Cook Your Novel Low and Slow

Happy Tuesday, good people of the blogosphere! If you remember my post from yesterday, where I gave you some tips and tricks on how to speed up the pace of your novel, you'll know what's coming today. If you missed that one, be sure and check it out here. We're talking about how to slow down the pace today. So, grab those pens and notebooks and let's get going!

Sometimes, a novel needs to slow down a bit to let the reader catch their breath. Unless you're Dean Koontz, or your idea is similar to Intensity, where the reader is on the edge of their seat the whole time. Ha! Readers need a break in the action or they get overwhelmed.

Here's how you can slow things up a bit:

• Have your character make a mistake. Success constantly moves a story forward, and it increases the pace. If you want to slow down a bit, introduce a misstep they have to reverse and correct before proceeding.

• Distract the character. This move can also distract the reader, so use with care. You can engage the reader's emotions rather than starting a mundane task though. Maybe John and Marsha are arguing, and the intensity of the scene is up there. She's getting ready to go on a date with him, so she stops yelling and turns to apply her makeup (which is difficult with the tears in her eyes). You get the point.

• Change the structure. Longer sentences take more time to read and digest. Be wordy, use description, and use words like flugelbinder (kidding - that's not a word). On a serious note, pay attention to the length of paragraphs or placement of soft sounding words.

• Insert inner-monologue or memories. These are an excellent device to halt the flow of the story by bringing the reader back in time or into the character's head. It stilts flow, and that's good when trying to slow things down.

• Insert action scene followup. Your character just committed his or her first murder. Give them a moment to reflect on what they've done and think about the consequences. Not all action scenes need this, but use it when you need to cook something to a tender state.

• Use more description. I'm terrible at this (just ask my editor), but it has it's place in a novel. Sometimes, talking about the scenery or what the little dog's fur color pattern looks like is just what a scene needs to add a little molasses.

I hope you found these tips helpful. Are there any I missed?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Excuse Me, is Your Caps Lock on?

Happy Thursday, everyone! Book review tomorrow! I know you're all excited as can be. Today, I'm bringing you a little information on when to use a capital letter. Seems like a no-brainer kind of thing, huh? Well, it's something many, many people confuse, so I'm gonna touch on it. Grab those pens and notebooks and let's get going!
 

DON'T YOU HATE IT WHEN FOLKS DO THIS?

Yeah, I do, too.

But caps lock isn't what we're talking about here. This is all concerning those horrible things called proper nouns.

What's the difference between:
Our sergeant told us we need to fall in.
and
Hey, Sergeant said we need to fall in.

?

Are you confused?

Because, in the first, you aren't using the term as a proper noun. Terms like doctor, sweetheart, sir, madam, etc... aren't proper nouns and shouldn't get a capital letter. These are terms of endearment, not names or titles (even with titles, there's a caveat, as you can see above).

When you're talking about a thing, a word that might be capitalized in a different use might get a capital letter. Examples:

I was going to make life hell for her.
I thought I was living in Hell.

Second one is the place, Hell. First one is referring to the state of living, not the place.

I dug at the earth with my hands.
I'm from Earth.

Same situation. Lowercase earth is referring to the dirt, uppercase to the planet.

Given names get caps.
States get caps.
Your Majesty gets caps.
Our King or our Queen gets caps, but not when saying something like: He's the king of all he sees. Only when you're referring to the actual monarch should you capitalize the title.

I hope this helps you avoid a little bit of confusion.

What have you put a capital letter on only to go back and smack your head over it later?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Further vs Farther and Apostrophes with Dates

Yup, it's still Thursday! Here's your second post for the day (because I'm playing a bit of catchup). It's short, sweet, and to the point. We're going over further and farther--two words that get confused more often than I like to admit. To my point: I have a post-it over my desk to remind me which one is which. *holds fingers in L to forehead* Another post-it I have up is about dates. So, grab those pens and notebooks and let's get going!

To put it simply:

Further is figurative distance, or something intangible that can't be measured by standard means.
Farther is physical distance, or something you can apply a tape measure to, resulting in a concrete number.

Examples:
She didn't want to speak further on the topic.
If he'd pried into my mother's illness any further, I would've smacked him.

I walked farther into the woods.
Because my arms are longer, I can reach farther than you.

I hope this little tip helps you keep them straight, too. My post-it looks like this:

I have others, but that's one I need to reference often.

On to dates!

When you're writing dates, remember not to use an apostrophe with the S.

It should look like this:
1990s
or
2940s
not
1990's

Examples:
I used my time-travel machine to go back and visit the 1800s for a week.
In my research, I found that time-travel might become possible by the 2900s.

Get it? No apostrophes with dates! *grin*

If you want a tip on lay and lie, go visit my cohort, Tia Silverthorne Bach. She's got a cute image to help you keep them straight.

Did these tips help at all? What do you confuse?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Your First 100 Words

Good Tuesday to you all! Today, we're gonna talk about the first 100 words of your novel, why they matter, and what you can do to help them out. No jabbering today on my part; grab those pens and notebooks and let's get going!

I know you've heard it a million (billion?) times: Your first 100 words are everything.

No, they aren't, but they're a crucial part of the whole.

Think about it. When a reader picks up your book on the shelf, the first thing they read is the back, right? Before they pick up a sample digitally, your synopsis is what they read. Once they're past that hurdle, they'll flip the book over, open the front flap, and read a couple of paragraphs. Or, in the case of a digital book, they'll download the sample, open it, and read the first couple of paragraphs.

If they enjoy it, they'll buy. Look at caviar. People like it, they pay a LOT for it.

So, your first 100 words are important, yes, because they're what will get you the sale.

I guess you could say they're one third of your most important elements. Yeah, the other two are your synopsis and last 1k words (I'll go into the last 1k sometime soon).

So how do you beef up those first few paragraphs to make them something readers are dying to get more of?

Move the reader. Give them a wow moment.

Engage the five senses, and use powerful words.

Let's try a little exercise. In this, I'll try to set the tone, hint at the genre, give a great example of my writing style, set the POV, and give a bit of a setting.

My eyes opened to find total darkness.
All my limbs began to tingle, and my breath came in ragged gasps. There was no light for my pupils to adjust to.
Not one tiny speck of illumination.
Those nightmares I had when I was younger were in my face; all too suddenly a grim reality.
I tried to sit up, to get away from the oppressive inkiness, but my head hit something that felt like wood.
Automatically, my hand moved to touch the spot, and I scraped my knuckles across the timber, making them itch with a thousand splinters.

