Saturday, June 1, 2019

Baby Shoes For Sale . . . or How Many Words Makes a Story?


“For sale: baby shoes, never worn.”
Popularly credited to Ernest Hemingway, this six-word story is an extreme example of short fiction. It evokes wonder, presents questions, conjures possibilities . . . and all with a minuscule word count of six total words.
Which brings us to our topic for the day: word counts.
Every story has one.
So how long should your novel be?
50,000 words?
100,000?
150,000?
1,000,000?
Let's start with the standards taken from a quick fondling of Google's naughty search engine:

Micro Fiction: 100 to 500 words
Sudden Fiction: up to 750
Flash Fiction: up to 1,500
Short Story: 1,500 to 7,500
Novelette: 7,500 to 17,500
Novella: 17,500 to 40,000
Novel: 40,000 to 100,000
Tome: 100,000+ words

Sure, these figures provide a general idea of their total word count, but what about by genre?

Commercial and literary novels: 80,000 to 100,000
Middle grade: 20,000 to 55,000
Young adult: 55,000 to 80,000
Western: 45,000 to 75,000
Mystery: 75,000 to 100,000
Memoir: 80,000 to 90,000
Romance: 80,000 to 100,000
Thriller: 90,000 to 100,000
Science Fiction and Fantasy: 100,000 to 115,000+
*and the general fiction sweet spot: 80,000 to 90,000

How about by author?

The First Law series by Joe Abercrombie:
The Blade Itself: 191,000
Before They Are Hanged: 196,000
Last Argument of Kings: 231,000

Lord of the Rings series by J. R. R. Tolkien:
The Hobbit: 95,000
The Fellowship of the Ring: 186,000
The Two Towers: 154,000
The Return of the King: 130,000

A Song of Ice and Fire series by George R. R. Martin:
A Game of Thrones: 298,000
A Clash of Kings: 326,000
A Storm of Swords: 424,000
A Feast for Crows: 300,000
A Dance with Dragons: 422,000

Harry Potter series by J.K. Rowling:
Harry Potter and the Philosopher's Stone (revised title is ...and the Sorcerer's Stone): 78,000
Harry Potter and the Chamber of Secrets: 85,000
Harry Potter and the Prisoner of Azkaban: 107,000
Harry Potter and the Goblet of Fire: 191,000
Harry Potter and the Order of the Phoenix: 257,000
Harry Potter and the Half-Blood Prince: 170,000
Harry Potter and the Deathly Hallows: 198,000

The Dark Tower series by Stephen King:
The Little Sisters of Eluria: 23,000
The Dark Tower: The Gunslinger: 55,000
The Dark Tower 2: The Drawing of the Three: 125,000
The Dark Tower 3: The Waste Lands: 173,000
The Dark Tower 4: Wizard and Glass: 255,000
The Dark Tower 4.5: The Wind Through the Keyhole: 92,000
The Dark Tower 5: Wolves of the Calla: 242,000
The Dark Tower 6: Song of Susannah: 118,000
The Dark Tower 7: The Dark Tower: 272,000

Malazan Book of the Fallen series by Steven Erikson:
Gardens of the Moon: 209,000
Deadhouse Gates: 272,000
Memories of Ice: 358,000
House of Chains: 306,000
Midnight Tides: 270,000
The Bonehunters: 365,000
Reaper’s Gale: 386,000
Toll the Hounds: 392,000
Dust of Dreams: 382,000
The Crippled God: 385,000

The Wheel of Time series by Robert Jordan (finished by Brandon Sanderson):
The Eye of the World: 305,900
The Great Hunt: 267,000
The Dragon Reborn: 250,000
The Shadow Rising: 394,000
The Fires of Heaven: 354,000
The Lord of Chaos: 389,000
A Crown of Swords: 295,000
The Path of Daggers: 226,000
Winter’s Heart: 238,000
Crossroads of Twilight: 271,000
Knife of Dreams: 315,000
The Gathering Storm: 303,000
Towers of Midnight: 325,000

The Sword of Truth series by Terry Goodkind:
The First Confessor: 163,000
Debt of Bones: 28,000
Wizard's First Rule: 296,000
Stone of Tears: 335,000
Blood of the Fold: 194,000
Temple of the Winds: 251,000
Soul of the Fire: 211,000
Faith of the Fallen: 261,000
The Pillars of Creation: 194,000
Naked Empire: 195,000
Chainfire: 198,000
Phantom: 198,000
Confessor: 202,000
The Omen Machine: 130,000
The Third Kingdom: 138,000
Severed Souls: 158,000
Warheart: 137,000

