Author: Dr. Jenifer Paquette

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From the Author’s Desk: Worldbuilding 101: Diversity in Relationships

An important aspect to consider any time you are creating your world is how the inhabitants there interact with one another. You don’t need to be writing a romance to have relationships between characters, and those parameters should be clear to your readers. 

Here are some questions to consider when building the relationships in your world:

  1. What does the average relationship look like in your world? Describe the typical romantic relationship.
  2. What does an atypical romantic relationship in your world look like? Describe a relationship that exists but would surprise others.
  3. Is gender the deciding factor for one’s role in the relationship? How does gender present in your world? How are genders defined in your world (if gender is the social expectations associated with one’s assumed sex while sex is the biological determination using physical attributes)?
  4. How many sexes exist in your world? Are there same-sex relationships? How does society view same-sex couples? In Prince’s Priest by VC Willis, the scandal is that the relationship is between a vampire prince and a human priest. The fact that they are both men is an expected option in that world.
  5. How do people feel about relationships between classes? What about relationships between races? How does the average person feel about people from different places being in a relationship?
  6. How does a typical relationship progress? Describe the usual steps of a courtship (meeting, wooing, dating, flowers, sex, meeting families, moving in together, proposal, marriage, family, children, etc.).
  7. Do people choose their partners, or are relationships arranged by family members? Are arranged marriages the norm? Are they outdated or outlawed? If they are a thing, how do families determine a fitting suitor?
  8. How do couples introduce prospective partners to their families? Is this an important step in the courtship process or just a casual affair?
  9. Do couples live together (before/after marriage)? How does society feel about those who break this expectation one way or another?
  10. Do couples get married, or does cohabitation mean they are an official relationship? Which relationships are recognized as official by the government? Does marriage matter, or is it just a minor bit of paperwork?
  11. What does a typical wedding ceremony look like? Who attends? Who speaks and what do they say? Does someone need to vouch for the couple or forever hold their peace?
  12. Do couples need permission to marry? From whom? Is there a waiting period, or can people get married right away?
  13. Do people elope to Vegas or run away to be together? How does society feel about this behavior? Is it cute or romantic, juvenile or crazy?
  14. Do people change their name when they get married? Is the new member fully embraced by the partner’s family? (You’re a Jones now!)
  15. Is there a physical sign that shows a person is married (ring, hairstyle, article of clothing, etc.)? Can someone tell at a glance if a person is in a committed relationship or not?
  16. Do couples marry for love? Convenience? A combination of both? Why do most couples pair up?
  17. Can anyone marry anyone, or are there rules? Who establishes these rules? What happens to those who break the rules? Are they ostracized like Anna Karenina or forgiven like Count Vronsky?
  18.  What are the rules regarding marriage? Who established them? Why?
  19.  Is marriage about procreation and children and continuing the family name? How does society feel about childless couples? What is the general view on couples having children?
  20. In terms of children, do couples value one sex over another (boys over girls)? How about twins or triplets, etc.? Are such children a blessing by the gods or a curse?
  21. Consider the maternal mortality rate during childbirth in your world. Is childbirth a dangerous proposition for women in your world? (If only women can give birth.)  
  22. Are relationships limited to two people, or do people support multiple partners in relationships? How does society view thruples/poly-groups? In Signs of Affection by Lynn Chantale, the main character courts a love interest who practices polyamory.
  23. How does the average person define love in your world?
  24. Is love something that happens to a person (over which there is no control)? Do people fall in love like they fall off a cliff? Is love a conscious decision made by a person? Can a person choose to fall in love?
  25. Is love an expectation in relationships? Or is being part of a relationship more commonly a matter of convenience and love is found elsewhere?
  26. How do people view adultery? How do people view emotional affairs? Physical affairs? Where is the line when a relationship has become adulterous (a glance, a stolen kiss, a long hug, sex)?
  27. Are there established punishments for breaking a vow to a partner? How are they enforced? Are they different depending on who has committed the offense (women are killed while men are chastised)?
  28. Is love predetermined by an outside force? By what/whom? Are certain lovers fated to be together in your world?
  29. Is there a deity of love? Who is it? What powers do they have? How do people view this deity? How much control does a love deity have over the inhabitants?
  30. Are there love potions/love spells in your world? How do such things work? How long does a love potion/spell last? What are the long-term effects of a love potion? (Are the children of such unions born unable to love like Voldemort?)
  31. Do people believe in love at first sight? How do people feel about such relationships?
  32. Is love an acceptable excuse for irrational behavior? Do people excuse “crazy” behavior on account of love?
  33. Does love have physical symptoms? Can others see that a person is in love?
  34. Are the majority of the inhabitants romantics or cynics when it comes to love? What do your characters think about this?
  35. What does the average person think about relationships in your world?