~98 words~

Okay, now we'll have to edit this to read a little more powerfully. Ready?

My eyelids lifted, and darkness assaulted me. Oppressive, thick, suffocating. Even after a moment of lying still, not one speck of illumination could be harvested to penetrate my pupils and assist my sight.
Nightmares I'd had slammed into me full force, and I tried to rise. Something wooden smacked my head, forcing me to remain supine. My hand moved to comfort my battered forehead, only to end up itching with a thousand splinters as my knuckles scraped the timber.
I shook, wondering what I'd done to deserve my mother's punishment again, aware of the tears that were ruining my mascara.

~100 words~

Notice I got more description and feeling into the second pass. If I went over it again, it would probably remain pretty close to what I have here.

Things you know or can safely assume:

• This is a young person in a dark place (some kind of box?), with at least a piece of wood that's so close she can't sit up.
• She's lying on her back.
• This isn't the first time she's been there.
• She's afraid of creatures from nightmares or total darkness.
• First person, past tense.
• There is zero light to be had, which conveys the person is buried somehow, and it leaves the reader wondering.
• This is a punishment for misbehavior - But what?
• She's old enough to wear makeup.
• She's crying
• Probably a contemporary thriller or horror story.

From the first attempt to the second, I condensed passages, used better (stronger) words, and gave you more lead-in.

Read them again and see if you can pick up on the things I changed while conveying the same tale.

Flow wasn't sacrificed, and the sentences are more varied in the second part.

Would you want to read more?

That's the idea. You must convey to the reader many things, but it has to sound natural and leave them wanting to turn the page for more.

So, your first 100 words aren't everything, but they're crucial.

Try this exercise on your own, then go here and copy/paste your text to see if your word count hits the mark.

Post your results below! I'd love to see what you come up with.

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

What's in a Genre?

Happy Thursday, everyone! I bet you're all sighing with relief that the weekend is right around the corner. I know I am. Today, I'm gonna talk with you all about genres. Ever wondered where your book fits in? Grab your pens and notebooks and let's get going.

Why does genre matter?

First off, there are many readers who know exactly what they like and don't like. If they're in love with young adult books, for example, they'll want around 50-100k words, language they don't have to look up, no curse words or sexual situations, and a certain amount of teen angst. If they prefer epic fantasy, they'll be looking for 200-300k words (probably a trilogy of such beasts), massive world building, and a more complex makeup of plot and language.

It matters that you understand the genre you write in. Fans like to know what kind of story they'll get beforehand.

So, if you're swimming in uncharted waters, do some research to find out what readers will expect from the genre label.

Moving on!

I'm not going over every genre out there, just the most popular ones.

• Children's - Books for kids age 7-12. Should be easier to read and not as long.
• Young Adult - This has everything to do with the main character's age. They should be 13-17. Typically deals with coming-of-age type stuff.
• New Adult - Again, it's about age. Usually 17-23ish. Deals with those college years or the first time a character sets out on their own. Can contain more sexually explicit material than young adult.
• Chick-Lit - Books for women. Most commonly contemporary, but has elements of love and sex like a romance. Women empowering.
• Mystery - Deals with solving something.
• Horror - Scares you so badly you have nightmares or soil yourself as the antagonist terrorizes those around them.
• Thriller - Keeps you turning pages because you don't know what will happen next. Deals with possible world issues (biological, political, etc...).
• Fantasy - All about other worlds. Fantastical creatures and magical powers abound.
• Historical - History that can fall into the realm of fiction or non-fiction. Never set in the present unless involving time travel.
• Romance - Usually from the woman's point of view. Centers on two people that eventually fall in love and end up together.
• Erotica - X rated fiction. Very explicit scenes.
• Western - This one is all about setting. Usually the old West (American).
• Legal Thriller - Suspenseful story centering around a trial of some sort.
• Dystopian - These novels deal with the creation of a different society.
• Hen-Lit - Novels for older women. Contemporary, but very little sex (although there may be romance).
• Contemporary - Set in this day and age.
• Science Fiction - Usually futuristic, always deals with some kind of technology. Can include other planets and all that encompasses.
• Literary - Centers on theme rather than plot. People walk away with a changed mindset.
• Urban - Setting is a city, but focus is more about the underground (hidden) section. Usually has a lot of profanity, violence, and sexual situations.
• Time Travel - As the name implies, commonly deals with messing with the natural order of things via time travel.
• Paranormal - Werewolves, vampires, and other creatures that go bump in the night. Or with special abilities of the characters (think X-Men).

Now, these genres almost always cross in some way. You can have a young adult science fiction mystery, dystopian romance, or children's western. Fractured Glass, the anthology I'm working on with four other amazing writers, is young adult sci-fi paranormal horror fantasy magic romance. Yeah, try that on for size. *grin* Basically, you can throw your hat into more than one pile because of the story elements. Just do your research and get on it.

What are you working on? What genres does it fall into?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Office 365 - Good, Bad, and Awesome

Happy Monday, good people of the blogosphere! Do you remember that post I did a while back on MS Word vs Scrivener? Well, I may have mentioned something about Office 365 playing a huge part in the decision on whether I'd take the leap and learn Scrivener or just stick to MS Word. So, I invested in the Office 365 suite, downloaded the app, and the results are in. If you've been on the fence, this might be the tipping point. Of course, my experience with the program may not mimic yours, so remember to take everything you read (no matter the source) with a grain of salt. Grab your comfy chair, a cup of Jo, and let's get going!

When I saw the editing and portability power of Word in the 365 suite, I knew it would be the game changer for me. I can't begin to tell you how amazing it is to be able to write on my computer, pick up my iPad and go outside to sit with my daughter while she swims and write some more, and then come back in and have the words I wrote magically appear on the screen in my manuscript. Can you say freedom? No longer am I tethered to my desk.

But writing in two different places and having it all sync up is something Evernote could do, right?

Yes.

However...

I'm also an editor (and if you're a writer, you kind of are, too). No other program holds the MS I'm editing, allows me to make inline changes and comments, and keeps it all in a format most people have the program to open (.docx). Best of all, it can also be saved out as a .doc.

