Writers On The Move: Writers on the Move

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When Words Don’t Say What You Want Them To

How to Avoid Embarrassment Using the History of Words

When Is Nice Anything but Nice

By Carolyn Howard-Johnson, author of the newly released
Third Edition of The Frugal Editor

My favorite resources for keeping up with ever-shifting English grammar appear to be games at first glance, something I prefer not to waste my time on but somehow also get hooked on. Still, I have several quickie newsletters that appear in my mailbox because with the first few—the likes of Word Genius and Word Smart—I realized they were great tools for editors—and for those occasions when all writers choose to break that rule about always hiring a professional editor. You know when you do it, and I know when I do it—usually when I’m in a hurry or when I’m writing promotional material. Ahem!

I sometimes break another rule, too. I subscribe to these letters when new ones arrive unbidden, unannounced, and unrecommended. As an editor who knows that smart editors need to hire editors whenever possible, too, I find they help me keep my skills ahead of the curve. That I have never unsubscribed is informal proof of their value.

Sometime in about 2023 one of these letters asked, “Have you ever stopped to think about the true meanings behind the words we use every day? While we may use these words without a second thought, they often carry deeper significance and historical context that we may not be aware of… .”

That quotation lead me to the word nice which I have long subconsciously avoided. And I have recently been annoyed with a new series of TV ads—probably a very expensive one—that assumes women everywhere prefer the word “nice” over “artistic,” “stylish,” or any of the other possibilities listed in about any thesaurus a writer might use. The producers must have no notion of the word’s history or even a built-in awareness that there might be times it is better avoided.

Of course, we have all used nice to mean something agreeable. But originally it meant something quite different and, as words are prone to do, morphed over time. Think of the word bad as a recent example of just such a change. Occasionally one of those alphabetical generations who began to use it to mean its opposite. I am aware of it, but it still throws me for a loop when they do!

A caveat: When you’re writing, you can’t count on the tone of voice to indicate satire. There are ways to do it with dialogue, description, context. But you have to identify the problem to use one of those techniques.

Nice derives from the Latin nesius which means unknowing or ignorant. That eventually changed to suggest foolish or simple before landing on its current most-commonly used meaning. Still, occasionally we become aware of its double meaning, usually from the tone of voice used to indicate irony as in “Well, ain’t that just nice.” When the word nice comes to mind for us writers, it might be a good time to click on the synonym feature of your word processor to find a word that is less loaded with hidden meanings.

Take special care with some words or phrases being used in the news these days. They have come to be referred to as dog whistles. In politics it might be referred to as code. You might not catch the meaning, but the most radical members will. Some of their history might impart an unintended association with the humankind’s least admirable tendencies. Of course, when you spot one it’s your decision to use it…or not.

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With each issue of Karen Cioffi’s #WritersontheMove blog, Carolyn Howard-Johnson shares something writer-related she hopes might save some author from embarrassment (or make the task of writing more fun or creative). The third edition of The Frugal Editor from Modern History Press includes a chapter on some of the words most misused by the very people whose business it is to know them and to give publishers and authors the exposure needed to reach bestseller status. It is the second multi award-winning book in her HowToDoItFrugally Series of books for writers with lots of those important changes in it like the new uses for gender pronouns and a chapter on how backmatter can be extended to inform readers as well as nudge book sales all within the realm of acceptable practices—ancient or new. Find it on Amazon’s new buy-page offered in for paper, hard cover, or e-book series. (The availability of that new page for book series Amazon offers authors is another of the #FrugalBookPromoterTips she posts on Twitter (X).)

Writing for Children - 10 Rules

Contributed by Karen Cioffi, Children's Ghostwriter, Rewriter

Before I became a children’s writer, I wrote marketing and health articles. Writing in multiple genres, writing for children can be much more challenging.

When writing for children, there are guidelines to keep in mind to help your story avoid the editor’s trash pile. And if you’re self-publishing, the children’s writing guidelines help you create an engaging and marketable book.

Here is a list of 10 rules to refer to when writing for young children:

1. Keep it safe.

Be sure your story does not suggest dangerous or inappropriate behavior. Keeping children safe is the most important item on this list.

Example: The protagonist (main character) sneaks out of the house early in the morning while his parents are still sleeping.

This is a no-no!

2. Age-appropriate words, dialogue and action.

-You wouldn’t use the word remote for a first grader. You would use far.
-A seven-year-old wouldn’t speak like a twelve-year-old.
-A seven-year-old wouldn’t walk a half mile alone to go to a park or go in a pool without adult supervision.

3. Age-appropriate problem.

The protagonist should have an age-appropriate problem or dilemma that’s established at the beginning of the story.

Let the action/conflict rise. Then, have the protagonist, through thought process and problem-solving skills, solve it on his own. If an adult is involved, keep the input and help at a bare minimum.

Kids love action and problem-solving!

4. Point of view.

The story should have a single point of view (POV). Writing a single POV means that it doesn’t exist if your protagonist can’t see, hear, touch, or feel it.

Example: “Mary crossed her eyes behind Joe’s back.” If Joe is the protagonist, this can’t happen because Joe wouldn’t be able to see it.

5. Sentence structure.

When writing for young children, keep sentences short; keep adjectives and adverbs to a minimum. And be careful of your punctuation and grammar.