Bonus Questions: 

  1. What kinds of familiar relationships are you featuring in your story? Why did you choose those and not others?
  2. What new types of relationships appear in your story? How are they different from traditional real-world connections?
  3. How much of the relationships depicted in your story are a reflection of your own experiences? What elements did you add to the relationships and why?
  4. How important are relationships in your story? Do they reflect real-world behavior, or are they exaggerated in some way? If so, how and why?
  5. If your story were turned into a film, what category would Netflix put it under: romance, romantic comedy, drama, horror, etc.? How much of the distinction is based on the types of relationships you include in your story?

Thinking more broadly about how relationships work beyond the scope of the story you’re telling allows you to write a story in a well-developed world, something readers will appreciate as they get to know your characters and the world they inhabit. For more Worldbuilding Questions, check out The General Worldbuilding Guide!

The General Worldbuilding Guide (The World Building Guide Book 1)
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From the Professor’s Desk: Sentence Diagramming 101

Do you ever wonder about what’s under the hood of the English language? English is a rich language with a convoluted history and tons of inconsistencies, but contrary to appearance, it does actually have rules that organize the way we put our words together. One way to visually explore the way English functions is to use a technique called sentence diagramming. 

Some of you may remember traditional sentence diagramming from some long ago class in elementary school or think of it as something you did for a day in grammar school during the 80s. Yes, sentence diagramming has been around for a while (since the 1900s!), but it’s still relevant if you want to think structurally about the way English works. 

Sentence Diagramming 101: Fun with Linguistics (and Movies!) is a great resource for anyone interested in understanding the underlying structure of the English language.

“A surprisingly fun jaunt into the convoluted wilds of the English language!”

Sentence Diagramming 101: Fun with Linguistics (and Movies) explores the relationship between words using traditional sentence diagramming and amusing movie references. Inside this textbook, you’ll find detailed explanations as well as 50+ film-focused practice exercises, and on the companion website, you can explore the answer key, informative videos, additional practice, and lively discussions about the English language.

One abiding question often accompanies any discussion of traditional sentence diagramming (Reed & Kellogg): does sentence diagramming create better writers? This book’s answer: Maybe. If you think of the English language as a car, think of this book as a look under the proverbial hood of the language. Someone may know the names of all the parts and how they work together to make the vehicle move when the gas pedal is held down-but does that knowledge create a better driver? Perhaps. Perhaps not. Perhaps that driver will explain spark plugs while they drive straight off a cliff.

Such is also true of writing. English can be messy, filled with archaic bolts and cobbled coils, but somehow, it still manages to get users where they want to go. Hop in and enjoy the ride!

A great primer for writers, word enthusiasts, and those seeking to understand the fundamentals of English grammar, this textbook breaks down complicated ideas into digestible pieces.

Topics include:

  • The Basics: Parts of Speech and Word Function
  • Sentence Patterns
  • Phrases, Verbals, and Clauses
  • Sentence Types
  • Weirdness: Questions, Commands, Expletives, Poetry, Made Up and Repeated Words

Additional features:

  • ADA Compliant
  • Free Companion Website with Video Overviews, Answer Keys, Practice Explanations, Additional Practice, and Language-Focused Discussions

Get under the hood of the English language with Sentence Diagramming 101!

