing is clear, lucid

Coherence - parts of the writing "stick" together, are connected

Completeness - no parts are missing, has a beginning, middle, and end

Conciseness - condensed, brief, no extra, unneeded padding

Concreteness - solid, united

Continuity - continues in sequence or order

Correctness - rightness, rectification of errors, revised without errors

* * *

4. Do use the writing process: brainstorm, organize, support; write rough draft, revise, rewrite until work is error-free and clearly communicates your ideas; do final write for publication, assignment, or posting.

* * *

5. Do use correct sentence structure (avoiding run-on sentences and sentence fragments) and a good variety of sentence types (simple, compound, complex, compound-complex).

 Examples of run-on sentences;

          The boy ran into the house and he called for his mother. (A comma after house would correct this sentence.)

          The boy ran into the house, he called for his mother. (This run-on is also called a comma splice. To correct this error, a coordinating conjunction such as "and" must be added after the comma.) 

Examples of sentence fragment:

          Called for his mother.

          Since the phone rang.

Examples of sentence types:

Simple: The dog chased his tail but never caught it. (One set of subject and verb with a complete thought called an independent clause)

Compound: The dog chased his tail, and he caught it. (Two or more independent clauses, joined correctly)

Complex: With his hand held out in supplication, the man begged for help. {One independent clause - the man begged for help - and one or more dependent clauses [has subject and verb, but without a complete thought] - with his hand held out in supplication)

Compound-complex: With his hand held out in supplication, the man begged for help, but he never said a word. (Two or more independent clauses joined correctly and one or more dependent clauses)

* * *

6. Do use correct spelling and a variety of correctly used words (increase your vocabulary). Use spell check, dictionary, Google (search engine at http://www.google.com ) and a thesaurus. Check for words that sound the same but have different meanings so that the correct word is used. (Examples: it's and its; your and you're; their, there, and they're). Use synonyms for overused words, but be sure the synonym "fits" the way you use it in a sentence.

         Spell all right correctly.  All right is always two words, just as all wrong is two words.

         Distinguish between which and that:

A. Which is used with non-necessary clauses. Example: The book, which sits on the table, has a red cover.

B. That is used with necessary clauses. Example: The book that I need has been taken from the library.

         Distinguish between sit and set

A. Sit means to perch, to be situated, and it doesn't have a direct object.

B. Set means to place, and it has a direct object.

* * *

7. Do use correct pronouns and correct pronoun references. Also avoid using a vague “it.” It as a pronoun should refer to a singular noun or indefinite pronoun (such as anything) used previously and closely to the pronoun.

           Example of incorrect pronoun usage: Does anyone have their paperwork completed? (Anyone is singular while their is plural.) To correct this sentence, we need to either use a plural antecedent or change their to his or her.

          Another example of incorrect pronoun usage: Mary gave gifts to John and I. (I is the object of the preposition to and must be the object form me.)

          Another example of incorrect usage of I: This idea is between you and I. (Should be you and me because between is a preposition, too.)

          Example of vague "it": It was a beautiful day. Rewriting avoids the vague "it": The sun shone brightly, creating a beautiful day. (The revision also avoids the use of a state-of-being verb and uses an action verb. It also tells the reader what "beautiful" means.)

* * *

8. Do use correct punctuation and capitalization, even in poetry. 

* * *

9. Do have <b>correct subject/verb agreement.

          Example of incorrect subject/verb agreement: One of the children have forgotten the date. (One is the subject.)

          Example of correct subject/verb agreement: One of the children has forgotten the date.

* * *

10. Do have unity, coherence, and organization in all writing.

* * *

11. Do use correct sentence beginnings. Unless used in dialogue, certain words are not strong sentence starters. Coordinating conjunctions (such as and, nor, but, or), there, that, and this (unless used as adjectives before a subject) and well should be avoided.

* * *

12. Do make all work believable and understandable to the audience (your readers). You need to know to whom you are writing, who will be reading your work.

* * *

13. Do use active voice most of the time in writing. Passive voice is to be used seldom and only when it cannot be avoided, because passive voice many times destroys accountability and lacks interest.

          In active voice, the subject is doing the acting. "The boy hit the ball."

          In passive voice, the subject receives the action. "The ball was hit by the boy."

* * *

14. Do use vivid action verbs with few state-of-being verbs.

          Example of state-of-being verb usage: Everyone is very happy about the birth of a baby.

          Example of action verb: The birth of a baby delights everyone.

* * *

15. Do keep verb tenses consistent.

          Example of inconsistent verb tense: I wanted to go with him to town, but he wants me to stay home and wash dishes.

          Example of consistent verb tense: I wanted to to go with him to town, but he wanted me to stay home and wash dishes.

NOTE: In both sentences, "to wash" is understood.

* * *

16. Do write numbers under 100 as words. For journalistic articles only, write numbers under 10 as words.

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17. Do reread final copy of material before posting or submitting. If any problems or errors exist, revise and correct.

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18. Do practice to improve proof reading skills: read slowly and read aloud; examine each line; be aware of usual errors; check dictionary; have a friend check your writing; read the material backwards to catch spelling errors and see things you might miss because you've read it often.

DON’T do the following

1. Don’t use second person unless giving directions or in dialogue.

          Example of incorrect use of second person: The crowd moved toward the doors of the auditorium. You could see the panic starting to build.

          Example of corrected sentences: The crowd moved toward the doors of the auditorium. Anyone watching could see the panic starting to build.

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2. Don’t write a rough draft expecting someone else to edit or revise it for you. If the writing is yours, then you edit, revise, proofread, and rewrite before allowing someone else to edit or proofread.

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3. Don’t switch verb tenses unless the time frame of your writing has changed.

          Example of switching tenses: The young man looked at the steaming food as his stomach growls.

          Correct tenses: The young man looked at the steaming food as his stomach growled.

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4. Don’t use incorrect sentence structure or use short, choppy sentences (The only exception for using short, choppy sentences is when using briefly for effect, such as showing a fast pace).

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5. Don’t misspell or misuse words. Use a thesaurus to find the "right" word to "fit" what you write. Avoid overusing words and phrases. Stay away from cliches.

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6. Don’t use pronouns incorrectly. Don’t use I for the object of a preposition such as between, for, to, with, or others.

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7. Don’t use very many state-of-being verbs rather than vivid action verbs. State-of-being verbs can be used as helping verbs, but as helping verbs their purpose in a sentence is different, and even then should be used effectively and sparingly.

          Examples of helping verb: Mary was helping with the children. With her arm in a cast, Janene is fighting the urge to scratch.

         However, better usage would be as follows: Mary helped with the children. With her arm in a cast, Janene fought the urge to scratch. Then verbs are strong action verbs.

          Example of being used as a state-of-being verb: Mary is with the children. (Correction: Mary cares for the children.)

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8. Don’t use passive voice often, only when necessary to achieve a desired effect.

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9. Don’t start a sentence with well (unless in conversation), there, this, or that (other than as an adjective before a subject or in conversation), or with a coordinating conjunction such as and, but, or, nor. Once a writer know the rules, he may occasionally break them for effect.

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10. Don’t use the word so as a conjunction (except in dialogue or informally). Check to see if so that or therefore is what is needed instead. In more informal writing, the word so is sometimes used as a conjunction for effect. "So as to" should also be avoided.

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11. Don’t continue to make the same mistakes time after time. Improve each and every time you write. Learn from your previous mistakes. Everyone can improve his writing IF he learns from his mistakes and from the mistakes of others. Writing is a skill that can be learned with work, practice, and improvement.

Vivian Zabel  
4RV Publishing  
4RV Catalog