6. Show rather than tell.

Write your story by showing through action and dialogue rather than telling.

You can use your imagination for this one. Picture how the child might behave or react. Will his arms flail? Will he narrow his eyes? Will she cry? Will she run away or stand her ground?

If you can’t seem to find the right words to show a scene, try using dialogue instead; it’s an easy alternative.

7. Write tight.

Don’t say something with ten words if you can do it with five.

Watch for unnecessary words (adjectives and adverbs). Use strong verbs. And pay special attention to “ly” words.

8. Watch the timeframe for the story.

Picture books should be kept within several hours to a day or two. On the outside, a week or two.

A fun story, Stephanie’s Ponytail by Robert Munsch, has a timespan of five days.

9. A character arc.

Along with the protagonist’s solution to the conflict, she should grow in some way as a result of the journey.

An example would be if a protagonist starts out unsure and afraid but becomes confident by the end of the story.

10. Use a thesaurus and a book of similes.

Finding just the right word or simile can make the difference between a good story and a great story.

Summing It Up

Using these techniques will help you create effective children’s stories. Another important tool to use in your writing tool belt is joining a children’s writing critique group. No matter how long you’ve been writing, you can always use another set of eyes.

If you’re a beginning writer and unpublished, you should join a group with published and unpublished members. Having published and experienced writers in the group will help you hone your craft.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi.

You can check out Karen’s books HERE.

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/
Twitter: https://twitter.com/KarenCV

The Hidden Costs of Publishing

By Terry Whalin (@terrywhalin)

Because we have computers and can produce stories, everyone assumes writing is easy. From my experience, any skill (including writing) takes hours of practice to become excellent. For example, one of the most successful basketball players of all time is Kobe Bryant, the winner of five NBA championships and two Olympic Gold Medals. He accomplished this success through deliberate practice with a purpose. Bryant was on the 2012 Team USA. One of the trainers, Robert, talks about his first experience with Bryant, who started his conditioning work at 4:30 am. He shot baskets for several hours, then did conditioning work for the next hour, then made 800 jump shots between 7 am and 11 am. Bryant was a skilled professional yet took nothing for granted in his practice and work outs. His work showed because Bryant knew how to grind then grind some more. This type of effort in sports is generally lost in the writing world. There are hours of work and effort behind the scenes that no one sees but is necessary to achieve success.

There are many things in the world of publishing which simply add to the cost and effort to happen but are never documented or talked about. In many ways, these elements become some of the hidden cost of publishing. In some ways publishing is like an iceberg. We can see the top on the water but don’t realize all that is below the surface. In this article I wanted to tell you about a couple of these hidden costs and then give you some tools and basic principles for your own writing life.

People look at my large X/Twitter following (over 175,000) and would like to have that ability to influence and touch others. Yet are you willing to do the work to build that following? I’ve written in my blog about the five actions I take every day. I use a program called Hootsuite (other people use Buffer) to schedule 12 to 15 posts every day. I’ve developed a pattern or system which I use repeatedly to handle these posts—and it only takes about 30 minutes a day to handle.

Many people have started on X/Twitter but have given up the consistent posting. It’s the same with my blog on the Writing Life. I’ve been writing my blog articles each week since 2004. It has totaled over 1,700 articles. Several years ago, I found an article which estimated there are over 600 million blogs and named the top 27 content producers. My name and my blog were one of those listed. You can get my new articles on your email with this form. The consistent effort pays off.

Over the years, I’ve created a number of online information products like Blogging for Bucks (http://bucksforblog.com/ ) or my Write a Book Proposal course (http://bit.ly/wbkpro). I’ve automated many of these products through autoresponders and other tools. Each of these products include my 100% Love it Or Leave It Guarantee. If the buyer isn’t satisfied in a period of time, they can send an email and ask for a refund. This guarantee is a key part of selling products online and it is rare that someone will ask for a refund. One email arrived at a time when I was challenged with other things—yet I took the time to make the refund. Carrying through with your promises is a key part of having an online business and successfully selling products online. It doesn’t make it simple or easy.

Here’s some basic principles for every writer to get beyond the hidden costs of publishing:

* Understand the costs and keep going in spite of them

*Automate when you can. Investing in tools like Hootsuite allows me to continually grow my presence and saves time. I’ve recently added PodMatch and in six months I have booked or recorded over 50 podcasts.

*Keep growing in your craft of writing, attending conferences, taking online courses and reading books. I’ve got shelves of how-to books I’ve read over the years and continue to read them.

*Timing is critical and often out of your control. Numerous times I’ve had authors who have looked for an agent for years (not found it) then return to Morgan James and ask if they can sign our book contract. A recent author signed, who I have been speaking with off and on for three years about her book.

*Take the long view of success yet keep doing the little things and working to promote your writing.

Over and over, I speak with authors who continue promoting yet have stopped telling their publisher about their promotion (big mistake in my view). The publisher is going to assume they are not promoting and have stopped talking about the author with their sales team and the sales team to the bookstores since it is tied together. Yet if the author continues to promote and tells the publisher, then the communication and promotion to the bookstores can continue. Consistent communication matters. No little elves come out and write this material for us. Active authors are the ones to tell the stories and complete the work.

