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/

 

 

 

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/

 

The Power of Psychological Tension

 Contributed by Margot Conor

  Psychological tension is the heartbeat of a compelling story. From the very first line, you want your readers to be hooked. Through mental strain, uncertainty, or distress your characters grapple with their choices, and your reader feels invested in their journey. Due to conflicting emotions, thoughts, or circumstances tension builds and holds your audience in suspense.

This tension is a fundamental driver of storytelling, as it captivates readers by immersing them in a character’s struggles and by raising the stakes. Whether through internal dilemmas, interpersonal conflicts, or external pressures, psychological tension is the force that keeps readers engaged and invested in the outcome of a story.

A story without tension feels flat and directionless. Tension propels the plot forward, urging readers to turn pages as they yearn to see how conflicts unfold and whether characters will overcome their struggles. When a protagonist is placed in a difficult situation, forced to make tough decisions, or floundering with deep-seated fears, their journey becomes compelling. Readers emotionally invest in characters who face genuine challenges, particularly when those challenges feel insurmountable or deeply personal.

Internal conflict arises when a character struggles with their own emotions, desires, or beliefs. Examples include a hero torn between duty and love, or a detective battling their own past while trying to solve a case. The deeper the internal conflict, the more emotionally engaging the story becomes.

Interpersonal conflict is all about the relationships between characters which often drives tension, whether through misunderstandings, betrayal, or unspoken desires.

Romantic tension, rivalry, or power struggles add layers to the narrative, making interactions feel charged and unpredictable.

Situational conflict is created by external circumstances, such as being trapped in a high-stakes environment, racing against time, or facing overwhelming odds. The pressure from external forces can push characters to their limits, forcing growth and transformation.

While tension should build throughout a story, its resolution is equally crucial. Readers want that payoff. Some stories resolve tension with a satisfying conclusion, providing closure for both characters and readers. Others escalate it, leading to unexpected twists or unresolved endings that leave lasting impressions. The key is ensuring that whatever resolution occurs, it feels earned and meaningful within the story’s context.

To effectively incorporate psychological tension, you need to understand how to construct scenarios that amplify uncertainty and emotional stakes. Here are some techniques you might try:

Unresolved Questions: Leaving crucial details ambiguous creates suspense and compels readers to keep reading in search of answers.

Moral Dilemmas: Presenting characters with choices that have no easy solutions enhances tension and deepens engagement.

Foreshadowing and Dramatic Irony: Giving readers insight into potential dangers before characters become aware heightens tension.

Slow Reveals: Withholding key information and revealing it gradually sustains suspense.

Contrasting Emotions: Moments of joy juxtaposed with looming dread create an emotional rollercoaster for readers.

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/

5 Ways Writing a Book Will Help You to Unlock Your Hidden Creative Genius

 

How often have you thought to yourself, “I’m not creative?” Have you marveled at the creativity of young children playing, wondering where on earth they come up with these crazy ideas? Creativity doesn’t disappear completely as we get older; we simply don’t exercise it quite as much as we did as youngsters. Traditional classroom schooling also doesn’t place a priority on creativity because teachers are so focused on teaching the curriculum and scoring tests. If you want to spur your creative juices once again, write a book.

Here are just a few ways you can unlock your hidden creative genius by writing a book:

1. Use the brain dump method to empty your mind of too many ideas. Experts have proven that multitasking actually diminishes productivity, so instead of trying to write your book while all these other ideas are swimming around, take a journal and just start writing everything down. And I mean EVERYTHING, including calling the dog groomer for an appointment to calling the pharmacy for a refill. Whatever is taking up space in your brain should be on that paper. Now that you’ve released these thoughts onto paper, focus solely on writing your book. You’ll discover the writing process is easier when you’re able to focus on just one task instead of one hundred.

2. Banish writer’s block. Before you start writing your best-selling book create an outline. One might think that this kind of detail will cause writer’s block. But in fact, the exact opposite happens. Because you have a roadmap to follow – and you can decide how detailed to make your outline - your brain will feel safe and allow you to write.

