Writing: Setting the Mood

 

Contributed by Margot Conor 

Crafting Emotion and Atmosphere in Writing.

Why Mood Matters

Every story carries a current beneath its plot, a subtle emotional tone that guides how the reader experiences events. This is mood: the atmosphere that lingers around a scene, created not by what happens, but by how it is told. A love story may take place in a garden, but whether that garden feels tranquil, eerie, or oppressive depends entirely on mood.

Writers who understand mood can shift a reader’s emotions without ever naming them directly. They conjure sorrow without saying “sad,” and build dread without mentioning fear. Mood is the difference between description that merely informs and description that transports.

The Building Blocks of Mood

1. Descriptive Language and Word Choice
Every word carries emotional weight. Consider the difference between describing a room as dim versus shadow-choked. Both mean there is little light, but the second leans toward menace. Similarly, a breeze suggests gentleness, while a gust can feel intrusive or restless. Precision in word choice is one of the most powerful tools for setting mood.

2. Imagery and Sensory Detail
Mood flourishes when writing appeals to the senses. Sight may be the most obvious, but sounds, textures, and even smells can deepen atmosphere. A creaking floorboard, the sticky grip of humid air, the metallic tang of blood in the mouth… these details can evoke an entire emotional world.

3. Rhythm and Sentence Structure
The cadence of prose influences how readers feel. Long, flowing sentences can lull or soothe, while short, clipped phrases quicken the pace and heighten tension. Consider how a passage in Virginia Woolf can feel meditative, while Hemingway’s terse sentences convey urgency. Rhythm is the invisible pulse of mood.

Techniques for Enhancing Atmosphere

1. Show Through the Environment
Setting often reflects or amplifies the emotional tone. Gothic writers knew this well: crumbling castles, storm clouds, and hollow winds echo inner turmoil. But even in modern realism, surroundings shape mood. Like a sunlit café warms a scene of reunion, while a sterile hospital corridor chills it.

2. Weather as Emotional Mirror
Though sometimes cliché, weather can be used with subtlety to underline atmosphere. A sudden downpour can feel cleansing or ominous, depending on context. Fog blurs not only the landscape but also certainty, mystery, or fear.

3. Symbolism and Motif
Recurring images create consistency of mood. Repetition of water imagery might bring calm or unease depending on how it is framed. Colors are another powerful tool, red can suggest passion or danger, blue serenity or sorrow. Symbolic language layers meaning onto mood.

4. Contrast and Juxtaposition
Mood sharpens when placed against its opposite. A joyous wedding scene may feel even brighter when set after a moment of grief. Laughter can echo uncomfortably in a tense setting, turning joy into something uncanny.

Some examples from literature you might have read:

Edgar Allan Poe mastered gothic atmosphere, weaving dread into every creaking door and flickering shadow. His word choices drip with menace, leaving no doubt of the intended mood.

Toni Morrison layered lyrical, sensory-rich language to create moods of both beauty and brutality, allowing readers to inhabit the emotional truths of her characters.

Kazuo Ishiguro sustains quiet melancholy in novels like “The Remains of the Day,” where understatement and restraint foster a mood of longing and regret.

Ray Bradbury in “Something Wicked This Way Comes” builds mood with sensory lushness. The smell of autumn leaves, the distant calliope… where nostalgia and dread intermingle.

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/

A WRITER’S LIFE HAS SEASONS, TOO

 Contributed by Gail L. Fontana

I have been writing for most of my life but didn’t get serious until my own “personal 9/11” at the end of 2019, when my older sister passed away.

Tough as that was, it jolted me to action. I heard the clock ticking, loud and clear, and said, “If not now, when?” 

Since then, I’ve “finished” three middle-grade novel manuscripts (more on the air quotes in a moment), three chapter-book manuscripts, a half a dozen or more picture books, and many short stories. I say “finished” because are we ever? There’s always something that could stand a little more elbow grease, right? I have, however, queried most of these projects and heard only crickets. I’ve also had many of them developmentally edited by professional editors who gave me glowing reviews. Whom do I believe? I guess I should believe the agents because they’re the ones who aren’t responding with cartwheels and contracts.