What proactive steps can you take to learn a new skill or try some new way to sell books? It doesn’t matter if your book is brand new or has been in print for a while. Keep the experimentation going until you hit the elements which work for your book.

Tweetable:

Publishing has a series of hidden costs. In this article, prolific author and editor Terry Whalin details some and provides basic principles and resources to move beyond them. (ClickToTweet)

W. Terry Whalin, a writer and acquisitions editor lives in California. Get Terry’s newsletter and a 87-page FREE ebook packed with writing insights. Just follow this link to subscribe. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

Should Dialogue Be Used For Exposition and Description

Contributed by Karen Cioffi, Children's Writer

I read an interesting article on Nathan Bransford’s site (link below), which discusses the use of dialogue to deliver exposition.

But whether delivering exposition or description, the answer to the title question is no.

Dialogue should be a natural conversation between characters, and it should be specific to the scene.

Each character will have his own motivation for the back and forth.

Once you force the conversation to include exposition, description, or backstory, the characters become more like “chatbots” than people.

Here is an example of dialogue and description from Chapter Four of Walking Through Walls:

Captivated by the clouds, Wang walked further into the room. When he noticed the master watching him, Wang stopped in his tracks. He lowered his eyes and bowed.

“Come forward, young man. What brings you to my temple?” Remaining in a bowed position, Wang stepped forward. “My Honorable Master, my name is Wang. I have come seeking an apprenticeship. I am from a village to the west. It took many days traveling over difficult roads to find you. For years, I have read everything I could about the Eternals and wished for this. Please accept me.”

The master studied Wang.

Feeling like an intruder, Wang stood motionless and stared downward. He could not help but notice the spotless floor. It looked like it had never been walked upon.

After a long silence, the master spoke. “Learning magic is a long hardship, one that you cannot imagine. It takes many years and much sacrifice. I can see in your heart that this will be difficult for you.”
Wang knelt on the ground, afraid to look up. His eyes darted to and fro, desperate to find the words the master needed to hear to accept him.

While there’s a bit of backstory in the above excerpt, when Wang blurts out why he’s there, it’s easy to see that Wang is desperate to convince the Master Eternal. It doesn’t feel forced. It’s a natural conversation.

Later in the book, Wang looks through a window and witnesses magical events. The information in this scene is conveyed through description, internal dialogue, and a bit of dialogue in the form of crying out.

Conveying the description as it’s happening brings the reader into the story. It’s engaging.

But suppose the narrator didn’t describe what was going on when it happened, and later Wang discussed it with a friend.

To convey the description through dialogue, it might go like this:

Wang: “I saw the most astonishing things tonight. Magical things.”

Friend: “What did you see?”

Wang would go through a long and drawn-out speech, giving details of what he had seen.

Friend: “What else happened?”

Wang would go on.

Friend: “That’s amazing. Go on, please.”

Wang would go on.

This scenario has the friend asking questions to interrupt Wang’s dialogue, purposely to avoid a super-long uninterrupted block of dialogue.

There are two no-nos going on here:

1. The friend is feeding Wang the questions specifically to get the information to the readers. It’s forced, and readers will know it.

2. Relaying comprehensive description through dialogue is forced and tedious.

This is why writing dialogue to deliver exposition and comprehensive description should be avoided.

On the flip side, you wouldn’t want large blocks of description either. This can also be boring and cause the reader to pause.

Keeping the reader engaged should be one of a writer’s top priorities.

As with all things, balance is needed in writing.

ABOUT THE AUTHOR

You can check out Karen’s books HERE.

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/
Twitter: https://twitter.com/KarenCV

Authors Have a "Magical" Life

By Terry Whalin (@terrywhalin)

Whether you have never published a book or published many books, you may have this concept that authors have a magical life. They get to travel, attend amazing events and talk with well-known people about their book. Bestselling authors must have a wonderful life because they have sold so many books. This concept that the writing life is glamorous is another publishing myth. I wrote the words “magical life” with quotation marks to indicate “tongue-in-cheek” or exaggeration.

In my 20+ years in publishing, there are remarkable moments. I want to begin this artice with a couple of these moments. Early in my writing career, I attended the Mount Hermon Christian Writers Conference. Located in the California redwoods, the event is known for their premier faculty and facility. At the end of this event, they give out some writer awards. During one of these early conferences, to my complete surprise, I was given an award for the Writer of the Year. The moment was outstanding to me because it is the only writer award I’ve ever received.

Fast forward years later, I was writing a book with the leading African American in Promise Keepers, Bishop Philip Porter. At the time, Promise Keepers was the fastest-growing men’s movement in America. I worked with a New York literary agent, and we crafted a book proposal that launched a bidding war between two large publishers. It was an exciting moment in my publishing life to sign a book contract with a six-figure advance. I worked hard on the writing for this book and it was published. Yet the truth is the book was unsuccessful and did not sell for several reasons. The publisher never showed the cover to Bishop Porter before it was published. Bishop Porter’s picture filled the cover of this book, but he did not like it. He disliked it to the point of not promoting the book and it did not sell. The publisher took this book out of print after six months. How is that for a glamorous writing life? Most of those out-of-print books were destroyed—the truth of what happens to many of these books.