So how does one decide on their precious novel-to-be's total word count? My advice is simple: don't sweat the small stuff. The #1 rule of writing is: write first, edit last. So worry about the word count after you've finished that pesky first draft, however long or short it may turn out. A story should only be as long or short as it needs to be to introduce the main conflict, complicate it through logical though surprising twists, then resolve said conflict in a satisfying conclusion, no more and no less. Forcing extraneous words into your writing in an arrogant attempt at making it longer because you want your readers to strain their aching backs lugging your epic tome around results in unnecessary clutter and filler; ergo, needless words. And the #1 rule of editing is: omit needless words. Did you really need to describe that doorknob only needing turned for three whole pages? Of course not! Write with passion while never forgetting this precious gem of rule that connects the first two: writing is 10% writing and 90% rewriting.
Though there is an exception for Plotters over Pantsers when it comes to word counts. Choosing your desired total word count beforehand then dividing by however many chapters you plan on writing gives you a smaller goal to work toward, and smaller goals achieved each day add up to the larger victory of your finished novel over the long haul of months.
Let's say you want to write an 80,000 word sci-fi with 20 chapters because all of your favorite writers keep their novels in the same range. Great. Here's a cookie. This doesn't mean yours must be an 80,000 word novel to the exact period when you're finished or else worlds will collide and existence will end. But it does give you a smaller goal to work toward while writing each day. An 80,000 total word count divided by 20 chapters is 4,000. That 80,000 total doesn't seem so daunting a task to complete now that you've divided it up into 20 smaller 4,000 word chunks, now does it?
Divide and conquer is my ruling philosophy when tackling any task, so I start my novels by writing in 8 chunks of plot thusly:

ACT 1
1. Old World Stasis
2. New World Flux

ACT 2A
3. Things Come Together
4. False Victory

ACT 2B
5. Things Fall Apart
6. False Defeat

ACT 3
7. False Solution
8. True Resolution

I flesh out my novels-to-be through some plotting, describing each chunk with a few descriptive sentences though leaving plenty of wiggle room so that when I write I have the freedom to add in logical twists and unexpected turns. Remember: the first things that come to your mind while writing may parallel the first things that come to your reader's mind while reading, and that removes all unpredictability from your story. Plotting helps you weed out those predictable scenes beforehand and before you've spent months toiling away at your novel. The great illusion of writing is that a reader spends mere moments reading a scene that in actuality might have taken you days or weeks or even months to craft. My chapters tend to run long, averaging round 10,000 words per, and I break each of the 8 main chunks up into even smaller chunks, exampled thusly from my MASTER PLOT FORMULA:

ACT 1
1. Old World Stasis
2. Inciting Incident
3. New World Flux
4. Physical Crossing

ACT 2A
5. Things Come Together
6. Pinch Point / Betrayal Set-up
7. False Victory
8. Midpoint Twist

ACT 2B
9. Things Fall Apart
10. Punch Point / Betrayal Pay-off
11. False Defeat
12. Spiritual Crossing