3. Writing itself is a creative problem-solving process. When was the last time you made a pros/cons list to help you make a decision? Or a to-do list to track your daily tasks? Or mind mapping to illustrate solving a problem? Writing out the details of our problem allows us to clarify exactly what has to happen when and it’s then easier to see connections and solutions to these problems our brain relaxes and our creativity flows.

4. Practice makes perfect. Even if you’re not aiming for perfection, this old saying holds true. The more you write, the easier the process becomes. If you’re an expert in a particular field, it makes sense to write about your expertise.  Writing content for your audience will become easier because you have the practice and you’ve done the research to know what your audience is seeking.

 5. Embrace the idea of doing something new or different every day. Our daily lives can become routine and boring but they feel safe and less effort is required on our part. But what if you tried new things, mixed up your daily routines just to be different. Take some time to explore new surroundings, take the long way home from the gym, or skip the gym and go for a walk in nature, turn off social media for a day and let your brain come back to awareness. Your brain will thank you for making it work differently, simply because you mixed things up.

Creativity is hidden inside each of us. Embrace your inner child, and use it to write a book you’ll love. In the end it will be worth it and bring great rewards. 

About Rebecca 

Rebecca Camarena is a Book Coach and author who helps women write, publish and market their impactful books about their heartfelt story of the challenges they’ve overcome so they can be an inspiration to others by sharing their words, their voice, their journey.

As a best-selling author with her co-authored book Out of My Comfort Zone: Stories of Courage, Perseverance and Victory she helped women share their stories of how they got out of their fear zone to excel in their business.

Are you’re ready to turn your heartfelt story into your dream book and become the author you were meant to be? Connect with me here, www.rebeccacamarena.com/contact

Common Children's Writing Mistakes

 I attended a webinar through Children's Book Insider (CBI) with traditionally published children’s authors Jean Daigneau and Gloria Adams. They had some very helpful tips.

One section I found interesting was about the BIG common mistakes that authors make with children’s books.

1. The number ONE most common big mistake is a weak plot.

So, what does a weak plot mean?

No conflict, or very little.

Basically…

The main character needs to have a problem. It can be internal or external, but it needs to be something that has consequences attached to it.

The conflict doesn’t need to be life or death; it may be that he figures out a way to stop a bully. Or, she figures out a way to get the bike she wants. It could even be that he was lonely and finds a friend.

It does need to be something that will get the young reader engaged.

It’s the conflict that will make the reader become invested in the main character’s journey. It’s the conflict that will motivate the reader to read to the end.

2. The number two most common mistake is the lack of a story arc.

A story needs a full story arc. A beginning, a middle, and an end, and within that structure, there needs to be rising conflict.

There also needs to be a satisfying resolution to that conflict.

This is commonly known as Freytag’s Pyramid.

The story starts on the left side of the pyramid. The action and conflict climb up to the peak (the climax). Then, it’s down the right side with falling action and the resolution.

3. Another big mistake is the lack of a character arc.

The character needs to grow in some way.  

He needs to change in some way as a result of his journey to overcome the obstacle blocking him from reaching his goal.

The character may become kinder, happier, more confident, smarter, physically stronger, emotionally stronger, more creative, or less fearsome. You get the gist.

He shouldn’t be the same person he was at the beginning of the journey.

When you look at the character at the beginning of the story and then at the end, he needs to be different. There needs to be some kind of growth.

Some of the SMALLER mistakes or problems authors make are:

1. Double tags.

Here’s an example:

Pete threw his fist in the air. “If he does that again, I don’t know what I’ll do,” he said.

This is a double tag.

It’s already established that Pete is talking because he’s noted throwing his fist in the air. The “he said” shouldn’t be included.

If you know the reader will understand who’s talking, you don’t add a dialogue tag.

2. Picture books and illustrations.

If you’re writing a picture book, take the illustrations into account.

Write with them in mind. Leave enough room for the illustrator to be creative and bring the story to another level.

3. Illustrator notes.

It may be tempting to try to direct the illustrator with a lot of illustrator notes but don’t do it.