Now for the one downside so far:
On my iPad, it's difficult to highlight a specific place in the text because I don't have a mouse. It requires a few more motions to get to where I need to be because of the press/hold/select function. I kinda wish it was adaptable to highlight whatever I hold my finger on without me having to go into select/select all.

But, I can also see how that might be an annoyance. Hello? I just clicked to put the cursor there, not select the word! Right? So, six of one, half a dozen of the other.

Also, I'm not losing as much editing time when I have to hold my finger as I would be if I needed to be chained to my desk to work.

Make sense?

So, the pros outweigh the cons for me. But, allow further elaboration. Here are some screenshots of my WIP in Word 2013 on my iPad (click to enlarge):

Here we have the HOME screen.

You can see, it looks a lot like the traditional Word. No huge learning curve, and nothing to be alarmed about. You won't be able to format your page like you can in Word, but if you take a moment and set it up beforehand, it functions just fine. Or, you can always open on your laptop or desktop and select all and format. It'll save the changes over automatically.


When we click on the INSERT tab at the top, we get this:

It lets you add pictures, shapes, a text box, and all sorts of goodies.

Next up, is LAYOUT:

Just like in the older version of Word, you can change the margins, headers and footers, and numbers.

Then, we have my favorite, REVIEW:

Ahhhh, the power of the editor is here. This screen. You can turn on Track Changes, leave inline corrections, comments in balloons, and do so much more. See that tiny icon in the top right? You can add editors to the document if they have the program. Their edits show up in different colors when you look at the document again. How cool is that?

Last, is VIEW:

This is where you can choose what Word shows you as you write or edit. You know we all love word count! *grin*

Another awesome thing is how this program (on your desktop or mobile device) will take you to the place you left off when you return. It happens automatically on the iPad version, and you just click a ribbon that resembles a bookmark on the desktop version. My app crashed on me one time so far (knock on wood) while I was editing. But the changes were automatically saved as soon as they were made, so I lost nothing. Yeah, awesome.

By the way, the desktop version functions like MS Word 2007. Not a bunch of new stuff to learn before you use it.

Everything is stored in the cloud, and you're giving a ridiculous amount of storage space with the home version (I have 1TB). I mean, will I really ever use a terabyte of storage? I think not.

It is a per-year cost, so consider yourself warned. But every single one of you are writers or editors and will be using it for work, right? Ask your tax rep if you can write it off. My version is Office 365 Personal and will be $70 a year. It includes one desktop and one iPad license.

Anyway, now you have more information and a personal account of this new software. As always, I get no kickbacks from anyone, and there are no affiliate links on this blog. I just tell it like I see it and let you make your own decisions. You can get more information here or do a Google search for Office 365 and go from there.

What do you think? Have you considered changing? Any questions about the software for me?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Clauses, Introductory Phrases, and Commas

Happy Monday, good people of the blogosphere! Well, here we are! This is the start of a whole new week. Are you excited yet? I have some awesome things coming for you on the blog this week I just know you're gonna love. Tomorrow, another writing post like the one today. Wednesday, a book review for Reap by Casey L. Bond (you HAVE to check that one out). And Thursday, a post about N. L. Greene's new release Magic Unfolds (there may be a surprise review in that one, too, if I can get done reading it by then). Friday, I'll be bringing you some information about a book I have in the works. Sounds like a lot of fun coming your way, eh? Well, grab your pens and notebooks and let's get into clauses, introductory phrases, and commas!

Let's begin with the clause:
A clause is like a sentence within a sentence. It's something you can remove from the words around it and those words retain their meaning. A clause must be set off with a set (that's two) of commas. Example:

I went to the store, because we needed eggs and milk, and found myself wandering the aisles instead of shopping for what I went after.

Clause: because we needed eggs and milk
Sentence: I went to the store and found myself wandering the aisles instead of shopping for what I went after.

Now, we know it's a clause because we can remove it and the other words still make sense. Be sure you're checking this when you edit. If something can't be removed, you need to figure out if it's an introductory phrase rather than a clause. Comma appropriately.

Introductory Phrases are those that can be moved to the end of the sentence and still have it make sense. These are offset with a single comma, and they can come in handy when beginning too many sentences with the same word (like he, she, or I). Note: That last sentence I wrote didn't have an introductory phrase, it had two whole thoughts joined by a comma and the word and. Completely different things. Example:

To get a better view of the elephants, she walked up to the fence and stuck her face through the bars.

Introductory Phrase: To get a better view of the elephants.
Sentence: She walked up to the fence and stuck her face through the bars.

Why is it an introductory phrase and not two complete thoughts? Because one doesn't make sense without the other. How can you check? Split them up and rearrange them. Example:

She walked up to the fence and stuck her face through the bars to get a better view of the elephants.

Without the second part, we don't know why she walked up to the fence and stuck her face through the bars. These two segments also can't be separated because the introductory phrase isn't a complete sentence in and of itself; it needs the second half to make sense.

You cannot join two independent thoughts with a comma while leaving out the word and. That calls for a semicolon or a period and separation. Example:

I love to look at the elephants roaming around their enclosure, they're my favorite animals.

No, no, no. This must be written:

I love to look at the elephants roaming around their enclosure. They're my favorite animals.
OR
I love to look at the elephants roaming around their enclosure; they're my favorite animals.


Why? Because they're my favorite animals isn't a dependent clause; it's a whole thought/sentence.

Again, check it to be sure it can't be moved to the front and make sense like this:

They're my favorite animals I love to look at the elephants roaming around their enclosure.

You wouldn't stick a comma between those to join them this way. Right? Right. So, you can't do it the other way.

It's an easy thing to check if you're aware of how to check it.

If you want to know more about when to/not to use a comma, check out this post.

How about you? Were you aware of this little trick?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Pronouns - Round Two

Happy Thursday, everyone! I know you're all excited about the approaching weekend, but stay with me today. I'm going over one of the most common errors in writing (again). Why am I bothering to write about it now if I already wrote a post about it last year? Well, because that one got a little buried in the sand (archives) and it's something every author needs to be aware of. Misuse of pronouns is the thing I find most often when editing or reading; and, I'm sorry to admit, the one error I make consistently when writing. Ready? Grab those pens and notebooks and let's get going!

First off: What's a pronoun?

A pronoun is a word that's used to replace a noun. He, his, him, she, her, hers, it, its (no apostrophe), their, they, they're, and theirs are the ones to watch out for.

