Rob Bignell's Blog, page 377

Is 'lest' even a word that can be used?

Sometimes
I see “lest” appear in client’s writing. Often it’s followed by a note asking, “Is this even a word?” It is indeed a word and acceptable to use. “Lest” means “so as not to” as in “The burglar stepped quietly lest he be heard.”



Whenever using “lest”, don’t put “not” after it, as in as in “The burglar stepped quietly lest not he be heard”, or you’ll end up with a sort of double negative – your sentence then would be the equivalent of saying, “The burglar stepped quietly so as not to be heard.”



As “lest” is rarely used in modern English, many readers will find it an odd word, so I recommend seeing if you can rewrite the sentence to avoid its use.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

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Embedding exposition into your story

Sometimes
you simply must include exposition into your story, especially in science fiction when you’re dealing with entirely new worlds, alien races and technologies. Good writers handle this dilemma by embedding expository information into their stories.



Here are some ways to that:

n Viewpoint character recalls the information – The “captain’s log” convention is a way to accomplish this. Note that most log entries are only a couple of sentence long and focus on conflict.

n Viewpoints character seeks out such information and discovers it in notes, journals, articles, etc. which is then summarized – Mr. Spock and Data often do this in “Star Trek” by giving the relevant facts from the library computer on extraterrestrial species, exoworlds and historical events.

n Another character tells this information to viewpoint character - This other character must have a plausible motive for telling it, however. In addition, the character who the information is told to shouldn’t disappear once he hears the background, instead he needs to play an integral part in the plot beyond being the receiver of an info dump. An example of this successfully being done is in Steve Alten’s “Domain,” in which the reader needs to know the basic layout of a psychiatric treatment center; in the opening chapter, Alten has the center’s chief of psychiatry explain it to the main character, who is on her first day of an internship at the center. Alten wisely limits the description to a few brisk sentence.

n Viewpoint character experiences the world through his five senses – The character should capture details that infer background information the reader needs to know. If you need to describe the physical makeup of a world, give the tour of it through the viewpoint character’s five senses.



Ultimately, it’s best if readers learn about the setting or novum as a byproduct of engaging action. As science fiction writer and editor Stanley Schmidt recommends, “Know as much as you can about your background – and tell no more than you have to.”



Whatever you do, avoid embedding exposition by having one character say to another, “As you know …” This is commonly known in science fiction as a “Stapledon”.



Even when exposition is necessary for expediency’s sake, it should appear sparingly. A quick sentence noting some historical event or a common trait of an alien species is fine. After all, on that rare occasion, showing rather than telling would add far too much length to a story. If falling into this situation, remember to only include just the amount of exposition that is needed to move the story forward.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

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Draw readers into story with great opening lines

Among the
most important words in your story are the ones that begin it. Those words should get the reader to ask, “What’s going on here?” so he keeps reading. In a short story, the author usually only has a couple of sentences to make this happen; in a novel, a couple of paragraphs typically is the limit.



Your opening lines - also known as the grabber or narrative hook - need to deliver some vital information to readers as well. In most stories, the opening lines provide some striking situation that presents the reader with something unusual, and they usually introduce the main character, his conflict to be resolved and the setting.



There are a couple of ploys you can use to create gripping opening lines. First, show two seemingly disparate elements, such as “At 0150 Greenwhich Mean Time on December 1, 1975, every telephone in the world started to ring”, which Arthur C. Clarke uses in “Dial ‘F’ for Frankenstein.” Another ploy is to start with a “distancing move” that shows we’re in a different world, such as “The great eye floated in space”, in Ray Bradbury’s “The Lost City of Mars”. A third technique is to show your main character in a crisis or puzzling situation, such as “Why must they do it one December 28th? John Stapleton considered the question” as Theodore I. Thomas wrote in “December 28th”.