Unless it’s something the illustrator wouldn’t know but needs to know, don’t mention it.

An example of this:

Your protagonist has a dog, and you want it to be a specific color and breed. This is something you can note, as the illustrator certainly wouldn’t know about it.

4. Candy-coating the story.

A number of my clients don’t want anything bad to happen to the characters in the story. This is especially true of picture books.

But it’s tough to have conflict if nothing bad can happen to the characters.

The best stories, even if fantasy, have realism in them.

5. Unsatisfying ending.

The ending of your story is important to get right.

All loose ends must be tied up. And, especially in picture books and writing for young children, the ending must be satisfying.

The reader should go away feeling good about the story.

Another important aspect of the ending is to NOT tell the reader what the message of the story is.

The takeaway value of the story should be subtly conveyed through the story itself. Don’t hit the reader over the head with it.

Winding this up...

A good story needs it all. It needs conflict with rising action and resolution. It needs character growth with a subtle message.

The best way to incorporate all this into your story is to read a lot of traditionally published books in the genre you’re writing. Pay attention to what makes those books work.

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

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/
 

Dialogue Tags: He Said, She Replied

 

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 Contributed by Karen Cioffi, Children's Writer

 

I'm rewriting a young adult book for a client. It's over 100,000 words.

With that many words, the author felt compelled to mix up the dialogue tags.

That, though, is never a good idea.

Some of the tags he used were spat, laughed, teased, smirked, joked, yawned, and sneered.

But my client isn't the only one who doesn't realize that there are specific words for dialogue tags. That might be because new authors aren't familiar with the tag's purpose.

So, what exactly is a dialogue tag and how should you use it?

According to The Write Practice, "they 'tag' the dialogue to a particular character. Also often referred to as an attribution, a dialogue tag is a small phrase either before, after, or in between the actual dialogue itself."
https://thewritepractice.com/dialogue-tags/

That puts it pretty simple.

Dialogue tags are phrases that identify who is speaking. They are a must for clarity and in order to keep the reader in the know and involved in the story.

A few examples:

"What was that?" asked John.

"I couldn't finish my homework," John said.

"If I go to the store," John said, "I'll pick up milk."

So, you can see that dialogue tags are straight forward. They allow the reader to know who's talking.

The basic tags are said, replied, asked, and answered. These tags kind of become invisible to the reader. The reader can acknowledge who is talking while not thinking twice about the tag.

But when the basics just aren't enough, you can also use whispered, shouted, mumbled. They should be used sparingly, though.

So, going back to dialogue tags that shouldn't be used, I did a search and was surprised at the results.

One site had a list of dialogue tags that included, emitted, bubbled, chuckled, grinned, sang, smiled, and rejoiced.

Another site had grieved, mewled, bawled, blubbered, fretted, agonized, comforted, admired, hissed, soothed, glowered, placated, assented, tittered, and sobbed, stating they could be used as dialogue tags.

This may be one of the reasons why some writers feel it's okay to use these words.

A good way to think about whether a word can be used as a tag is to think of the word and what it means.

You can't blubber dialogue.
You can't admire dialogue.
You can't comfort dialogue.
You can't sneer dialogue.
You can't tease dialogue.
You can't emit dialogue.
You can't spit dialogue. Although you may spit as you talk.

Dialogue tags and adverbs.

This is another common problem that can arise with dialogue and tags - the use of adverbs.

My client did a lot of this as well.

Using an adverb after a tag looks like this:

"Don't bother getting up," John said angrily.

"You're beautiful," John said admiringly.

"Get out of my chair," John said, disgruntled.

Instead of using adverbs, the sentence or paragraph should show how the character is feeling.

Ellen couldn't open her eyes. Crying all night left them swollen and achy. "How could this happen?"

Showing what's going on allows the reader to know how she's feeling. You wouldn't need to add "sadly" at the end of the tag.

Do you always have to use dialogue tags?

Another question that can come up about dialogue tags is whether they have to be used all the time.

The answer is no, as long as it's clear who's speaking.

John shook his head. "No way. I'm not going."

"You've got to," said Pete.

"No, I don't."