Sentence Diagramming 101: Fun with Linguistics (and Movies)
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From the Editor’s Desk: Tips to Save Your Sanity During Editing

It’s time. You know it. Pour yourself a drink (whatever liquid gets you through the writing process), put on some comfortable clothes, and settle down in front of the computer. Editing is never easy, but there are some general things you can do that will make it easier the next time you finish a book. Here are some general tips to get you through this round of editing:

1. Read. Read in your genre. Read outside of your comfort zone. Read established writers with distinctive voices. Read emerging writers with astounding vision. 

2. Learn the rules. You can’t effectively break the rules of grammar without knowing them (otherwise your clever fragment may just look like a mistake!). Take it slow, but take the idea of learning to wield your tools, your words, seriously. Tons of books, blogs, and videos cover the rules. Check them out! I’m a fan of the classic Eats, Shoots, & Leaves: The Zero Tolerance Approach to Punctuation by Lynn Trusse. I also recommend Woe is I: The Grammarphobe’s Guide to Better English in Plain English by Patricia T. O’Conner.

3. Read your work out loud … backward. Yes, I said backward. Start with the final sentence, find the capital letter that starts it, and read that sucker aloud all the way to the end punctuation (period, question mark, exclamation mark). Is it a complete thought? Does it make sense? Cool. Go back or up a line. Find the previous sentence and repeat the process. Reading your sentences in isolation forces you to look at them one-by-one (instead of the way you read the story). You likely won’t do this for the entire thing, but you can put a serious dent in troublesome areas this way.

3a. Live with someone? Or have a very expressive pet? Read your story out loud and watch their reaction. If their expression is confused, mark that spot to revise later. If you stumble, mark that part to revise later. You’re not narrating here (though I suppose you could if you’re supper confident in your splicing skills); you’re reading for flow and comprehension. 

4. Take breaks. Editing is not a one-and-done event. It can be a marathon of late nights/early mornings and five-minute breaks from work (and lots of tea if you’re me!). It’s best accomplished in small chunks with a specific focus. If you read your work straight through looking for all of the things, you will find some of the problem stuff—but definitely not everything (not without making yourself crazy first!). 

5. At some point, your manuscript is finished. Let it go. Yes, you could make it better tomorrow—but how many tomorrows are spent re-working something when you could be on to your next story? Academics say papers are never done—just due. Give yourself a deadline and stick to it. Find your “good enough” point and watch Frozen (Let it go!!!). We will never get to see it if you keep tinkering with chapter five. 

6. Remember that your story is worth telling. No one can tell it like you can. No one else can do what you can. Don’t give up. We need to read your words. Get it out in the world!

Oh, you wanted ACTUAL steps on how to do this? Well, conveniently enough, I already wrote that book, and it’s a bit longer than  a blog post. If you want specific step-by-step instructions on how to edit your book, check out 10 Steps to Save Your Editor’s Sanity, a helpful guide that walks you through the process of self-editing one task at a time!

10 Steps to Save Your Editor’s Sanity
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From the Author’s Desk: Worldbuilding 101

Part Two: How can I create a cohesive world for my readers?

Okay, now you have an idea for the world of your story. It’s time to get into it. 

Here’s a quick list to keep in mind when building your world:

  1. Organization is key. Decide right now how you will be keeping track of these details. Use whatever makes sense to you. Some people use handwritten notebooks. Some use a detailed Word oc. Some use writing programs designed to organize your details. Find a system that you like and commit to it (at least for this world–you can change it up for the next world if you want). 
  1. There is not a predetermined order to building your world (unless you want it that way!). You can move from building the map to deciding the fashion to creating the calendar, then focus on how medicine works and hop back to wars in your world. Record the details as they come to you. There is no pre-recorded method that you must follow.
  1. Worldbuilding may seem like homework for you as a writer, but you are not obligated to answer every single detail. Think of it as documenting the way you weave the story you are creating. Focus on the areas that make sense for your story and your world. If you know the next scene is in a bar, take some time to think about that place: Who owns this bar? How did they get it? How successful is it?  How is it laid out? Who else is in there (workers/patrons)?  What’s the entertainment? What’s the top things people order? What’s the vibe? And finally, how does any of that relate to your story? This should be a fun part of the creative process. Feel free to skip around.
  1. I know you’re excited that you know every single ruler for the last five hundred years of a dynasty, but do your readers need to know all of that right now? Probably not. Recall the iceberg effect: you are aware of everything under the water, but the story you are telling might just be the tip. When you add these details to your story, be sure to slide them in as a natural addition to the scene rather than as an info-dump. A good rule of thumb is to hint at it, be confident that you know the names (maybe have a mnemonic song to get the order right like the British have for their monarchs over the years) but let that background info seep into the story in the right place and the right time.
  1. Writing is work and can be hard at times, but it should also be fun. If you’d rather be writing the story itself, then do that instead! Just remember that worldbuilding is here when you’re ready to build more of the scaffolding that will hold your story up. Keep your guide next to you and pop information into it as your story is flowing.
  1. Again have fun! You aren’t graded on this; well, except the fan who will excitedly email you about that tiny detail that shifted from book one to book seven…YOU’VE GOT THIS!