When writing your story’s opening lines, remember that they should:

n Be interesting and intriguing enough to draw reader in

n Be integral to the story, perhaps even holding key clues to how the main character will resolve the central problem by foreshadow the ending

n Establish, without much detail, the main character/protagonist and a problem or conflict that that the main character must resolve; in doing so, those lines shows the main character threatened and indicate what’s at stake for him

n Establish the setting, or at least the story’s place by establishing the scene of where the main character is

n Reveal the antagonist, if only vaguely

n Set the story's tone

n Give the reader a sense that the main character’s life began before the story did; as Ben Bova wrote in “Notes to a Science Fiction Writer”, “this helps convince the reader that … (the main character) is really alive”



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

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Editing client releases sequel to thriller

A long-time
editing client,
John Avery, released his latest novel this weekend. “Black Cobra” tells the tale of a plot to steal and arm a Cold War-era Soviet submarine – now part of a maritime museum in San Diego – to blow up the ship carrying the President of the United States. It’s the long-awaited sequel to Avery’s bestselling and critically acclaimed “Three Day to Die” (which I also edited a couple of years ago). As a former San Diego-area resident who has many times been on the actual submarine used in Avery’s latest book, I can vouch for his accuracy in describing the craft and what it’s capable of. Avery’s book is available for purchase online.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

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Five great quotes to inspire you to write

“If there’s
a book you really want to read, but it hasn't been written yet, then you must write it.” – Toni Morrison, novelist



“Writing became such a process of discovery that I couldn't wait to get to work in the morning: I wanted to know what I was going to say.” – Sharon O’Brien, author



“The pages are still blank, but there is a miraculous feeling of the words being there, written in invisible ink and clamoring to become visible.” – Vladimir Nabakov, novelist



“You must stay drunk on writing so reality cannot destroy you.” – Ray Bradbury, science fiction author



“The story I am writing exists, written in absolutely perfect fashion, some place, in the air. All I must do is find it, and copy it.” ~Jules Renard, “Diary,” February 1895



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

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What authors can write for blog entries

The biggest
question facing any writer is what to blog about.



You’ve got lots of options:

n Future appearances – Upcoming book signings/readings, guest speaking appearances, and appearances on radio and TV broadcasts all can be promoted on your blog. After the events are held, be sure to blog about them as well, giving pictures from the event if possible.

n Mentions of your book – Anytime your book or yourself appear in a newspaper, magazine, newsletter or blog, write about it. Include links to the articles or reviews. Other bloggers particularly will appreciate the plug and are likely to remember you for your next book.

n Updates on your next book – If a reader likes you enough to follow your blog, they’ll be curious when your next book is coming out. You probably don’t want to give too much away about the book or you run the risk of giving a spoiler. But you can about your progress and maybe some of the research you’re doing.

n Announcements of your other published work – Plug when articles or stories you’ve written have come out in magazines or in online journals.

n Awards received – Should you receive any awards for your writing or if penning nonfiction related to the subject matter you write about, announce them.

n Your thoughts on other books – Focus on books in your genre or on your subject matter. Don’t write a scathing review lest you sound like you’re trying to plug your book.

n Your tips on subject matter – As a published author, you’re now an expert! If you’ve penned fiction, you may focus on the craft of writing. If you’re authored a nonfiction book, share advice about your subject matter; for example, my “Hikes with Tykes” blog covers gear, medical emergencies, great trails, hiking games and activities, and more, all related to hiking with children.

n Answer readers’ questions – Such questions might include seeking of advice about the subject matter, wondering why certain events occurred in your novel, or inquiries about your background. Be polite and helpful to such readers, even if their question shows they’re a jerk.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

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How to purchase an ISBN for your book

Every book
that is printed for sale needs an International Standard Book Number , aka an ISBN. This is a 13-digit number given to each book; no two books have the same ISBN. You can find it near the barcode on the book’s back cover and also on the title page.



ISBNs used to be 10 digits long, but since 2007, all are 13-digits long.



To sell your book, you must have an ISBN. All paper, audio and ebooks should have an ISBN so retailers can more easily track book inventory. The advantage to you as an author is that an ISBN allows book sellers or anyone doing an online search to quickly find your book.



If you a print a book that isn’t for sale – such as a gift for family members or as a free giveaway – you don’t need an ISBN. Should you later change your mind and decide you want to sell the book and have bookstores or online sites distribute your book, you always can go back and get an ISBN.