Met Former President Jimmy Carter

“We can’t say anything about it,” my literary attorney and writer friend Sallie Randolph began. “But President Jimmy Carter and his wife Rosalynn are going to be at our member luncheon tomorrow.”

I was in New York City for the annual conference of the American Society of Journalists and Authors (ASJA), the leading nonfiction writers’ group in the nation and originally known as the Society of Magazine Writers. Each year, the organization holds a large public conference on a Saturday in a hotel in New York City. Before this public conference, the ASJA has a much smaller member day meeting in the same location. One of our members had written a book with Rosalynn Carter and the authors were going to be given an award from the Society. The award winners were invited to attend the member luncheon and the Carters had accepted the invitation. There would be about 200 members and special guests at this luncheon.

While Sallie and I were not sitting at the table of honor with the former president and his wife, we figured out where the secret service would be sitting and were able to sit at that table. My business book, Lessons from the Pit, A Successful Veteran of the Chicago Mercantile Exchange Shows Executives How to Thrive in a Competitive Environment which I wrote for Joe Leininger, had just been released and I had a copy in my briefcase. During the meal, I asked the secret service agent when I could give President Carter a copy of my book. He said, “Do it right now because we’re going to eat, speak, and leave.”

With his permission, I walked over to the former president, introduced myself, and gave him a copy of my book which was published from B & H Publishing Group (formerly Broadman & Holman). I knew Broadman had been one of Jimmy Carter’s publishers and he would be familiar with the company. He was interested in the topic of my book and mentioned his son, Chip, had traded at the Chicago Mercantile.

As the meal concluded, the program began, the Carters spoke to the audience, and then quietly slipped out of the room—the president carrying one book out of that meeting—mine. It was a great experience to have met a former President and spent a few minutes with him.

I’ve interviewed more than 150 bestselling authors in many different settings. I’ve been inside the professional baseball locker of the San Diego Padres or been one of the few journalists who has interviewed bestselling author and pastor Chuck Swindoll. During our lunch, Chuck told me, “There are no heroes in the Body of Christ. We are all like a bunch of guys in the back of a pick-up trying to get our stuff together.” The experience of meeting various bestselling authors and hearing their stories has been enriching to my life but is not glamorous.

The real story is that writing books is hard work and selling books is even harder. From my experience there is often little glamour attached to such work. I’ve never met a book author who didn’t want to sell more copies of their work. It doesn’t matter if they are published through one of the largest publishers or Podunk Press (I don’t believe there is such a small publisher named Podunk Press but maybe, since there are many of them).

If you bring up the topic of selling more books, almost every author has a story about something they tried yet failed to work. Often these stories are filled with the author blaming someone else for the lack of sales. They blame:

• their publisher

• their publicist

• their agent

• their editor

• the wrong title

• the wrong cover

• the missing endorsements

• _____ you name it

It’s rare that I hear the author blame the real culprit: themselves. Yes, it’s hard to admit but it is the first step toward selling more books and understanding who bears the true responsibility for selling books—the author.

Many authors long to have their book appear on the bestseller list. For some authors they equate getting on the bestseller list as their benchmark of success for their book. Over ten years ago, I read Michael Korda’s Making the List, a Cultural History of the American Bestseller 1900–1999. Korda at the time was the Editor-in-Chief at Simon and Schuster, one of the largest publishers. If you haven’t read this book, I highly recommend it.

In the introduction, Korda writes, “The bestseller list is therefore neither as predictable nor as dominating as its critics make it out to be. Plenty of strange books get onto the list and stay there for a long time…at least half of the books on any given list are there to the immense surprise and puzzlement of their publishers. That’s why publishers find it so hard to repeat their success—half the time they can’t figure out how it happened in the first place.” (Page xv) I love his honesty. There is no magic bullet and it is different for every book. The author is key.

Some books start slowly and steadily sell then catapult in sales. Other books begin strongly then sales drop to nothing. There is no consistent pattern.

My encouragement is for you to keep experimenting with different methods to sell your book. Each author has a different experience. Recently I spoke with an author who had sold 8,000 to 10,000 copies of his self-published books. He had held over 300 book signings for his book. For many authors book signings have yielded almost nothing but not for this author. He regularly speaks at schools and service clubs and even AARP meetings.

Every author needs to keep experimenting until you try something that works for you and your book, then continue on that path.

Tweetable:

Authors have a “magical life.” In this article, prolific author and editor @terrywhalin uses “magical” as an exaggeration then gives the reality of the author’s journey. (ClickToTweet)

Writing: Calamity Punctuation

Contributed by Margot Conor

I think the worst thing about my writing is punctuation. I use it incorrectly a lot of the time. I use commas where I shouldn’t and forget to put them where I should. I am never quite sure when a semicolon should be used. One of my editors took all of them out of my book saying they should never be used in fiction. It is a pet peeve of hers. But I see them used in fiction quite a lot and maybe that is due to auto correct programs.

I’m sure I didn’t pay enough attention to grammar rules in school. But due to the patience of my critique groups, I am learning to correct my bad habits. I also use a program called AutoCrit which is helpful in many ways and has improved my writing craft.