ACT 3
13. False Solution
14. Separation
15. True Resolution
16. Aftermath

I then break up these smaller chunks into chapters depending on the story and characters involved . . . though if you'd like to sample those tasty details then I suggest you read my guide on how to write a novel for both Plotters and Pantsers, “Pen the Sword: the universal plot skeleton of every story ever told” for only $4.99 measly buckaroos paperback, or $2.99 digital, and FREE with Kindle Unlimited.
“But I don't know the word counts of my favorite authors' novels!” you cry? “How am I supposed to choose a total word count for my novel-to-be when Google only answers my search requests with link after link to hot beastie porn?”
Easy peasy lemon squeezy.
First, clear your web browser.
Then take your ten favorite novels and flip to their last page. 25,000 words translates into 100 standard novel pages (though, as is often the case with longer fantasy tomes, the publisher saves production money by cramming every word they can per page through smaller font and margins, so take this “formula” with a grain of salt if you're like me and your favorite authors write bricks). Note how long your favorite books are. Is the average 400 pages? That's roughly 100,000 words. 300 pages? That's 75,000 words. Math is simple, huh?
Knowing your novel's desired total word count then dividing it into smaller writing pieces doesn't just help you write but keeps you focused. It's like viewing the finish line from afar in a race, urging you forward, faster, harder, arms and legs in pumping sprint, lungs panting heaves, eyes on the prize. Now imagine I told you to run but with no set destination in mind. How far? How fast?
That's what word counts are for.
Just remember to pay attention to the finish line instead of the other runners speeding past. Comparing yourself and your work (or lack thereof) to other writers is pointless and often leads to depression because you may spend years toiling away on the daily at your ruling passion and are still unpublished while all your writer friends seem to have all the luck and have several novels published.
So what? They aren't you. You are you. Jealousy breeds contempt, and contempt breeds excuses better left by the wayside.
Losers focus on winners, winners focus on winning.
So be a winner by sitting down every day with a smaller word count goal to meet then try your best to achieve it. After a few months pass by you can hug that finished novel in all its completed glory . . . before venturing into the lonely blackhole abyss that is being “on submission.” Could be months before response. Could be years. Ugh! Tom Petty sure wasn't kidding when he said the waiting is the hardest part. I speak from experience; I have a 350,000 word fantasy whopper that's been on submission for 11 months now and counting to one of the “Big 5” publishers who shall remain nameless out of jinxing myself. But I haven't spent that time just sitting here picking my nose and checking my emails every 15 seconds for my golden ticket inside Wonka's chocolate factory. Instead I've finished writing from scratch two more novels (both over 200,000 words) and am 150,000 words deep in another.
Because writers write.
No excuses.
No days off.
Even when we're spiraling, screaming, nerves frazzled, particles torn asunder mid-swallow inside the churning blackhole abyss of being on submission.
But that latter is a topic for another time.
Until then, happy thoughts and happy writing!

Saturday, May 4, 2019

Loglines . . . or How The Professionals Do It To It


Loglines, am I right? Those pesky one-sentence summations of your entire story you use to entice publishers into buying your manuscript or wow producers into buying your screenplay, readers into reading your novel or audiences into watching your movie. But what makes a good logline, and how do you craft yours?
Loglines are a necessary evil because they prove that you, the writer, have a firm grasp on what your story is really all about at its core after everything else of lesser value and consequence is stripped away. I know it’s hard, but if you cannot summarize your entire story into one simple sentence then you, my friend, have some work to do.
A rule of thumb is that a good logline consists of three primary ingredients: 1. the Protagonist; 2. the Goal of the protagonist; and 3. the Obstacle preventing the protagonist from achieving their goal.
I could list numerous examples of logline formulas, but Google exists and I believe it’s best to lead by example. And because what will probably become the highest grossing movie in present history has just released (Avengers: Endgame) I figured why not list the loglines of all the movies in the Marvel Cinematic Universe to present date. Read them over, dismantle them, and see what makes them work (and more importantly what doesn’t).


IRON MAN (2008): After being held captive in an Afghan cave, billionaire engineer Tony Stark creates a unique weaponized suit of armor to fight evil.

THE INCREDIBLE HULK (2008): Bruce Banner, a scientist on the run from the U.S. Government, must find a cure for the monster he turns into whenever he loses his temper.

IRON MAN 2 (2010): With the world now aware of his identity as Iron Man, Tony Stark must contend with both his declining health and a vengeful mad man with ties to his father’s legacy.

CAPTAIN AMERICA: THE FIRST AVENGER (2011): Steve Rogers, a rejected military soldier, transforms into Captain America after taking a dose of a “Super-Soldier serum,” but being Captain America comes at a price as he attempts to take down a war monger and a terrorist organization.

THOR (2011): The powerful but arrogant god Thor is cast out of Asgard to live amongst humans in Midgard (Earth), where he soon becomes one of their finest defenders.

THE AVENGERS (2012): Earth’s mightiest heroes must come together and learn to fight as a team if they are going to stop the mischievous Loki and his alien army from enslaving humanity.

IRON MAN 3 (2013): When Tony Stark’s world is torn apart by a formidable terrorist called the Mandarin, he starts an odyssey of rebuilding and retribution.

THOR: THE DARK WORLD (2013): When Dr. Jane Foster gets cursed with a powerful entity known as the Aether, Thor is heralded of the cosmic event known as the Convergence and the genocidal Dark Elves.