Anyway, that’s a subject for another day—or for a therapist.

I divulge these secrets because I want you to know I didn’t just fall off the proverbial turnip truck. 
I write. A lot. I finish projects. I keep going. 

Sometimes…I’m tired.

Which brings me to the idea of seasons. 

Just like there are four seasons in a year, there are seasons in a writer’s year. Maybe four, maybe more, maybe less.

For me, one of those seasons is represented by hurried activity. A get-it-done mentality. Don’t mess around on social media. Write, write, write. No distractions. Take no prisoners.

Another season is spent editing, tweaking, touching up existing manuscripts. This is a slower process—for me. 

Another season is spent planning my non-writing life.  Trips, visits to and from family, hosting neighbors, always at the grocery store, always in the kitchen. It seems to last forever but is often a short season that returns every few months.

Sometimes, I just want to sit and watch Gilmore Girls reruns.

Take a look at your life. Are there times when you’re not writing and feeling guilty about it? Give yourself permission to relax and enjoy that time. We can’t be our best at anything if we don’t take a break. Not a good parent, not a good partner, student, employee or writer. 

You don’t need to force these breaks upon yourself. You’ll feel one coming on. Lean into it. For a week or two. 

This is not a get-out-of-jail-free card, though. Make a promise to yourself not to let this season become all-consuming. And we have to keep our promises to ourselves, right? Otherwise, we let the Dark in, and it’s just not pretty.

We have to let our fields lay fallow. But we don’t neglect them forever after.

When you feel refreshed, it’s time to get off the couch and lean into another season, a more productive one. 

As English street artist and activist Banksy said, “If you get tired, learn to rest, not quit.” 

ABOUT THE AUTHOR  

Gail L. Fontana is a children’s writer, living in Rio del Mar, California. She blogs at www.gaillfontana.com

Thinking of Writing an Early Reader?

 

 

 

Contributed by Karen Cioffi, Children's Writer

 

 Early readers are short books designed for children just beginning to read independently. 

These books should have 32 pages and usually 300-500 words. They can go up to 1200 words and 48 pages, depending on the child’s reading level. And as they build a bridge between picture books and chapter books, early readers should be divided into chapters. The book size should also be more in line with chapter books, usually 6X9.

Early readers play a vital role in bridging the gap between picture books and chapter books, typically catering to readers aged 4–8. 

While creating early readers can be rewarding, it presents unique challenges for authors. This article delves into the pros and cons of writing early readers, highlighting examples to illustrate their impact on young audiences.

BENEFITS OF WRITING EARLY READERS

-Fostering a Love for Reading
Early readers are an important tool in fostering a love for reading in young children. By crafting engaging, age-appropriate stories with simple vocabulary and repetitive sentence structures, authors provide children with a sense of accomplishment. Completing a book builds confidence and  encourages an exploration of literature.

Example: Dr. Seuss’s "Green Eggs and Ham" is a mere 50 words yet captivates readers with its rhythmic text and humorous plot. Its simplicity makes it approachable for beginners, while its whimsy ensures lasting appeal.

-Contributing to Literacy Development
Early readers help children develop fundamental literacy skills, including decoding, fluency, and comprehension. By balancing familiar words with new vocabulary, authors can gently challenge young readers without overwhelming them.

Example: The Elephant and Piggie series by Mo Willems features short sentences and relatable scenarios, making it an excellent tool for practicing expressive reading and understanding story structure.

-Lifelong Learning
Books for early readers often introduce themes of problem-solving, friendship, and resilience, laying a foundation for character development. Authors have the opportunity to influence young minds.

Example: In Arnold Lobel’s Frog and Toad series, the protagonists navigate everyday challenges, teaching lessons about patience, kindness, and teamwork.