Here is one lesson that came to me not long ago. I had used ellipses in my novel to indicate a pause in the dialogue. My editor replaced most of them with an em dash. Well, I didn’t like the way that looked and put the ellipses back. But then my critique group told me they are not interchangeable. They have different purposes.

Both ellipses (…) and em dashes (—) are punctuation marks that serve to add rhythm, pause, or emphasis to writing, but they function differently.

Here are four examples of how to use ellipses:

To show that part of a quoted sentence has been removed. “The mission was successful… despite the damage sustained.”

To indicate a pause, hesitation, or that a character’s thought or speech trails off. “I thought I saw something, but it was probably just…”

They can stretch time or reflect uncertainty or suspense. “She stepped into the dark corridor… nothing moved… yet.”

They can imply something is left unsaid or is emotionally loaded. “You said you’d never lie to me…”

An em dash has lately been called out as proof you used ChatGPT or some other AI assistant to write for you. So many writers are hesitant to use them because of that, despite the fact that they have been in use forever, and AI learned how to use them from the books they were trained on.

Here are a few examples how they should be used:

An Em Dash represents a sharp break or cut-off in speech or thought. “Wait—did you hear that?”

“If we don’t—” he began, but the explosion cut him off.
It separates an inserted or emphasized clause—often more striking than commas. “The creature—twice her size—lunged forward.”

It marks a sentence shift or unexpected turn. “She wanted to run—but her legs wouldn’t move.”

It’s used in place of parentheses to de-emphasize less integral information. “The moons—bright and ominous—cast strange shadows.”

Quite honestly, I find all of that hard to distinguish, but I started using the Em Dash in my stories to get accustomed to how they should be inserted. For example, an Em Dash is for abrupt interruption, dramatic insertion, and sharp sentence breaks, it is sudden action. While the ellipsis is for omission, hesitation, trailing off speech, and soft pensive sentence breaks. It is used during slower paced interactions.

I’m hoping my manuscripts won’t be such a calamity of errors in the future. I am slowly learning the error of my ways.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is available on Amazon.

She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/

Before Publishing: Proof it Once, Twice, Ten Times...

Contributed by Karen Cioffi, Children's Writer

While proofreading is the final editing stage, the final frontier, does it guarantee an error-free manuscript, article, blog post, or other form of writing?

Well, no.

Years ago, I reviewed picture books for Sylvan Dell (renamed in 2014 to Arbordale Publishing), which was, at the time, a pretty big publishing company. When I finished a math-focused picture book, I glanced at the back pages. The last spread was filled with simple math problems like
2 + 4 = 6.

Well, one of the answers was wrong. I checked it over and over. It was wrong.

I quickly emailed the woman I worked with at Sylvan Dell and let her know. She thanked me, and I never heard from her again.

Guaranteed someone got in a lot of trouble over that mistake. As far as I remember, I didn’t get Review Copies of books. The books were already published.

Another example of finding an error in a published book is a book I helped self-publish for a client.

Dealing with picture books adds another element of proofing.

Near the end of one ghosting and publishing project, the client wanted the word "Australia" added to an umbrella in an interior illustration. The story text had been meticulously edited and proofed, but I didn't check the spelling of Australia in the illustration.

Not realizing there was an error, I helped the author self-publish it in paperback, hardcover, and ebook formats. A buyer contacted the author to let her know the word Australia was spelled wrong!

I check everything else in illustrations for consistency and accuracy. But I hadn't thought about that one word. Lesson learned.

I immediately contacted the illustrator and took care of it. Then, I republished the book.

Spelling errors in illustrations isn't something Grammarly or ProWritingAid can help with. And I don't know if a proofreader would get involved with proofing illustrations.

My point is that there are NO guarantees in producing a 100% error-free book.

As a ghostwriter and editor, I take all kinds of precautions to ensure my clients’ work and my own work is error-free.

I use Grammarly and ProWritingAid. I also, at times, use a proofreader. I also suggest my clients read through their manuscripts, keeping an eye out for errors.

You can’t be too careful.

I even use Grammarly for my blog posts and other content I create.

But even so, if a publishing company with editors and proofreaders can make a mistake on a published book, no one should feel they are infallible.

I’m sure you’ve found errors in books, blog posts, ads, websites, and so on. It may not be often, but it happens. Some common errors include grammatical mistakes, typographical errors, punctuation issues, and formatting discrepancies.

Achieving absolute perfection is incredibly challenging. Humans, including writers and editors, are prone to errors, and the complexity of language and the writing process introduces various opportunities for mistakes.

An article at Wired.com, “Why It's So Hard to Catch Your Own Typos,” explains, “When we're proofreading our own work, we know the meaning we want to convey. Because we expect that meaning to be there, it's easier for us to miss when parts (or all) of it are absent. The reason we don't see our own typos is because what we see on the screen is competing with the version that exists in our heads.” (1)

“Why You Can’t Spot Your Own Typos,” an article at Business Insider, explains what you can do to help you see what’s on the page. “The trick with editing, then, is to de-familiarize yourself with your words as much as possible.” (2)

So, what else can you do to get as close to an error-free manuscript as possible?

Here are 14 tips to use during the proofreading stage to help minimize errors in your final manuscript:

1. Take a Break:

Before you go from editing to proofreading, take a break. It can be an hour, a day, a week, or whatever you’re comfortable with or have time for. This will help you spot errors more easily.