When should you become hyper-aware of pronouns?

Anytime you're following up naming a person or thing by using a pronoun.

Examples of misplaced pronouns:
Larry looked into his dad's eyes. He noted the sadness there, and wondered if his mind was on the task they were doing. His hands dug into the soft dirt like they had for the last thirty years. Would he ever get used to seeing him this way? Grabbing a handkerchief from the toolbox, Larry used it to wipe his face.

Quickly! How many misplaced pronouns were in that paragraph?

I'll give you a moment to look it over.

Done yet?

Answer: Four out of ten are incorrect.

To find the ones that are wrong, we replace each pronoun with the last person or thing named. I'm going to number the pronouns so we can discuss after, keep the ones that refer to Larry's dad as "Dad," and break it down once I'm done. Errors are bold.

Larry looked into (1.his)Larry's dad's eyes. (2.He)Dad noted the sadness there, and wondered if (3.his)Dad's mind was on the task (4.they)Dad's eyes were doing. (5.His) Dad's hands dug into the soft dirt like (6.they) Dad's hands had for the last thirty years. Would (7.he) Dad ever get used to seeing (8.him) Dad this way? Grabbing a handkerchief from the toolbox, Larry used (9.it)the toolbox to wipe (10.his)Larry's face.

1. His - Right. Because we're talking about Larry's dad. Larry was the last person named.
2. He - Wrong. It's Larry who noted the sadness in his dad's eyes.
3. His - Right. We are referring to Dad, even though Larry should've been the last person named.
4. They - Wrong. Eyes can't dig in the dirt and they were the last plural noun.
5. His - Right. We are talking about Dad's hands.
6. They - Right. Dad's hands had dug in the dirt for the last thirty years.
7. He - Wrong. We should be referring to Larry, not Dad.
8. Him - Right. We do mean Dad.
9. It - Wrong. This should be the handkerchief, not the toolbox. I can't imagine wiping my face with a toolbox.
10. His - Right. We do mean Larry's face.

Ugh! Right?

So, how do we fix it? There are many ways. Here's one:
Larry looked into his dad's eyes, noting the sadness there, and wondered if his mind was on the task at hand. His fingers dug into the soft dirt like they had for the last thirty years. Larry wasn't sure he'd ever get used to seeing the strain staring back at him from those eyes. Grabbing a handkerchief, he used it to wipe his face.

If you have to include the toolbox, do so before the word handkerchief: Reaching into the toolbox, he grabbed a handkerchief and used it to wipe his face.

It's all about wording and construction. I know you probably think pronouns are the least of your worries, but a little bit of attention paid to this tiny thing will help your book tremendously in the long run.

These are rules that can't readily be broken without seriously confusing the crap out of your reader. Now that you know what to look for, scroll back up and read the first paragraph again without the breakdown.

Heck, I know I miss a couple when editing my own work or the work of other people; that's to be expected. I find errors like that in traditionally published books, too (though few and far between). But four in one paragraph?

How about you? Have you become pronoun proficient? Or did this post teach you something new?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

What Kind of Editor do You Need?

Happy Thursday, good people of the blogosphere! I missed my post yesterday! But, it's all good because I'm caught up with work and back to one hundred percent. Kids are back in school, there's no snow days causing my internet to malfunction (you wouldn't believe how slow it is when the whole neighborhood is home and online!), and I'm back in my office after being run out by the cold. So nice! Anyway, today we're gonna talk about the different kinds of editors and how to decide which one is right for you. So, grab your pens and notebooks and let's get going!

You've written a novel! Yay! Good for you. Now you have this manuscript you don't know what to do with. Well, first things first. You need to do at least four rounds of edits on it yourself. Start by following the steps listed here and the tips on what to look for here. Once you're done with that, then you'll be ready to start looking for an editor. But there are so many to choose from. Hopefully, this list will help you choose the right kind for your novel. Heck, you may think you need more than one. Allow me to open your eyes to a fabulous secret! But, that's on down the page. Keep reading!

First up, we have the Developmental Editor.
These guys will check your plot, structure, and flow. They'll make sure you don't have holes in your story and ensure your facts are kept straight. Yeah, they're the ones doing all the research and making copious notes on long, yellow legal pads. They're the right choice if you aren't sure about your novel's storyline, character building, or facts.

Next, I give you the Beta Reader.
These folks are fans of your genre and know what they're looking for in a story. Giving them a questionnaire to answer will help them give you much needed feedback. Commonly, a beta reader is used before you go through a ton of editing, but huge errors will have them complaining that you need to write your story better.

On to the Copy Editor.
These folks check facts, grammar, punctuation, and spelling. They do exactly what their title implies: edit the copy. They won't be looking for what the Developmental Editor looks for. There will be no plot, storyline, or character development checking. They live and breathe the written line.

Now, the Proofreader.
Your proofreader is NOT your editor. They exist to find those little, niggling errors missed by your editor (and yourself). Their whole purpose in life is to make sure your copy is clean and error free after the editing is done. It shouldn't take them as long as it did your editor because they should be able to skim your work to find what was missed.

Next up is the Content Editor.
They live and breathe plot, characters, voice, and setting. These folks don't give a hoot about your grammar, punctuation, spelling, or otherwise. All they care about is the story and making sure you aren't jumping tenses, head-hopping, or meandering off the storyline.

Bet you're freaking out right about now, huh? I suppose you can see how you could need more than one of these folks for your novel and how it would behoove you to have them all in your corner. Well, that leads me to the last (but certainly not least) type of editor on the list. This is the fabulous secret I mentioned earlier. Your secret weapon.

I give you the Line Editor.
These folks do it all. They check facts, grammar, punctuation, POV, plot, characterization, flow, tension, storyline, word count, redundancy, tenses, and every other manner of novel content. It should take them a long time to edit your novel. They don't play around and a lot of writers become dismayed by the amount of feedback given by a Line Editor.

Line Editors will cost you a little bit more. But, that's understandable, right? They're a one-stop shop. This is the service we provide at INDIE Books Gone Wild. We check it all. Your MS will have so many comments, you'll think you died and went to heaven. Plus, we hire one of our own to do your proofread after your edits are complete (yeah, it's included in the cost of editing). That's just good business.