-Creative Challenges for Writers Lead to Creativity
The constraints of early reader writing—limited vocabulary, short sentence structures, and concise storytelling—force authors to think creatively. These restrictions often result in clever, tightly woven stories that are fun to read and write.

Example: Laura Numeroff’s "If You Give a Mouse a Cookie" uses a cause-and-effect structure to create an engaging and memorable story, demonstrating the power of simplicity.

DISADVANTAGES OF WRITING EARLY READERS

-Strict Structural Constraints
The rigid rules of early readers can be daunting for authors. Limited word counts, simplified language, monosyllable words, short sentences (averaging 5-10 words), use of sight-words, and an emphasis on phonics and repetition leave little room for elaborate storytelling or linguistic flair.

For instance, an author who thrives on complex narratives or poetic prose might struggle to adapt their style to the requirements of this format. Striking a balance between simplicity and storytelling depth can be a significant challenge.

For a list of Dolch sight-words, visit: https://dolchword.net/by-grade-alphabetical/

You might also get a copy of "The Children’s Writer’s Word Book" by Alijandra Mogilner. It gives the grade level for a large number of words. I use this book often.

-Limited Target Audience
Early readers have a short shelf life for individual readers, as children quickly outgrow them. This makes it harder for authors to build lasting relationship compared to writing for broader age groups.

Example: While books like Mo Willems’ Elephant and Piggie are beloved by young readers, their audience typically moves on to chapter books within a year or two.

-Risk of Oversimplification
In striving for simplicity, authors may inadvertently create books that feel monotonous or uninspiring. Stories that are too repetitive or lack emotional depth may fail to engage readers fully, undermining their potential impact.

For example, while phonics-driven books can improve decoding skills, some titles sacrifice storytelling in favor of adhering to word patterns, leading to less engaging stories.

-Market Saturation and Competition
The market for early readers is highly competitive, with many established authors and publishers vying for attention. Breaking into this space can be challenging for new writers, particularly when competing against known brands and franchises.

Example: Renowned series like The Berenstain Bears and Clifford the Big Red Dog dominate bookshelves, making it difficult for new titles to stand out.

-Illustration Dependency
Early readers rely heavily on illustrations to support the text and provide visual context. While this enhances the reading experience, it also means authors must collaborate with illustrators or publishers to effectively convey their message.

-Striking a Balance
Despite the challenges, writing early readers is a fulfilling endeavor for authors committed to nurturing young readers. By focusing on storytelling elements that resonate universally—humor, relatable characters, and engaging plots—authors can create memorable books that meet the developmental needs of their audience.

CONCLUSION

Writing early readers shapes the foundational experiences of young readers, influencing their relationship with literature and learning. 

While there are challenges writing in this genre, the benefits far outweigh them.

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

Writing: Mixing It Up with Tropes

 

Contributed by Margot Conor

I have lately been experimenting. I mostly write Science Fiction and Fantasy. But I do tend to mix tropes most of the time. Recently I have been trying a few new subgenres.

An author in a critique group told me she liked my Magical Realism style. And I had to admit I didn’t know what that was. When I searched for authors that are known for it and discovered they are some of my favorites. Jorge Luis Borges, Gabriel Garcia Marquez, Isabel Allende. I suppose we are inspired by the authors we love.

After reading about what characterizes Magical Realism, I wrote a few short stories with that trope in mind. Consciously leaning into that style, I was pleased with the results.

Magical Realism combines realistic settings with fantastical or magical elements, treating the supernatural as commonplace within the narrative. Key characteristics include a realistic setting, the matter-of-fact inclusion of magical elements, a blurring of the lines between reality and fantasy, and often, a focus on everyday characters in dream-like, or unbelievable situations which are treated as normal.

While researching tropes I saw a few others I decided to experiment with.

One is something called slipstream. Which I also had never heard of. This has the distinctive quality of defying traditional genre boundaries, by mixing sci-Fi, and Fantasy with psychological or philosophical fiction. It explores deeper themes of societal or technological change, and the breakdown of paradigms. It employs strange and uncanny situations. Encourages the bending of reality with surreal settings or circumstances. It is otherwise described as “the familiar strange, or the strange familiar.