2. Print it Out:

Reading from a printed manuscript gives you a different perspective.

Most of my manuscripts are picture books or chapter books, so printing them out isn’t too wasteful. I do have a problem with middle-grade or YA manuscripts, though. Aside from wasting paper, there’s the ink cost.

Instead of printing, you can change the font and text size. You can even change the background color of the document.

These tweaks will help you spot errors you would might have missed in the original.

3. Grammar and Spelling Check:

Use the grammar and spell-check functions of your word processing software. However, be aware that these tools may not catch every error, so a manual review is essential.

4. Consistency Check:

Ensure that there is consistency in spelling, formatting, and style throughout the manuscript. Check for consistent use of tense, formatting of headings, and citation style, among other elements.

In one manuscript, I had the protagonist’s name spelled wrong in two places. I went through the first proofread without catching it. Thankfully, I caught it on the second run.

5. Punctuation Review:

Carefully examine punctuation marks such as commas, periods, semicolons, and quotation marks. Pay attention to proper placement and usage.

One common mistake is to forget to add dialogue quotation marks at the beginning or end of the dialogue. This can easily happen during the editing stage if you edit the dialogue.

Here’s an example:

John raced through the house, bumping into chairs, tables, and even his big sister, Sarah. “Sorry, I’m running late.”

Now, suppose you edited it to:
“Sorry, he yelled. “I’m running late.”

Notice the missing dialogue quotation after sorry. It’s an easy miss.

6. Editing Tool:

If your budget allows, use an editing program like Grammarly or ProWritingAid. These tools can be very helpful.

They also have AI capabilities and offer suggestions on rephrasing sections of your manuscript for better understanding and tight writing, among other things.

It’s important to realize, though, that they are not infallible either.

7. Formatting Check:

Verify that your manuscript adheres to the specified formatting guidelines. This includes margins, font styles, line spacing, and other formatting requirements.

I make notes I can quickly access so I don’t have to retrace my steps to find out things like line spacing from the top of the page to the chapter heading to the chapter content.

8. Cross-Check References:

If your manuscript includes references, citations, or footnotes, double-check them for accuracy and consistency. Be sure all citations are correctly formatted and match the bibliography or reference list.

9. Check Headings and Subheadings:

Confirm that your headings and subheadings are appropriately formatted and consistent throughout the document.

It’s helpful to have notes to keep everything uniform.

10. Read Aloud:

This is a very helpful step. Reading your manuscript aloud can help you identify awkward phrasing, repetition, and errors that might be overlooked during silent reading.

If you pause while reading, the reader definitely will.

11. Review Tables and Figures:

If your manuscript includes tables, figures, or other graphical elements, make sure they are labeled and formatted correctly.

12. Check Page Numbers:

Ensure that page numbers are in the correct order and that they match any table of contents or index.

13. Final Review of Changes:

If you made revisions or edits during the proofreading process, do a final review to ensure all changes have been implemented correctly.

14. Seek Help:

Having a fresh set of eyes on the manuscript during the proofreading stage is beneficial.

Consider asking a colleague, friend (only if they know what they’re looking for), or a professional proofreader to review your work.

If your budget allows, I strongly advise hiring a professional proofreader.

Summing It Up

While achieving a completely error-free manuscript may be challenging, a thorough and diligent review process can significantly reduce the number of errors and improve the overall quality of your work.

References:

(1) https://www.wired.com/2014/08/wuwt-typos/
(2) https://www.businessinsider.com/why-you-cant-spot-your-own-typos-2014-8

This was originally published at: https://karencioffiwritingforchildren.com/2023/11/26/proofreading-the-final-frontier/

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture, chapter, and middle-grade books). If you need help with your story, visit Writing for Children with Karen Cioffi.

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

FICTION WRITING FOR CHILDREN eCOURSE
4-Week / 8 Sections Guided Self-Study Mentoring Program

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/

Jumpstart Your Magazine Writing

By Terry Whalin (@terrywhalin)

How can you write and submit exactly what the magazine editor is looking for? You get some insights from reading the submission guidelines but I’m talking about something much more specific and a simple list of topics and ideas for this publication. Seasoned magazine writers know about this tool and after reading this article, you will know about it too: a theme list. Publication editors will brainstorm this list of story ideas, post it on their website and also send it to their regular contributors. Using a theme list is a sure way to grab the reading attention of the editor.

Recently I attended a Christian writers’ conference. It’s one of the key places where you can build relationships with editors and learn how to meet the needs of editors. If you write what an editor needs, then you are much more likely to get published than randomly writing something and sending it into the publication. If a writers’ conference is not in your plans, make plans to get to one soon. As editors, we publish people that we know, like and trust and you can build these relationships at a conference.

During an editor’s panel at this conference, I heard an editor’s cry for help. I’m not going to give the specific magazine but use this incident as a way to help you be more successful and on target with your magazine submissions. This magazine editor leads a 200,000 circulation Christian publication which publishes a theme list with their guidelines. With each monthly magazine, they publish articles outside of their theme but in particular they need articles tied to their theme. In front of the entire conference, this editor mentioned several of his projected themes did not have a single article ready for publication.