Which one do you need? I'm sure by now you're foaming at the mouth. You already know. Indie authors should expect to use a Line Editor and then a Proofreader. ***Warning! If your proofreader gets your MS and it's obvious it hasn't been edited, they'll send it back to you (and will have every right to do so). So be sure you've used an Editor before you contact a Proofreader.***

Most importantly, be sure you know about your editor; no matter what kind you use. Vet them. Do the work to find out if they're worth it. Don't get snowed. Refer to Monday's post and Tuesday's post to know what to ask, what to expect, and what to look for in your contract. This is SO important. I won't take it personally if you don't use IBGW. I just want you to be careful and know what you're getting into.

I can't stress it enough. Watch your back because you're all you have. There's no big publishing house that's gonna do it for you unless you're traditionally published.

Questions? Comments? Pop them in below and I'll answer everything I can. If you have an editor you'd like vetted, feel free to shoot me an e-mail and I'll do everything in my power to check them out for you. Let's not use the comments section for that, okay?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Contract Considerations

Happy Tuesday, good people of the blogosphere! Well, the kids are back in school and not a moment too soon. While I enjoy having the little nose-miners at home, it's not productive to have them pulling at my skirts while I'm trying to work. I've been busier than a one-armed paper-hanger! Anywho, today we're gonna talk about contracts! I know you're all super excited about that. I'll tell you what to expect, what to avoid, and what you should be looking for. Grab those pens and notebooks and let's get going!


Yesterday, I talked about finding a good editor and what you should be looking for when you vet them. If you missed that post, take a look at it here. Tomorrow, we'll talk a little about the different kinds of editors. But, for today, let's discuss the contract. This applies to proofreading, editing, and any other service you have done by an outside source (book design, cover design, etc...).

What you should expect:

• A contract outlining exactly what your editor will do for you.
• Dates things are due back to you.
• The ability to read over the contract before you're expected to sign it.
• Clauses that prevent you from defaming your editor (and your editor from defaming you).
• A very straightforward clause that releases your editor from any claim to your work.
• Something that says your editor is allowed to refuse your work at any time.
• An out clause for you that states the contract is allowed to be terminated if you choose to do so and at what point it becomes null and void.
• An informational page that details the book to be worked on.
• Something stating when payments are due and when the contract is settled.
• A clause that states you're required to display the editor's name on the copyright page (this is pretty standard).

What you should avoid:

• Anything stating the editor has claim to any part of your manuscript once work is completed.
• An editor who doesn't use a contract (this is HUGE).
• A feeling of unease. If your editor seems shady, listen to your gut.
• Anyone who doesn't answer you in a timely manner.
• Someone who changes the price on you EVER. Once you get the job quote, that's what should be on the contract.
• An editor who's known to slander other authors.
• Someone who doesn't give you a final, signed copy of your contract.

What you should be looking for:

• Someone who has lots of references and is well spoken of.
• An editor who has a backlog of books they've worked on you can check out/read.
• A person you feel you can trust once you've talked with them.
• Someone with a good knowledge of the English language (yeah, go read their blog).
• A copy of the contract as soon as your inquiry is responded to so you have time to look it over.
• Everything should be spelled out in black and white on your contract. It should include:

1. Prices (fees section)
2. Dates things are due (goes in the services section)
3. Termination details
4. A detailed list of what you're going to get for your money (services section)
5. Slander clauses that go both ways
6. A release of claim by the editor to any part of the work's copyright (ownership of work)
7. Your editor's full name and address
8. Details about the book (title, genre, word count, author, format)
9. A spelling out of all prices (watch out for editing contracts that only contain numbers - these can be changed)
10. Something that releases the editor of guarantees (sales, etc...)
11. A clause detailing how the editor won't talk about your work to any third party
12. Non-transfer clause (this is so the editor can't send the work to anyone else to be completed)
13. Something detailing how additional changes will be handled (outside what's agreed upon in this contract)

If you read your contract and it's full of legalese, be sure your editor/proofreader/designer answers all your questions in full before you sign. Don't go into anything not understanding exactly what it is you're getting (or signing).

If you find an editor who doesn't use a contract, run away. Please.

I hope this helps you all in some way.

If you have contract questions, pop them into the comments or shoot me an e-mail. I'll be happy to answer anything.

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Editors - Good vs Evil

Happy Monday, good people of the blogosphere! I realize you were all probably looking forward to meeting Ms. Allison Pensy today, but I made a last minute decision to push everyone back to the dates they were originally given for their interviews. Ms. Pensy will be here in 2 weeks. I'm super duper busy this week and want to give Allison's interview the attention all my other guests' have gotten. So, today I'm going to talk about editors instead. Grab your pens and notebooks and let's get going!

Over at IBGW, we do a lot for our authors. Not only do we take a book and help it be all that it can be; we also throw a team of editors at it while we're working it and into the promotional stuff once the book goes live. Our authors become like our family members. When the books we work on go live, we watch them like hawks. One thing can be said about every IBGW book: There are no technical flaws in the writing (unless the author rejects some of the changes that are suggested). While people may not love the story between the covers, they can't complain about the grammar.

Our mission: To have the IBGW mark/name represent quality. We want to make it known that if you pick up a book, flip to the copyright page, and see our name there, you can buy the book with confidence.

When you're looking for an editor for your novel, be sure you're in sync with your editor and that they have a proven track record of turning out quality work. How can you be sure? Here are a few tips:

• Be sure you know which style guide your editor uses and you agree with the rules between the pages (your edit will turn into a headache if you don't). Also, be sure your editor has a style guide they reference and has it listed on their about me page. Anyone who doesn't follow a style guide is going to have trouble giving your book the proper consistency.
• Ask your editor what books they've edited in the past. Check those books out on Amazon and Goodreads. See what reviewers are saying.
• Make sure your editor isn't the proofreader on your work. Once you've been through two rounds of edits (or three) your editor is as close to the work as you are and begins to miss things.
• Is your editor an author? Read their work. Read the reviews on their work. Yeah, it matters.
• Perhaps most importantly, be sure your editor has a contract and they let you read over it and ask questions before you're expected to sign.

I give you these tips because I'm a reader and Indie author as well as an editor. I can't even begin to say how angry I get when I know a fellow author paid someone a lot of money to have an edit done, and I still find a book full of errors. No, no, no! One or two are common (even in traditionally published books). Those I can ignore.

A good editor will be available to answer your questions about the changes after the work is done. They'll be able to explain any changes made to your novel and why those were done.