CAPTAIN AMERICA: THE WINTER SOLDIER (2014): As Steve Rogers struggles to embrace his role in the modern world, he teams up with a fellow Avenger and S.H.I.E.L.D agent, Black Widow, to battle a new threat from history: an assassin known as the Winter Soldier.

GUARDIANS OF THE GALAXY (2014): A group of intergalactic criminals must pull together to stop a fanatical warrior with plans to purge the universe.

AVENGERS: AGE OF ULTRON (2015): When Tony Stark and Bruce Banner try to jump-start a dormant peacekeeping program called Ultron, things go horribly wrong and it’s up to Earth’s mightiest heroes to stop the villainous Ultron from enacting his terrible plan of humanity’s extinction.

ANT-MAN (2015): Armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, cat burglar Scott Lang must embrace his inner hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world.

CAPTAIN AMERICA: CIVIL WAR (2016): Political involvement in the Avengers’ affairs causes a rift between Captain America and Iron Man.

DOCTOR STRANGE (2016): While on a journey of physical and spiritual healing, a brilliant neurosurgeon is drawn into the world of the mystic arts to become the Sorcerer Supreme.

SPIDER-MAN: HOMECOMING (2017): Peter Parker balances his life as an ordinary high school student in Queens with his superhero alter-ego Spider-Man, and finds himself on the trail of a new menace prowling the skies of New York City.

GUARDIANS OF THE GALAXY VOLUME 2: (2017): The Guardians struggle to keep together as a team while dealing with their personal family issues, notably Star-Lord’s encounter with his father the ambitious celestial being Ego.

THOR: RAGNAROK (2017): Thor is imprisoned on the planet Sakaar and must race against time to return to Asgard and stop Ragnarök, the destruction of his world, at the hands of the powerful and ruthless villain Hela.

BLACK PANTHER (2018): T’Challa, heir to the hidden but advanced kingdom of Wakanda, must step forward to lead his people into a new future while confronting a challenger to his throne from his country’s past.

AVENGERS: INFINITY WAR (2018): The Avengers and their allies must be willing to sacrifice all in an attempt to defeat the powerful Thanos before his blitz of devastation and ruin puts an end to the universe.

ANT-MAN AND THE WASP (2018): As Scott Lang balances being both a Super Hero and a father, Hope van Dyne and Dr. Hank Pym present an urgent new mission that finds the Ant-Man fighting alongside The Wasp to uncover secrets from their past.

CAPTAIN MARVEL (2019): Carol Danvers becomes one of the universe’s most powerful heroes when Earth is caught in the middle of a galactic war between two alien races.

AVENGERS: ENDGAME (2019): After a grave course of events wipes out half of all life in the universe, the remaining Avengers assemble to take one final stand against the perpetrator: Thanos.


As an end note, some of these loglines are wonderful in their simple details while others are, well, bleh because of their vagueness. When crafting your logline, try to be as concise as possible. KEYWORD: concise. “Fighting evil” is too ambiguous a descriptor for the antagonist as well as the protagonist’s goal. My dog is “evil” every time she gnaws on one of my shoes. Some of these loglines can get away with such vagueness because they belong to billion-dollar blockbusters millions of people have watched and love. Us no-names aren’t so lucky.
Case in point: If I told you my story is about a guy who wants to kill a shark, that could describe any number of movies. But if I told you an aquaphobic sheriff must kill a giant man-eating shark to stop it from terrorizing the local swimmers then you know I’m talking about JAWS.
A boxer fights for the title? Could be a whole slew of boxing movies. But a small-time boxer who gets a once in a lifetime chance to fight the world heavyweight champ in a bout in which he strives to go the distance for his self-respect? Now we’re talking ROCKY.
A boy who fights evil? Could be anyone doing practically anything. But a spirited farm boy who joins the rebel forces to save a princess and the galaxy from the Empire’s planet-destroying Death Star? We’ve got STAR WARS: A NEW HOPE.
And let’s not forget the greatest logline in all of movie history: Transported to a surreal landscape, a young girl kills the first person she meets and then teams up with three strangers to kill again while trying to find her way back home.
You guessed it . . . THE WIZARD OF OZ.
Happy writing!