There are three ways to get an ISBN for your book:

n Buy one online from Bowker, the official ISBN Agency for the United States and its territories (this means you are the book’s publisher).

n Allow the self-publishing company to buy one for you (they then become the publisher).

n Buy elsewhere – but while the cost may be less expensive than Bowker, most self-publishing companies won’t accept these ISBNs, and so you end up buying from Bowker anyway or allowing the self-publishing company to be your publisher.



The least expensive option is to let the self-publishing company purchase an ISBN for you; typically this is free. It also means that CreateSpace, Lulu.com or whoever your self-publishing company is will be listed on your book as the publisher. Alternatively, Bowker sells them for $125 each, but you can buy as many as 10 for $250, at least as of this blog’s publication.



You’ll need to include the ISBN in two spots on your book, First, it must be placed on your title page. Secondly, it needs to be next to the barcode that goes on your back cover. Usually you don’t need to worry about getting the ISBN on the barcode because the self-publishing company will take care of that for you.



As a final note, you typically don’t need to purchase a barcode for your book when buying an ISBN. Most self-publishing companies create the barcode for you at no expense.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

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Excuse me, er… Mam vs. ma’am

Sometimes
an apostrophe can make all of the difference. So it is with these words.



“Ma’am” is the correct spelling of the polite address of a woman, as in “Thank you for the change, ma’am.”



“Mam” refers to a member of a Mayan people of southwestern Guatemala or to the language they speak.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

Related articles

When to use affect vs. effect
Nothing to joke about: Blonde vs. blond
Get it right: Its vs. it's
Improve writing's texture by avoiding repetition

When exposition is necessary in a story

Of course,
sometimes exposition is necessary for expediency’s sake. But it should appear sparingly. A quick sentence noting some historical event or a common trait of an alien species is fine. After all, on that rare occasion, showing rather than telling would add far too much length to a story. If falling into this situation, remember to only include just the amount of exposition that is needed to move the story forward.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

Related articles

Improve writing's texture by avoiding repetition
How to make your writing show rather than tell
Avoid exposition (Show, don't tell!)
Avoid giving readers a big info dump

Create a riveting opener for your story

A vital part of your story is the opening lines, also known as the inciting incident. In this section of your story, we learn who the main character is, the central problem facing him and a little about the setting.



For example, in the “Star Trek: The Original Series” episode “The Doomsday Machine” (written by Norman Spinrad), the opening section reveals that Captain Kirk (the main character) is trying to determine what destroyed another starship, which in turn likely poses a threat to his own ship (the central problem), while in deep space, specifically near solar system L-374 (setting).



If the inciting incident fails to be interesting, the audience almost certainly will stop reading or watching. Some writers pay so much attention to this section of the story that it’s far more interesting than the rest of the story – yet despite diminishing returns, readers or television viewers keep on with the tale just because the opening was so gripping.



When writing the opening of your story, follow these guidelines:

n Start the story in media res, or “in the middle” - “The Doomsday Machine” doesn’t start with the starship Kirk is looking for engaged in the battle that results in its destruction. That would delay us from being the main character and result in less dramatic tension. Dispensing with the story’s background and starting “in the middle” has been a time-honored way of telling stories since Homer’s “The Iliad”.

n Introduce a crisis that affects the main character - This jolt sets the story in motion. For readers, finding out how this problem will be resolved is the reason to keep turning the page. In “The Doomsday Machine,” Kirk’s capable friend is in charge of the destroyed starship; if something can destroy his friend’s ship, then he knows he’s also in trouble.

n Present a “challenge of the unknown” - That your main character facing something thought impossible is fundamental in science fiction plots. The exoticness of an alien locale or an extrapolation of known science is part of what brings many people to this genre. In “The Doomsday Machine”, this exotic unknown is some force that can wreak havoc upon starships, the very device our future Earth depends upon to protect it.



Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.



Need an editor? Having your book, business document or academic paper proofread or edited before submitting it can prove invaluable. In an economic climate where you face heavy competition, your writing needs a second eye to give you the edge. I can provide that second eye.

Related articles

How to form your story's basic structure
Conflict: The heart of every story
Select a viewpoint that gives you flexibility