Please, for the love of all that's good, vet your editor like you would your child's date. Don't hand over your money willy-nilly.

A good editor won't be cheap. Understand that and be okay with it. Remember the old adage: You get what you pay for. It's as true today as it was when it was coined.

Oh, and don't hire more than one editor to work on your book at once. It shows a lack of confidence in your choice. While you may think it's a good idea, if the person finds out, they may refuse to work with you in the future. Too many chefs in the kitchen makes for an unstable soup.

I hope this post saves someone from a headache.

Tomorrow, we're gonna talk about contracts and what you should be looking for.

Questions? Comment? Epitaphs? Post them below!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

PoSSeSSive S

Happy Hump-day, everyone! Snow in Georgia again and all the kiddies are out of school. I have to say, I'm more than ready for spring so I can get back to a normal schedule. This weather and being sick last month has really thrown me off. Anyway, enough about all that. Let's move on to today's post about the possessive S. Grab your pens and notebooks and let's get going!

If you aren't familiar with INDIE Books Gone Wild, allow me to share a bit of information with you. Every now and then, one of us posts on that blog about grammar, punctuation, or other little tidbits we find frequent errors revolving around. Before we get to the good stuff here, pop on over there and check out Tia's post on the Apostrophe. Yeah, it matters. Go read that sucker.

Now, I'm a Chicago Manual of Style lady. I have a copy of the 15th edition, and I follow it to the letter when doing an edit. Of course, this causes some of my clients to have small hernias when they don't agree with my edits or they have a style guide that's different from mine (which is totally fine, they should go with what feels right to them). I try to be very clear on our About Us page over on IBGW and state that I use the book I own as a reference. So, today's discussion will be the rules from that style guide.

When you show possession of a singular noun (not the demonic kind), the rule says you add an apostrophe and an S to the end of the word (section 7.17). Examples:

• Dora's shoes.
• Kitten's playground.
• Lola's necklace.

But what if those words end in S?

Well, here's where we get into a bit of a pickle. When choosing names, one usually avoids the ones ending in S so they don't have this conundrum. If you happen to select one that ends in S, how do you handle it? This is where the general guides don't agree.

If you're showing possession of a collective, like a family or group whose names or title of the collective end in S, the solution is easy, you add an apostrophe to the end. Examples:

• The Huss' house (this is the Huss family).
• The Picketts' son (this is the Picketts family).
• Those kittens' meows (more than one kitten).
• These dogs' leashes (more than one dog).

However, if you have a character who's named Cleatus, how do you show possession?

In section 7.18, page 282 of The Chicago Manual of Style 15th Edition, it states: The general rule covers most proper names, including names ending in s, x, or z, in both their singular and plural forms, as well as letters and numbers. This means writing the name and adding an apostrophe with another S at the end. Examples:

• I saw Cleatus's sneakers over there.
• We went to the mall to get Kriss's new purse.
• I can listen for hours to Venheis's violin.

Now, this is the way it's written out in the guideline. I think, when reading, it keeps me from thinking there's more than one Cleatus who owns sneakers I saw over there, and makes the possessive name read more easily.

All this is great! But...

Yeah, you knew there was a but. *grin*

In section 7.23, there's a suggestion for an alternative usage by simply adding the apostrophe to the end of the name. While easier to remember and apply, I think it reads with a clunky timbre. But, try it both ways and see what works for you. This goes back to Tia's post I mentioned above, where she talks about Strunk and White.

Before we wrap this post on possessive S up, I'd like to remind you of another rule of possession you may not be familiar with. Section 7.24 talks about more than one noun. When mutually exclusive, both nouns get an apostrophe S. If both are owning the same item, only the second named gets the punctuation. Examples:

• My daughter-in-law and son's house.
• Our niece and nephew's car.
• or
• My ex daughter-in-law's and son's houses.
• Our niece's and nephew's cars.

Seems a lot of stress rests on the S.

How can you avoid this when writing fiction? Easy: Choose names that don't end in S when you're making your list.

I hope you all enjoyed our little lesson for today. If you have questions, comments, or otherwise, feel free to pop them into the comments section.

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Get Tense

Happy Hump-Day, good people of the blogosphere! I hope you all had a lovely first day back at work yesterday. I know I did. Chapter five of Coralie rolled off my fingers; and I plan chapter six today. You all know what that means, right? All five of the introductory Mystic books should be out by the end of October! I plan to release them in an anthology for Thanksgiving (but you never know with NaNoWriMo right around the corner). Then, my NaNo novel, Markaza, the final installation of the series, should hit the shelves by April (or May), 2014. It's almost time to do battle with that baddie in Central Park! But, today, we're talking about tenses. Since we already went over POV, this is the next most important thing you need to consider before you begin writing your novel. Grab those pens and notebooks and let's get going!

There are three basic tenses. They are:

Let's begin with the first: Past Tense
Past tense is something that happened before the commencement of the telling. Most fiction is set in past tense. Why? Because you're usually telling the story of a journey that occurred; not something that will happen or that you expect to take place. This probably stems from the ancient bards, who told tales as though they were the history of a people. It was entertaining to do so because folks believed what the narrator was saying could be true.

***Something to watch out for: Jumping into present tense now and then outside dialogue. Sometimes, dialogue will throw you off because it's in present tense, even though he/she said comes before it. I find the most tense errors after passages of dialogue.

Second on the list: Present Tense
Present tense is in the here and now. This one is difficult to pull off because we're so used to reading and telling in past tense, we tend to get confused as we write and jump back and forth without realizing it. It takes a highly skilled editor to tend to a novel in present tense. If you decide to write in present tense, it's usually a good idea not to use an imperative mood (where the narrator is speaking to the reader). It can be done though.

***I know of a serial story that's all about the narrator telling the reader what they're doing in the moment. It goes into what they see, hear, taste, smell, and feel. Unusual, but done in serial form for a reason: It's hard to read. Most instructional books are in present tense and all cookbooks are done in the imperative. Reading someone's inner-monologue is also a reason to use imperative. But that can only hold a reader for so long.

Third, we have: Future Tense
Future tense is telling the reader what will happen in the story (or, in the reader's life). You kind of get the idea of a fortune teller type scenario. Probably best left to short stories where you want to engage the reader for a few minutes of their time and possibly make them think about what could happen and/or their own humanity.

***Note: This is different than someone having a vision of the future in a novel. Those visions are still set in past tense if that's where the story is.