As I listened to this editor’s cry for help, I recalled my work at Decision, the publication of the Billy Graham Evangelistic Association. As associate editor, I was looking for theme related articles. For example, I needed articles about love for a February magazine (Valentine’s Day). It was not easy to get these articles even for a large circulation magazine like Decision whose circulation at that time was 1.8 million. To gather these needed theme-related articles, I would call or email some of my author friends and ask them for submissions.

If you want to be published in magazines, in general there are two options. You can write whatever you want (inspiration) and then try to find a publication for it. Or you can look at the themes an editor has created for their magazine (their needs) and write an article to meet those needs. The second approach of writing for a particular theme is more likely to be published from my experience.

The Christian Writers Market Guide includes over 150 magazine listings. Many of these listings include the location of their guidelines and theme list. Another way to find these publications is to use Google with the search words “Christian editorial theme lists.” I instantly found several pages of Christian publications with their theme lists.

As you meet needs of the editor (use their theme list) you will be published in magazines and become a dependable resource for your editor. Don’t overlook this important resource for your magazine articles. Writers do much more than publish books. If you write for magazines and have never published a book, call yourself a writer.

Tweetable:

Jumpstart your magazine writing and use a publication theme list. This prolific writer and editor gives the details here. (ClickToTweet)

W. Terry Whalin, a writer and acquisitions editor lives in California. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

Plot Devices

Contributed by author Margot Conor

If you’re writing fiction, you have probably used many of these but might not even be aware that you are doing it. Plot devices are tools or techniques used by writers to advance the story, create tension, develop characters, or deliver information. In fact, most writers use plot devices instinctively, and not because they have been taught to.

That was certainly true for me.

For instance, I’ve used a Chekhov’s Gun without knowing the term—just because it “felt right” to set up something early and bring it back later. And I’ve done a time jump because I knew the story’s pace needed to shift forward to avoid dragging.

Plot devices help move the story forward, especially when the writer needs a way to get characters from Point A to Point B, a reason for conflict or urgency, or a mechanism for revealing backstory or secrets. For example, a MacGuffin (like a stolen relic or hidden document) can give your characters a concrete goal, even if the object itself isn’t that important—what matters is what people are willing to do to get it.

Devices like foreshadowing, cliffhangers, or false hope can subtly cue the audience’s feelings, build tension or dread, create mystery, and deliver satisfying twists or emotional payoffs. Misleading reading and giving them an unexpected climax is rewarding. That’s why red herrings or unreliable narrators are so common in thrillers and mysteries.

Sometimes a plot device like a flashback or a framing device isn’t just for structure—it reflects a character’s inner journey or the story’s deeper message. A mentor figure may not only train the hero but symbolize the values they must eventually embrace or transcend.

The key is not to avoid them, but to use them thoughtfully. When overused or if they are too obvious (like a contrived deus ex machina), they can feel lazy. But when woven skillfully into the story, they become invisible threads that hold the whole tapestry together.

Here is a list, in case you are not aware of the terms:

1. MacGuffin: An object or goal that drives the plot forward, but its specific nature is less important than its effect on the characters and events.
For example: Raiders of the Lost Ark: The Ark of the Covenant is pursued by all characters, but it's largely a means to fuel the chase and conflict.

2. Chekhov’s Gun: A seemingly minor detail introduced early in the story that becomes important later. The principle is: “If you show a gun in Act 1, it should go off in Act Three.”

For example: In Breaking Bad, a ricin vial introduced in early episodes becomes key to later plot developments.

3. Deus ex Machina: A sudden, unexpected solution to a seemingly unsolvable problem, often involving divine or external intervention.

For example: In The Lord of the Rings, the eagles rescuing Frodo and Sam from Mount Doom feels sudden and unearned.

4. Red Herring: A misleading clue or event meant to divert attention from the true plot or culprit, often used in mysteries.

For example: In Sherlock Holmes stories, an obvious suspect is often introduced to distract the reader from the real villain.

5. Cliffhanger: A suspenseful ending that leaves a major plot point unresolved to compel the audience to continue to the next installment.

For example: The Empire Strikes Back: The movie ends with Han Solo frozen in carbonite, unresolved.

6. Flashback: A scene set in a time earlier than the main story, used to provide background or context.

For example: In Lost, characters’ backstories are told through flashbacks in nearly every episode.

7. Foreshadowing: Hints or clues about what will happen later in the story.

For example: In Of Mice and Men, Lennie’s killing of small animals foreshadows the tragic climax.

8. Framing Device: A story within a story, where the main narrative is presented within another context. Such as a character telling a story.

For example: The Princess Bride: The fantasy story is told within the frame of a grandfather reading to his grandson.

9. Time Skip / Time Jump: A sudden jump forward in time to show consequences or shift the narrative scope.

For example: Harry Potter and the Deathly Hallows ends with a 19-year time jump showing the characters as adults.

10. The Reveal / Twist Ending: A sudden revelation that changes the audience’s understanding of earlier events.

For example: The Sixth Sense: The twist that Dr. Malcolm was dead all along recontextualizes the entire film.

11. The Mentor: A wise, experienced character who guides the protagonist, often dies or steps aside, pushing the hero to grow.