I had never written in the Steam Punk subgenre until recently either, I wrote a short story titled Magic Wants to Be Used. I love the characters and the world I created enough to possibly serialize it. This story’s main character is a teenager named Xandra who has a forbidden form of mechanical magic.

I also recently compiled a small set of nine fantasy stories featuring dragons. I’ve been writing fantasy for a while but oddly never touched the dragon lore sub-genre. I am not sure it is still as popular as it once was, but it was fun to write.

There are a few writers in one of my writers’ groups who write romantic fantasy. I know that any sort of romance genre is extremely popular now, and an easy genre to build a loyal following with. But other than inserting a few flirtations into the speculative genres I write, romance seems to be near impossible for me to write.

I seem to have found my favorites, and I’ll stick with them. I encourage writers to explore as I have been doing, just to see what might inspire you. Every now and then it is good to step outside what we usually do and explore a slightly different direction.

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/

 

 

Are You a Writing Imposter?

I watched an amazing webinar with Writers on the Move contributor Carolyn Howard-Johnson and her publisher Victor Volkman.

Carolyn is an award-winning author and an expert book marketer, so I listen when she has something to share.

A small part of her talk was about the imposter syndrome. Making it easier to understand, it's more like the 'I'm not good enough' syndrome.

This is something most writers deal with once in a while, me included, so I decided to look into it.

According to Wikipedia, the "imposter syndrome is a psychological pattern in which an individual doubts their skills, talents or accomplishments and has a persistent internalized fear of being exposed as a fraud."

So, what does this have to do with writers?

Well, once we feel we're not ‘really’ a good writer, we begin to underestimate our ability and our value.

Unfortunately, this syndrome seeps its way into new and even seasoned writers, and it can cause consequences.

The I'm not a good enough writer syndrome, or I'm a fraud, and sooner or later, everyone will know.

Have you ever felt like this?

Once a writer has these feelings, they can fester and grow, stopping her from moving forward. 

Maybe she's been thinking of seeking an agent's representation.

He may have thought of submitting to traditional publishers.

Maybe he's wanted to get articles published in magazines like Writer's Digest, The Writer, or another magazine. 

BUT …

She doesn't think she's good enough, so she doesn't even try.

There's an expression I love: Nothing ventured, nothing gained.

You don't have to be the best writer on Earth.

It's not the best writer who succeeds; it's the writer who perseveres. And part of perseverance is to submit your work. 

It's about writing the book you want to write and self-publishing if that's the route you want to go.

It's about submitting your manuscript to agents and publishers.

That said, it is important to make sure you, at the very least, know how to write. 

- Read a lot.

- Read books the agent has represented if that's what you want to do.

- Read books that the publisher has published if that’s your dream.

- Read 'quality' books in the genre you want to write.

- Take the time to learn how to write if you haven't yet. There are excellent online classes that can help you with this.

Another problem is if a writer with this syndrome offers services like editing or ghostwriting. 

If you're offering writing services and don't believe you're qualified enough to provide these services, you're in trouble. 

- The first thing that will happen is you won't charge what you're worth. This thought process can cause a domino effect. 

- Your lower prices will cause some potential clients to believe you're not as good as other services charging more.

- You may let clients tell you how to write. Or, you may not be confident to explain to your client that what he has done or wants to do won't work.

- You'll second-guess almost everything you do.

If you have these feelings, it might be helpful to create a vision board.

Put a few quotes or sayings that will help you believe in yourself. Be sure to keep it where you'll see it every day!

And another good idea is to keep learning your craft.

Learning to write also goes for wannabe authors. Learn about writing by reading books in the genre you want to write in, and then go for it.

Click the link to watch Carolyn's talk - it has lots of book marketing tips: 
https://youtu.be/ykE7ITz6HUk

 

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.

https://karencioffiwritingforchildren.com/karens-books/

 

 

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
 

 

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
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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/