I hope this helps you understand the difference between the tenses and gives you some ideas about how you might do things a little differently than the Joe next door. Just remember, you're writing so people can read what you've written. KISS 'em!

What stories have you read that were unusually told? What did you like/not like about them?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Choosing a Viewpoint

Happy Tuesday, good people of the blogosphere! Everyone back to work, kids back to school, and writing time abounds. I wish your muse upon you today. May your words be plentiful and your key strokes be numerous. Today, I'm talking about one of the most important aspects of writing: viewpoint. I haven't really touched on this subject before, but I think it bears talking about. Grab those pens and notebooks and let's get going!

First and foremost, you must grasp the difference between the different viewpoints. Here's a little image to refresh your memories of English class:

First person gives you the ability to see inside the character's head, convey their thoughts directly, and see the world through their eyes.
Second person puts you in the character's shoes, tells you what you should be feeling and thinking, and shows you the world from your vantage point.
Third person is from an outsider's point of view, and they can be either omniscient or limited in what they see.

Most stories are set in first or third person, though I have read fiction written in second that was very well done.

Example of first person (excerpt from Yassa):
     My father and I were already outside, preparing our horses for travel, when the sun decided to lift her sleepy head over the horizon to reveal a clear sky and a day that would be perfect for our journey over the grassy steppes. It was a cool spring morning and the light reflecting off the mountain near our home, Burkhan Khaldun, made pretty patterns of light on the ground near my feet. In the dim light, my nervousness seemed amplified and even the soft sound of mice scurrying across the ground to store the grain they were stealing set my nerves on edge. My mind kept wandering off repeatedly as I asked myself a million questions about the girl I was to marry. Was she pretty? Was she a hard worker? Was she stout and able to bear many sons? What if I’m not attracted to her?
     I squelched those thoughts when my father stared at me with his stern face. He looked different that day, angry and a bit sad, almost as though he could read my mind and feel what I was thinking. It was very unsettling for my tender, young conscience and only amplified the problem of my twanging nerves.
***

As you can see, it's written from Temujin's POV. What's good about this option is that you know everything there is to know about the main character. You're put in their shoes directly and can be pulled into what they feel as they plod through life or their journey. What's limiting is that you can never see into any other character's head; only have conjecture via actions/expressions.

Example of third person limited (excerpt from The Bird):
     As the sun began its journey into the sky, Stormy watched it with intensity. Somehow it seemed brighter, like it knew that day would be different. She sighed and lifted her coffee to her lips, blowing the steam away. A tentative sip later, she relaxed into the chair as the warm liquid made its way down her throat and made her feel at home.
     Her thoughts turned to the reason she was there and a great wave of sadness passed over her. Mom only had about two months of life left, and Stormy wasn’t sure she’d be able to stand it when the family matriarch died. They’d been through so much together and butted heads so many times it was ridiculous. But the love was there, and that’s what mattered. Stormy’s eyes misted up as the memories of chilly Christmas mornings and pushes on the old tire swing played through her head.
     A bright red cardinal, with a very black mask, perched in a bush nearby and cocked his head to the side as if to say, “Hello. What are you doing sitting on my porch?”
     She laughed softly and spoke to it. “Hi, yourself. Your porch, eh? I bet you’re a happy bird this morning. It looks like it’s gonna be a beautiful day. Why are you up so early? Oh, right,” she snorted, “the early bird gets the worm, huh?” Another chuckle escaped her lips and she wondered if she was losing it. After all, who in their right mind would talk to an animal?
***

This is written from an outside observer's POV. I choose to write in third person limited for almost everything I do. One of the strengths of this style is being able to change characters as you flow through the story, giving greater depth to a scene. But, if you've read The Bird, you know there has to be a break indicator when you switch. This allows you to show the story through two sets of eyes as it moves along. One of the weaknesses of this style is the inability to change viewpoints without some kind of break, after which you must clearly explain what's going on and who's POV you've changed to.

When writing from an omniscient POV, you can move around, over, and through time and space with your reader, jumping into any character's head at any time without any break indications. You can also give overviews of the collective actions or thoughts of the characters. But omniscient is difficult to pull off without the story jumping into what we know as a "head hop." This is when you've written most of the story from one character's POV, only to jump to another character occasionally. If writing in this way, you must remember to stay true to the all-knowing being all the way through the book. A difficult task, at best.

So, how to choose between POVs? Answer these questions:

• How deeply do I want/need my reader to connect with my character?
• Will I need to show the POV of many different characters later on?
• Does there need to be an air of mystery in my novel?
• Do I want to make my reader feel as though they're the MC?
• Is it absolutely necessary to know all and see all? 
• What narrative style fits my story best?

Once you answer those, you can decide how to proceed. Most often, your story will be told in either first or third person. Once you decide between the two, you'll probably have a good idea of how you want to tell your tale.

Your second consideration is tense. This is what we'll go into tomorrow.

What's your favorite POV to read/write? Are they the same?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Variation

Happy Tuesday, good people of the blogosphere! Today, I'm back to tips and tricks to keep your writing interesting. As many of you may know, I'm an editor as well as a writer. One of the things I notice people doing a lot of is starting too many sentences in the same paragraph with the same word. Another thing is repeating a word in a sentence. While both of these may seem like minor details, when paid attention to and rectified, it can create a world of difference in your final product. Remember to use your thesaurus!

Example time! Let's set the stage: Darren just had a fight with his girlfriend of six years.

He went through the door into the living room and exited out the back door. He walked over to his car and pulled open the driver's side door. He got in, slamming the door behind him, put the key in the ignition, started the car, and peeled out of the parking lot. He drove a long time before pulling over and getting out; giving the door another hard slam as he got out of the car.

As you can probably see, there are a ton of no-nos in the paragraph above. While there are many ways to re-write it, let's try on the first pass to eliminate starting each sentence with he.

Darren went through the door into the living room and exited out the back door. Walking over to the car, he pulled open the driver's side door, got in, slammed the door, put the key in the ignition, started the car, and peeled out of the parking lot. It was a long time before he pulled over, got out, and gave the door another hard slam.

Now, while we fixed the problem with the word he, you can tell we've created other issues. How about we fix a couple (like that looooong second sentence)?

Darren rushed through the living room and out the back, leaping down the three short steps to the driveway. Stomping to the car, he got in, started it, and peeled out of the lot. It was a long time before he pulled over and got back out; taking his anger out on the door as he shoved it closed behind him.