For example: In Star Wars: Obi-Wan Kenobi trains Luke and sacrifices himself.

12. The Chosen One: A protagonist who is predestined to fulfill a great destiny, often without initially knowing it.

For example: In The Matrix: Neo is "The One" who will liberate humanity.

13. The Love Triangle: A romantic entanglement where a character is torn between two love interests.

For example: The Hunger Games: Katniss is caught between Peeta and Gale.

14. The Race Against Time: A scenario where characters must complete a task before a deadline or face dire consequences.

For example: In Mission: Impossible: Disarming a bomb before it explodes.

15. The Ticking Clock: Similar to the race against time, but emphasizes suspense by continually reminding the audience of an approaching deadline.

For example: In 24: Each episode unfolds in real time, with a constant countdown.

16.The False Protagonist: A character introduced as the main focus, only to die or be sidelined early on.

For example: In Psycho: Marion Crane is killed midway, shifting focus to Norman Bates.

17. The Unreliable Narrator: A narrator whose credibility is compromised, making readers question what’s true.

For example: In Fight Club: The narrator’s split identity with Tyler Durden is a key twist.

18. The Secret Identity: A character hides their true identity, often for protection or to work undercover.

For example: Batman is Bruce Wayne. He lives a double life as Batman.

19. False Hope: When a plan appears to succeed, only to fail dramatically, escalating the stakes.

For example: In Avengers: Infinity War, the team nearly removes Thanos's gauntlet, but Star-Lord’s rage ruins the moment.

20. Plot Coupon / Fetch Quest: The protagonist must collect a set of items or complete specific tasks to progress the story.

For example: Harry Potter and the Deathly Hallows: Finding and destroying the Horcruxes.

Reading Books from Other Countries or Cultures
If you read in other languages or read translations written by authors from other countries, there are a few different plot devices used. Their storytelling traditions use unique narrative structures and devices that don’t always appear in Western storytelling. Writers from different cultures may use different narrative logic.

For example, Western stories often focus on conflict and resolution. Eastern stories may emphasize contrast, balance, or enlightenment. Oral traditions may prioritize communal values, less linear structures, or ritual-based storytelling.

Knowing this can help you understand the value of their stories and why they matter in the context of their social structures.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is available on Amazon.

She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/

Children's Writing: Story, Plot, and Arcs

Contributed by Karen Cioffi, Children's Writer

Lately, I've received a number of picture book manuscripts from potential clients who wanted quotes on editing.

Once I read over the stories, I quickly knew they weren't an editing project because there were no actual stories. They were a list of events or scenes.

It seems to be a common problem with new authors who don't take the time to learn the very basics of writing a story.

So, what exactly is a story and plot?

An article at The Write Practice uses a quote from E. M. Forster to explain the difference between story and plot: "The king died and then the queen died," is a story. "The king died, and then the queen died of grief" is a plot. (1)

The story is the basic storyline. It's the overall description of the story.

In my chapter book, Walking Through Walls, the storyline is that the protagonist wants to become rich and powerful, no matter what it takes.

The plot is in the details.

The plot of Walking Through Walls is that the protagonist wants to become rich and powerful, no matter what it takes, and he believes learning magic will get him there.

Another good example of story and plot is The Story of an Hour by Kate Chopin.

The story: Within one hour, the protagonist thinks her husband died in a train crash. Having missed the train, he comes home, and the protagonist drops dead.

The plot: The protagonist thinks her husband died in a train crash. Having missed the train, he comes home, and the protagonist drops dead, but it's not from the shock of overwhelming joy.

Paints quite a different story, doesn't it?

Now, if you have a series of events: Pickles the dog plays with a cat, then plays with a frog, then plays with a goat, then plays with a pig, you don't have a story arc or character development.

I'll have clients ask why something like the above isn't a story. The dog is having lots of fun with different animals.

Well, if it was a concept book teaching about animals, then it could work.

But if it's to be a fiction story, it doesn't work. The reason is it lacks a story arc and a character arc.

The story arc is the path the overall story takes. Every character in the story goes on this journey. It's also called the narrative arc.

According to a MasterClass article, the narrative arc "provides a backbone by providing a clear beginning, middle, and end of the story." (2)

The character arc, on the other hand, is the path the protagonist takes.

Just like the story takes the reader on a journey, so does the protagonist.

The character arc is all about the protagonist. It's him confronting a conflict or challenge, his attempts to overcome it, and his ultimate success. Through this character journey, the protagonist grows in some way. She may gain knowledge, become confident, mature, rise to challenges, or grow in some other way. But it's essential there is growth, especially when writing for children.

So, going back to Pickles the dog, he, as the protagonist, has no conflict or challenge to overcome. He doesn't grow in any way.

And as for the Pickles story, it's flat. There's no arc.

Readers won't become invested in a series of events. They want to connect to the protagonist and root for him to overcome his obstacles. They want a full story arc and character arc.

References:

(1) https://thewritepractice.com/plot/
(2) https://www.masterclass.com/articles/what-are-the-elements-of-a-narrative-arc-and-how-do-you-create-one-in-writing/

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture, chapter, and middle-grade books). If you need help with your story, visit Writing for Children with Karen Cioffi.

You can check out Karen's fiction books HERE.

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/