Saturday, April 6, 2019

Prick Your Protagonist . . . or Why Captain Marvel Doesn't Bleed


So let's just get right down to the nitty-gritty, shall we?
The new (depending on when you're reading this) Captain Marvel movie starring Brie Larson sucks, and I'm going to tell you why.
Sure it's a flashy, semi-entertaining hour and a half, but thirty years from now nobody is going to praise it for anything more than just another one of the Marvel movies occupying one of the lowest rungs on the MCU's (Marvel Cinematic Universe) long ladder of other, better movies.
And why is that?
Because adversity builds character, stories are supposed to be about protagonist change earned through character growth, and Captain Marvel has none of that.
A writer's trick of the trade is to compare your protagonist at the beginning of their story with themselves at the end of their story after they've endured all the strife you, the sadistic writer that you are, have put them through, ergo adversity. If they are the same person then you know your story is bunk and needs be changed for the better because nothing you put them through made any meaningful impact upon them.
Case in point: take Captain Marvel's fight against Jude Law's character Yon-Rogg at the beginning of the movie and compare it to their fight at the end of the movie and you'll see they are almost identical thus showing zero protagonist change.
Now contrast that with a far superior movie in Rocky. Take Rocky's fight against Spider Rico at the beginning of the movie and compare it to Rocky's fight against Apollo Creed at the end of the movie. Two totally different fights. The first one is an out-of-shape loser who barely survives while the latter Rocky, as the changed contender he's become by persevering through adversity and training, doesn't just survive the fight but almost beats the world champion. Now that is protagonist change earned through character growth if I ever saw it.
You see, stories exist for one reason when you strip them down to their bare essentials: the protagonist changing through character growth because of the adversity they refuse to surrender to. Otherwise the story has no reason to exist.
To simplify: Act One is the protagonist pre-change with all their old flaws and bad habits holding them back from achieving their true potential, Act Two is the protagonist slowly changing through adversity by shedding their glaring flaws and bad habits for shiny new virtues and good habits while they strive to achieve their true potential, and Act Three is the protagonist post-change in all their blazing true potential glory finally unlocked and unleashed.
But what causes this character growth? Adversity! Or everything that happens to them between the beginning and end of the story. If there's no change earned through character growth then all of the events they endure between are rendered meaningless.
An arrogant weapons dealer who turns over a new leaf after realizing firsthand that his weapons that made him billions of dollars are killing innocent people? You've got Iron Man. A meek and weak soldier boy who becomes a strong and bold leader of men standing against tyranny and injustice? You've got Captain America.
But a powerful woman who is basically indestructible and ends up just as powerful and indestructible as she began? You've got Captain Marvel and that's just bleh.
The reason why the writers of Captain Marvel deviated from the typical hero's journey and made their movie boo-boo was because they feared the social media backlash from the plague of Social Justice Whiner feminazis who pounce upon every opportunity to scream false injustice if the writers dared show Carol Danvers as a vulnerable woman learning to become a powerhouse after enduring through adversity because currently we live in a day and age where if you even glance at a woman wrong then you must hate and want to oppress every last one of them with your evil penis.
And therein lies their mistake, because all protagonists should be vulnerable in some way or another otherwise we the audience can't relate to them since, after all, we're only human. This is why so many people prefer Batman over Superman.
I call it the "Superman Syndrome" because Superman is basically a living god with so many powers if you split them up you could create an entire team of superheroes. And because of this, watching Superman tear loose on the bad guys is fun for all of about 15 minutes but after that you grow bored and begin wondering what's really at stake for a living god.
But Batman? He's just a guy in a suit. He's a brilliant detective and a billionaire playboy, sure, but he's still just a guy in a suit. You can stab him and he bleeds. You can shoot him and he dies. He feels pain and through him we feel his pain because we can relate.
The Hulk also suffers from the same "Superman Syndrome" though not so much because of his weaker and vulnerable alter ego Bruce Banner. Sure it's fun watching the big, green Hulk smash and pound his way through scores of enemies, but after awhile you grow bored of the rampage because he's basically an unstoppable tank of angry muscle.
Which is why it's a good thing Marvel doesn't have the rights back to make another Hulk movie because leaving the Hulk as a floater character who shows up in another character's movie for 15 minutes then goes away is more interesting than two straight hours of, "Hulk smash!" In The Avengers we get a small taste of the Hulk at the beginning, but then he disappears for most of the movie only to show up at the movie's end and smash his way through the evil alien menace during the climactic final battle. And that's good stuff because the Hulk is given to us in moderation.
Anywho . . . back to the Captain Marvel suckage.
Protagonists should change in one of two ways: either by eventually realizing the folly of their old ways then turning over a new and better leaf (Iron Man), or by holding on strong to their virtuous convictions as they deepen through adversity and thus make of them a stronger person who in the end inspires others to be better by example (Captain America).
As I've pointed out, Captain Marvel has none of either because the writers were too afraid of showing a woman as weak and feared being accused of hating all women in general. And that's a crying shame because everyone loves a good story about a weak underdog with a no-quit attitude who perseveres through adversity while defying all the naysayers and eventually comes out on top all the stronger for it (watch the movie Rudy, or Lucas, and tell me I'm wrong). Instead we got Brie Larson's character Carol Danvers who is just as powerful at the end of the movie as she is at the beginning, the only difference being that she recovers her memories, and that's about as boring as watching paint dry. The only reason Captain Marvel made as much money at the box office as it did is because Disney/Marvel released it a month before Avengers: Endgame and people went in droves to see it because they feared missing out on something it might contain for Endgame. If you remove Captain Marvel from the MCU, change her name to, oh I don't know, Captain Flatbutt, I'd be willing to bet my bottom dollar that it would make about one-tenth of what Captain Marvel made.
So the next time you plan out your next great protagonist, make sure they're a Tony Stark who becomes an Iron Man or a Steve Rogers who becomes a Captain America and not a Carol Danvers who becomes, well, the same Carol Danvers she's always been. Because if you prick your protagonist and they don't bleed then we don't care.