In this simple example, you can see that only one of the dialogues has a tag.

The first one notes who's talking by using: John shook his head.

The dialogue that comes after that is from John.

The third dialogue line is John responding to Pete. As there are only two characters in the scene, the reader will know John is speaking.

Writing dialogue is easy once you get the hang of it.

A good way to learn how to write dialogue with proper tags is to read a lot of traditionally published books. Pay attention to the dialogue.

It's not that I'm putting down self-published books, I've self-published two books. The problem is not all self-published books are done professionally.

Traditionally published books have professionals editing them; they have gatekeepers to ensure the story is quality. They know the ropes and it's important to learn from books that are done right.

ABOUT THE AUTHOR

 

 

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach. 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

How To Support Your Writer

 

 Contributed by Margot Conor

Yes, I am talking to authors too. We all need to support each other.

It doesn’t matter if you read or write the same genre. Managing to get a book published is a huge accomplishment and it deserves to be celebrated. What I see too often is a lack of willingness to give others the credit and attention they need.

Many authors feel isolated, it is a solitary profession. It is also difficult for them to ask for support, so when they are brave enough to request it, why not do everything they ask?
Let’s go over the why-nots… You think there isn’t enough time. You don’t feel confident or don’t know how and are afraid to ask. You are not tech-savvy. You are afraid of the competition and think that promoting another author will take away from your success.

These are all excuses I have encountered. And while most of them are the result of inexperience the last one is endemic in the creative industries. I tend to follow and support others who have the same attitude that I do, there is enough to go around and we need each other to succeed.
Why and why not?

1. Join their Arc team. You get a free copy of their novel in advance with the promise of writing a review. Please don’t take the free copy and not bother to write a review. Yes, that happens a lot and is rather disheartening.

2. Join their Launch team. This is a group of people who help to advertise the book release by sharing cover art, a blurb, and /or the pre-order form on their social media or newsletters. In some cases, it involves local people who organize physical launch parties or events where the author can talk about their book and get preorders.

3. Get your book club to buy copies of their books, and then invite the author to talk at your meeting.

4. Promote them on your social media. It only takes a moment to like and share a post. If you can leave a comment of congratulations that means more to the author than you can imagine.

5. Author Tube is another place where writers may have a presence. If you are on YouTube, seek them out, watch their videos, “like and subscribe.”

6. Patron sites. I believe Patreon was the first to explore this format. I joined it a year ago, at the same time I signed up on Medium, and SubStack. (I get a lot more engagement on the last two, virtually none on Patreon). Why? Because I don’t have a huge following that I could take with me there. Some authors put all their stories behind a paywall. These are called tiers and they range in price. Joining a tear as a patron gives the author a small monthly donation, and gives the patron access to what they post. But some writers let you join for free, and post articles and stories for anyone to read. My pages on these sites have been free to join. I might put some stories behind a paywall in the future. You may find your favorite authors have a presence on these sites.

7. Subscribe to their newsletter. I suggest this only if you are reading the genre they write or if you know them personally. Authors tend to write a lot about their personal lives in newsletters. Funny things that happen, epiphanies they have, or frustrations and processes that involve their writing journey. They share helpful articles, and short stories, or give you the option to get free books and stories through promotions they take part in.

8. Book reviews are very important for Authors. It gets their books noticed by the algorithms and that means more people see the listing, and that leads to sales. Reviews can be placed on Amazon, Goodreads, and Bookbub. A review doesn’t have to be long. But leaving a few kind words of support means everything.

9. I am, however, of the opinion that if you don’t have something good to say, don’t bother to leave a review. You are likely not an expert paid by a publisher to give a critical review. Neither are you bound by your sense of honor to save others from suffering. So, if the book didn’t resonate with you, refrain from leaving 1-star reviews that will most definitely hurt them.

10. Never review-bomb another author! It will come back to bite you. If you think you need to make others fail so you can succeed, that will not lead to your success. Eventually, others will find out what you are up to, and well, that will get around. Be nice. Pay it forward. Give more than you take.