Remember, you have to name the character at some point before you can use the pronoun he. Try not to bore your readers by giving them a blow-by-blow, either. If you do a good job with actions, they'll be able to grasp that your character is pissed, sad, or happy. By the time we say he's taking his anger out on the door, we've already set the stage and given plenty of action to show how he feels. If you tell, it might look like this:

Darren, madder than a mashed cat, left in his car and drove a long time before pulling over and getting out.

While there are less words, it's not as fun to read. Keep it simple, vary your word usage, and show your reader what they should be picturing in their head.

I hope you'll try writing the world's worst paragraph and fixing it. For this is how one learns a new skill. Practice makes permanent.

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Editing vs Proofreading - What's the Difference?

Happy Monday, good people of the blogosphere! Today, I'd like to go over the difference between an edit and a proofread; including what you should expect from each. These are just a couple of the services we provide over on INDIE Books Gone Wild. If you aren't sure what services you need, this post will help you decide and tell you how to prepare for each one. So grab those pens and notebooks and let's get going!

Editing

This is a service where you send your book to someone and they fix basic grammar and construction issues, punctuation, transitions, spelling, inconsistencies, and look to cut your word count. A good editor won't change your voice, they'll make it more legible.

Any editor you choose should give you a sample edit of your first chapter to see if you're a good fit. At IBGW, we use that first chapter to rate the quality of your writing and base our price from there. Why? Because if it doesn't take us as long to edit your book, you won't pay as much. You're paying your editor for their time and knowledge of the English language.

Be sure your editor uses a style guide so you'll know what changes to expect and have a reference.

An inline edit looks something like this:

Inline changes and notes in the sidebar are things you should expect. At IBGW, we strive to make you a better writer during our edits by providing education and noting things you should be watching out for. Every writer makes common errors; but if you know what they are, you're less likely to repeat them if you learn from your mistakes. This, I believe, is something every editor should do.

Proofreading

Different from editing, proofreading is all about looking for good transitions, proper use of punctuation, spelling issues, and redundancy. A proofreader should be able to speed-read your work and highlight issues without going into great detail. Your editor should be catching everything else. Many proofreaders will highlight things your editor may have missed and sling out a comment; but you shouldn't expect that. They're looking to give your manuscript a final once-over before it goes to print. All your T's should be crossed and your I's dotted after your manuscript is returned by a proofreader.

Your editor should never be your proofreader. They're too close to the work by the time the edit is done, and they'll miss things, just like you.

At INDIE Books Gone Wild, we use one person on our team to edit and another to proofread. Proofreading is included in the price of your edit. There's no need to shell out more money for someone else to do it. We even write it up in your contract and book your proofreading for you. That's part of the benefit of working with a team rather than a single person who tries to do it all.

No matter who you choose to work with, make sure you've read something they've written or edited and are comfortable with them as a person. Be sure you can respect their comments when your manuscript is returned. There's nothing worse than questioning every change someone makes. Trust is a huge part of the writer/editor relationship.

As a final note: Regardless of who you work with, be sure to have a contract. If your editor or proofreader balks at the idea of a contract, or won't let you read/look it over before you're expected to sign, run away. A contract is there to protect you both and shouldn't sway power one way or the other. Also, make sure it has an out clause.

I hope this helps you all in some small way.

That's all for today, folks! Until next time, WRITE ON!

Jo

Dashing Dashes and How to Use Them

Happy Hump-Day, good people of the blogosphere! I bet you think you know all there is to know about dashes. Well, I'm here to tell you, you may not know as much as you think. This is a post you don't want to miss! So, grab those pens and notebooks and let's get going!

There are so many ways to use hyphens and dashes. This post is going by the rules outlined in The Chicago Manual of Style 15th Edition. First, I'm gonna show you what each one of the five looks like, then we'll go into how they're used.

Hyphens, en dashes, and em dashes are the most commonly used.

Hyphens

Hyphens are used to separate numbers or group numbers, in compound words, names, and for word division.

A little known use of the hyphen is in dialogue when referencing American Sign Language.

Examples of hyphen use:
Would you believe she wore a box-hat to the party?
Please call 1-800-888-8888 to find out more.
My book's ISBN is 978-1477489031.
My niece can sign A-P-P-L-I-C-A-T-I-O-N very quickly.

Going into names and compound words is best left for another day. It's a whole section in and of itself.

En dashes

It literally means "between" or "up to and including." It's used in dates or times or in place of a hyphen when one of the elements of a compound adjective is open. Some people would use a slash, but an en dash works as well. It can also be used to separate a college name from the city if there are more than two in the state with the same name. There are no spaces with en dashes unless indicating something is ongoing.

Examples of en dash use:
I went to Columbus for four years, 1995–1999, loving every minute of it.
My life has been long (1977– ) and I can't wait to have more fun. *Note the space after the en dash.
He went to the University of Tennessee–Chattanooga, not the University of Tennessee–Knoxville.
We went to Mexico as non–Spanish–speaking people.

Em dashes

This one is for setting off elements in novels. Some people use parentheses, commas, or colons to do this; but an em dash works as well. It will also separate a subject from a pronoun, indicates a break in speech when someone is cut off (unlike when someone trails off—those are indicated by an ellipsis), or replaces a comma. You can use them with other fun punctuation as well—like exclamation points!—as a tool to set off the phrase.

Examples of em dash use:
Should I—can I?—go to the party tonight?
"I was thinking we should—" I cut her off with a lift of my hand. "No. Probably not a good idea because she'll be there."
When the old man walked up—and he was walking really slowly—we showed him the way to his seat.

2-em & 3-em dashes

2-em dashes are used to represent something left out. The rule here is: If it replaces a part of a word, don't leave space on either side; but if it replaces a whole word, leave space. A 2-en dash is most commonly used to block out profanity. Oftentimes, these are shown by using four hyphens.

3-em dashes are used in bibliography to indicate this name is the same name as the one before, but it's a different title or work. These are shown by using six hyphens.

Examples:
2-em: She let loose with many words like —– and they blew my mind.
3-em: ——, Yassa. Jo Michaels: CreateSpace, 2012.

I hope this helps straighten some of the confusion out. I find these errors quite a bit when editing.

Well, that's all for today, folks! Until next time, WRITE ON!

Jo