Saturday, March 9, 2019

The RAVEN Trick . . . or Why Can't My Brain Just Work Right The First Time?!

All writers have their grammar quirks. You have ‘em. I have ‘em. We all have ‘em! Over years spent writing on the daily we develop and often strengthen these quirks through bad habit and a heavy reliance on spell-checkers.
One of my most annoying grammar quirks when writing is Affect vs. Effect. Most of the time you want Affect as a verb meaning to influence something and Effect as a noun for something that was influenced, though some confusion remains because both words can be used as nouns or verbs so that’s not a foolproof distinction between the two. But simply put, Affect means to impact or influence, whereas Effect means a result or outcome.
And yet . . . and yet, while writing my brain seems to combine the two words into a mish-mash of miscomprehension my typing fingers flub near every time either word is required.
For a while I fell in to the bad habit of substitution.
Affect? No way, Hosay! Impact or influence all the way, baby!
Effect? Not a chance, Charlie! Result or outcome, and that’s that!
But ignoring a problem only allows it to fester and worsen. And the problem with substituting Impact for Affect is that impact normally means to strike, collide, or pack firmly. So being the proud high school drop-out that I am, I have dealt with the Affect vs. Effect issue plaguing my writing via a little trick I learned years ago by happenstance.
R-A-V-E-N.
Or . . .
Remember-Affect-Verb-Effect-Noun.
Caw! Caw!
I have almost zero social media presence other than this blog of a website and my Facebook which I log on to about once every blue moon, but I often see other grammar quirks all over the interwebs and so figured why not point them out and make myself feel a little better about my own misgivings. Today’s digital age in which the youth of tomorrow’s adults text every 5 minutes of their waking lives exists as proof that well-spoken and spelled English is on the decline. Everywhere I look there’s a “To” instead of “Too” or “There” instead of “Their” or “Your” instead of “You’re” and it drives me crazy though I do understand. See if you can spot your own grammar quirks out from the list of the 15 most common grammar quirks below:


1. ITS vs. IT’S: Its is possessive, whereas It’s is a contraction for “it is.”

2. YOUR vs. YOU’RE: Your is possessive, whereas You’re is a contraction of “You are.”

3. TO vs. TOO: To describes a destination, recipient, or action, whereas Too is an alternative to “also” or “as well.”

4. ALOT vs. A LOT: Alot is not even a word, whereas A Lot means a numerous amount of something.

5. THERE vs. THEIR vs. THEY’RE: There is a place of location, whereas Their refers to something owned by a group, whereas They’re is a contraction of “They are.”

6. PEEK vs. PEAK vs. PIQUE: Peek is taking a quick look at something, whereas Peak is a sharp point, whereas Pique means to provoke or instigate.

7. COMPLIMENT vs. COMPLEMENT: Compliment means to say something nice, whereas Complement means added to, enhanced, improved, completed, or brought close to perfection.