Join, Follow, Like, Subscribe… Your support is always appreciated. Even authors who seem to have “made it” suffer from doubt and insecurities and are happy to get a kind word of encouragement. They love to hear what you liked or what you connected with when you read their novel.

Please don’t threaten your favorite authors if they kill off a character you liked or didn’t write what you wanted them to. I never knew this was a thing. But evidently, some authors are hounded with threats and mean letters because they didn’t meet the expectations of their fans.

It’s a story, we are dedicated to entertaining you, but it is our story. We will write what we are inspired to write.

We hope that it will plant some seeds of hope, give you moments of joy, or keep you on the edge of your seat. We want your interest and engagement. We hope to write something you can’t put down until it’s finished. We want to share what we love with you, and we hope you will support us in return.

I am going to be completely honest with you. Until I became focused on publishing, I never thought about any of these things. It certainly never occurred to me to write a review or seek out the author on social media, Goodreads, or AuthorTube. I didn’t know that would be helpful or how needed it was. I assumed the publishers did a lot more for authors than they do. But the truth is, writers are dependent on your support. If you love what they write, let them know.

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 now  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/

Writing for Children? 3 Things to Avoid

 

Contributed by Karen Cioffi

It seems there are still new children’s authors or wannabe authors who don’t take the time to learn how to write for children… at least to learn the basics.

The absolute must-nots when writing for children:

The Picture Book Cliffhanger

A recent client of mine was for a picture book rewrite project with the ending missing, so there was a bit of ghosting involved. The intended age group was four to eight.

I rewrote the story and added a ‘satisfying’ ending with a takeaway only to learn the client wanted it to be a cliffhanger and didn’t want a takeaway.

Well, kind of a cliffhanger. The client wanted the ending missing.

No loose ends tied up. No satisfying ending. No full character arc. No full story arc.

This client scenario was a first for me.

Not wanting a takeaway is one thing, but not wanting a satisfying ending for a young children’s book doesn’t make sense.

The story was to leave the reader to guess what the author had in mind for the ending or create their own.

The author’s intent was to create a series of cliffhangers motivating the reader to get the next picture book.

I tried my best to help the client understand that a young children’s book needs all the elements of a ‘good’ story, especially when seeking a traditional publishing contract.

I understand that in self-publishing a lot of new authors do whatever they want (even though they should produce a quality book), but it’s a different ball game when going the traditional route.

The Perfect Story World

I don’t get too many of these types of authors, but it came up in another recent project.

This scenario is when the author doesn’t want any significant conflict in the story. No real stakes involved.

-No swarm of bees to block a path the protagonist must get through.
-No ferocious fire-breathing dragon blocking the entrance to a cave the protagonist must get into.
-No dangling from a cliff before being rescued.

The author also doesn’t want the characters, even the villain, to have any bad traits.

-No evil Professor Moriarty (Sherlock Holmes’ nemesis).
-No evil Joker or the Penguin (Batman’s nemesis).
-No evil Lex Luthor (Superman’s nemesis).

This type of story is sugar-coated.

Instead of a roller coaster that goes up and down, where the rider has to hold on tight, this type of story is the stationary horse on the carousel, no holding on needed, no real movement involved.

You always want your story to be the one the reader is motivated to hold onto, motivated to turn the pages. You want your story to go up and down and around.

Hitting the Reader Over the Head

Most of my clients have a specific goal for their story. They want to send a message to a child. They know exactly what they want the takeaway to be.

A number of stories have the bullying theme, but interestingly, that’s eased off. Now I get more requests for inclusion, standing up for yourself, and being kind themes.

Some new authors think they have to hit the reader over the head with their message. They blatantly want to tell the reader how the main character grew because he was kind, stood up for himself, or included someone different in her group.

Hitting the reader over the head with the story’s message is frowned upon. The story should convey the message subtly. The reader will pick up on it.

I hope these three absolute must-nots in kid’s writing help you on your children’s writing journey.

ABOUT THE AUTHOR

 

 

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach. 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.

WRITERS ON THE MOVE SELF-PUBLISHING SERVICE
Self-publishing help for children’s authors.