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Aidan Glissane
Vice Captain

PostPosted: Sun Feb 12, 2006 12:11 am


I'm no more qualified to be a professional writer than anyone else in this guild. This is something you all should know. What I can do, however, is offer my services as a Lit Crit major and grammar whore, as well as relate the lessons found in classes that I'm taking regarding writing itself. That's what this topic is for. Welcome to Aidan's Writing Thread. Trick, Cel, and everyone else, I'd love to get your input in here.
PostPosted: Sun Feb 12, 2006 12:53 am


Lesson One: Aesthetics.

I'm sure you've all heard what it takes to "be a writer." A firm grasp of your characters. A sense of what you can and can't do. The talent to create an interesting voice. Well, one of the most important things in your writing is going to be your grammar. Sadly, schools seem to focus less and less on grammar, and the result is tragic. Language is an ever-adapting thing, but truly knowing one will help you tremendously.

I'm sure you've all had an experience where you find a mispelled word in a novel, or a comic book, or whatever you're reading at the time. Seeing that, more often than not, will pull out of the story's world and back into your own. "Breaking the spell" is a term I hear for it rather often. So, you should all grasp how important it is to make sure that you don't have these.

And of course, nobody's perfect. There are typos. I've probably made one already, and just haven't noticed. But there are rules you can learn and tactics you can use to considerably cut down on your mistakes.

First off, read, read, read. The more you read, the more grammar you'll see. Much of my grammatical knowledge is based not upon classes in school, but upon the books that I've read. I come from a very "southern" family. Out of everyone in my family, I have the weakest accent, and often no accent at all. I spell, "neighbour," "colour," and "favour." This isn't because of schooling, this is because I've been reading books since I was four years old. It really will help you.

Take a basic linguistics class if you can. Learn the International Pronunciation Alphabet. Learn about how we learn language, how languages come about, how they can be taught. Learn descriptive rules, and ignore prescriptive ones.

Take classes on grammar, if at all possible. You won't find everything you need in books. Know the difference between who, whom, that, which. Know when it is acceptable to say "fish" and when it is acceptable to say "fishes." Learn your tenses. Learn your and you're. Learn there, their, and they're. To, two, too. Always be careful with your homophones.

Learn when punctuation is appropriate. Commas, semicolons, colons, periods, question marks, and exclamation points. Use exclamation points sparingly. When in doubt over a comma and a semicolon, use a comma.

Subject-verb agreement. I cannot stress how important this is. Do not fall for the common tricks found. Each person thinks. Each of them thinks. Each think. They each think. This team plays baseball. Those team members play left field.

Take a foreign language. Studying grammar in other languages will help you exponentially with your own. Be careful, however. Oftentimes, studying in a romance languages can aid your grammar, but harm your spelling. I took seven french classes in three years. Most of the French-English cognates I know, I know spell in the French manner. I can't tell you how many times I've spelled "prononciation" and other similar words. It's a terrible habit.

Document programs such as Microsoft Word come with both a spell check and a grammar check. Use these to your advantage, but do not rely on them. For example, a fellow in one of my classes used the phrase, "groves of people," but meant "droves of people." Because "groves" is a word, Spell Check didn't catch it.

Print your document off. It sounds crazy, but I promise, you will catch more mistakes reading something on paper than by reading it on a computer screen.

Have a "beta tester." This is someone who reads your work, trying to catch your mistakes. He or she will find mistakes that you missed, and will often offer insight into the story itself, not just the grammar.

Few people can honestly say that they have perfect grammar. I am not one of them. Likely, neither are you. Use this to your advantage. You don't need to point out the differences between a gerund phrase and a participal phrase, so long as you can conjugate them properly. Don't stress out over prepositional rules; while ending a sentence with a preposition is wrong, it is so common place that editors will often leave it be. Sometimes, it even sounds more awkward to be right than it does to be wrong. Who is that for? For whom is that?

So while proper grammar will do nothing but help you on your path to becoming a professional author, don't completely stress out over it. The average person has a basic grasp of grammar just from learning to speak a language as a child. You don't need to be able to diagram complex sentences to make your work appealing. Jes dun type liek dis n xpekt 2 b taken sirusly.

For more help involving grammar, check out Strunk and White's The Elements of Style. It is regarded as the definitive guide for English grammatical rules, and you should be able to find it easily in bookstores. I personally recommend either the illustrated edition or the cheap, five dollar pocket edition. You can take it with you anywhere to look something up on the spot, and the book itself is actually a really good read.

Also, here's a link to a list of common mispellings in the English language. Read it. Know it. It will do wonders.
http://en.wikipedia.org/wiki/List_of_common_mispellings_in_English

Next time: Lessons from Daniel Wallace, author of the novel Big Fish.

Aidan Glissane
Vice Captain


Aidan Glissane
Vice Captain

PostPosted: Wed May 31, 2006 5:31 pm


Lesson Two: Don't You Wish You Had Three Months Between Real Classes?

Sorry about the delay on this one. I procrastinate. A lot.

I also play World of Warcraft, which only aids the procrastination.

So, today's lesson is from the mind of Daniel Wallace, author of the novels Big Fish, The Watermelon King, Ray in Reverse, and the soon to be released Mr. Sebastian and the Negro Magician. While I am ashamed to say that I've never read a single one of his books, I can say that this is one of the most wonderful people I've ever encountered. He's smart, he's funny, and one of the most amazing teachers I've ever had.

In the spring semester of 2006 at the University of North Carolina at Chapel Hill, I signed up for Intermediate Fiction Writing with Daniel Wallace. This class was operated under the premise that we mostly already knew what to do. However, there was one lesson he taught us that's helped me more than any one single thing I've learned:

"Put a dog in your story."

Later, this name was changed to an engine. But I'll never forget the first day he talked about it, when that was the phrase he used.

So put a damned dog in your story.

This doesn't mean an actual dog. This means something interesting to focus on.

For instance, and this was the example used in class, stories about a man cheating on his wife have been told. And told. And told. We've heard them all before, and they've grown stale.

So, you put a dog in it. Don't deal with the inner thoughts of the adulterer/adulteree. Just tell the story.

Tell the story of a woman who's sending her dog to obedience school. The man, he doesn't really like the dog. But he meets and falls in love with the dog's trainer. He begins to volunteer to take the dog. He goes on walks with the dog and the trainer. As it gets more and more in depth, it all continually relates back to the dog. Because the dog is what you're talking about, even if it's not what you're talking about.

We read a short story (which I've regrettably misplaced) about a couple who goes on vacation and asks their neighbours to feed their cat. The neighbours do this, and become enraptured with the couples' lives. They try on their clothes. They drink their wine. They even make love in their bed. It's never explicitly said that they're infatuated with the couple. There's no internal monologue explaining what the story's about. But as a reader, you can easily figure it out.

The apartment, the room, the cat, the clothes...they're dogs. It's about them without being about them.

So don't feel you have to come up with some wonderfully intriguing concept for your story. You can tell what others have told before.

But make it interesting. Give it an engine, something to make it work.

Just put a damned dog in your story.

Next time: Life isn't all Georgia O'Keefe flowers, but it's not all cubist prostitutes either. Mixing beauty and gruesome together.
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So you want to Break into Comics? A Review, Tip Guild

 
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