8. DISCRETE vs. DISCREET: Discrete means individual, separate, or distinct . . . whereas Discreet means careful, cautious, or performing in privacy.

9. ELICIT vs. ILLICIT: Elicit means to draw out or coax, whereas Illicit means illegal or unlawful.

10. EVERY DAY vs. EVERYDAY: Every Day means each and every day, whereas Everyday means commonplace or normal.

11. EVOKE vs. INVOKE: Evoke is to call to mind, whereas Invoke means to call upon something like aid or help or perhaps a “higher power.”

12. THEN vs. THAN: Then refers in some way to time, whereas Than involves a comparison.

13. WHO’S vs. WHOSE: Who’s is a contraction of “Who Is” or “Who Has” whereas Whose is the possessive form of who.

14. ADVICE vs ADVISE: Advice is what you give when you verbally Advise someone.

. . . and the cranky ol' granddaddy grammar quirk of them all that really burns my britches every time I read it or hear it misused . . .

15. FARTHER vs FURTHER: Farther is measured distance, whereas Further is progress.


I obviously left off Affect vs. Effect from the above list, and you can too from yours if you remember the simple RAVEN trick. Though if that doesn’t do the “trick” for you, then by thinking in terms of “the effect” you can usually determine whether to use affect or effect since “the” will not work in front of a verb, as follows:

“Sometimes, the weather affects my mood.” vs. “The effect of hot weather on ice cream sales is well documented.”

Happy writing!

Saturday, February 9, 2019

Rules for the Road . . . or How to Establish Order in the Chaos of Your Writing

I’m not rich and I’m not famous, but every writer needs rules to establish at least some semblance of order out from the daily chaos of their writing and these are mine earned from over thirty years of wonderful toil and struggle.


Joe's 10 Rules of Writing:

1. Read all genres, not just your own.
2. Write every single day, no exceptions.
3. Show, don't tell.
4. Write first, edit last.
5. Omit needless words.
6. Cut all -ly adverbs.
7. Use “said” for most if not all dialogue tags.
8. Write at least 1,000 words per day.
9. No passive voice.
10. Live life . . . or you'll have nothing of meaning to express.


1. Just because you love and write sci-fi doesn't mean you should only read sci-fi. Broaden your reading horizons and you just might learn something valuable you can apply to your own writing. And here's why.

2. This explains itself. Writers write. It's what we do. Writing is our ruling passion. If you don't already write every single day then start now. The more you do something, the more proficient you become at doing it. And here's why.

3. Don't tell us Angie was hungry; show us by having her empty stomach rumble while she swoons on her feet near fainting because she hasn't eaten anything in two days. Is Mark tired? Then have him stretch through a long yawn while scratching his hairy belly. Is Heather angry? Then have her grumble a few curses through gritted teeth while glaring murder at everyone in thin-eyed scrutiny.

4. If you stop to edit every sentence you type soon as you type it then you'll never finish your story. You can always return to edit things later—after you’ve finished that pesky first draft. Here's some help on that. Don't interrupt your musing flow or it may slow to a trickle. And here's some more help with that pesky first draft.

5. Stephen King's golden rule. Don't describe a doorknob for several pages of flowery prose if it's just an ordinary doorknob only needing turned.

6. -ly adverbs aren't just annoying but are immediate red flags of bad writing. Joe ran fastly? No! Joe sprinted. Heather yelled loudly? No! Heather screamed. Remember, the -ly adverb and the word preceding it can usually be replaced by a single superior word.

7. Stop having your characters volunteering or admitting or groaning or for god's sake ejaculating their dialogue to each other. He said/she said, 'nuff said.

8. My average daily word count is 5,000. Sometimes more if I'm writing new scenes, sometimes less if I'm rewriting old ones. A daily word count goal keeps you on track and keeps you productive because novels don't write themselves. And here's why.

9. Stop telling us Billy was hit by the ball, because we all know the ball hit Billy.

10. It's easier to describe situations once we've experienced them ourselves. Period. Ask a mother of five how it feels to give birth then compare her story to her husband's secondhand account and you'll earn two different stories.

And remember . . . rules are made to be broken, yes, but you break them at your own discretion.
Happy writing!

My beautiful baby daughter Jenna Androsac is gonna be 17 this March 30th! She's so pretty and so smart, I'm so proud of her!