Shameless Self Promotion: The General Worldbuilding Guide

The General Worldbuilding Guide (The World Building Guide Book 1)
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From the Author’s Desk: Worldbuilding 101

Part One: What is worldbuilding?

Okay, let’s get into it with some generalizations. 

Worldbuilding is what creative writers do when they form the framework that contains their story. It includes everything from the layout of the furniture in someone’s bedroom and the geography of the city they live in, to the languages spoken by their fellow inhabitants and the technological capabilities of the society that surrounds them. It’s the details that bring a story to life–the thing that separates a decent tale from a life-changing epic adventure that every single one of the reader’s friends must read immediately. It gives a story depth and richness and the sense that there is more beyond the page, that readers could find a pulsing, vibrant existence beyond the edges of the pages they are reading. 

J.R.R. Tolkien explains the “magic” of reading in his essay “On Fairy Stories” when he likens what happens to readers who imagine a story to an act of enchantment. The author has written the words, but the readers are ones who transform those markings on a page into scenes in their imaginations. He calls this enchantment an act of subcreation; that is, the readers are “creating” the story for themselves based on the words of the author. This can only happen, he insists, when the world of the story they are reading is believable; in fact, the Secondary World (the world inside the story) must be as believable as the Primary World in which the readers live. A common way to describe what happens when readers engage in this act is the “willing suspension of disbelief.” The idea is that reader willingly suspend their natural disbelief when they enter a story–they know billionaires don’t act like that, or that swords aren’t sentient, or that cars can’t fly, or that word can’t alter the physical world–but for the sake of the story, they “suspend” that “disbelief” long enough to enjoy the story in that world. Tolkien doesn’t like this approach, insisting that if the world is done properly, if the nearly elvish craft of enchantment has been done well, the readers won’t have to suspend their disbelief–they will believe. Fr the time they spend immersed in the pages of that story, they will fall into that world naturally and completely. 

How does one accomplish that? According to Tolkien, by having a completely built world in the background of your story. You should know every detail, every crevice, every whisper. That said, Tolkien had reams of journals and maps and lineages and histories for Middle Earth. Do you have to do all that? Of course not. But it should look like you have. After all, unless they read your worldbuilding guide, readers don’t see your entire world anyway–they just see the parts that connect to the story you are telling–but they should believe that the rest of the world is there, the ice beneath the tip of the iceberg hidden beneath the water. If you are confident and consistent in your details, that iceberg will feel massive to readers.  

So, how can you provide this magical transformative experience for your readers? Do your homework. Build your world before you step into it (or before you finish stepping out of it on that last page!) so readers feel the world lives beyond the moments they see in the story.

Looking for some help along the way? Check out The General Guide to Worldbuilding and get serious about your world!

The General Worldbuilding Guide (The World Building Guide Book 1)
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From the Editor’s Desk: A Guide to Ellipses

You wouldn’t think that three little dots would cause so much trouble… but here we are! An ellipsis is the mark of punctuation created when you join three periods together and hit the spacebar–your writing program should join the separate periods into a single unit of punctuation. 

An ellipsis indicates hesitation… and it’s really annoying when people overuse them. There are legitimate reasons for people to pause in your writing (especially during narration), but when someone always ends a sentence with an ellipses, it makes them seem uncertain about everything. 

A few ground rules: 

  1. An ellipsis includes three periods. Not two or four, but three. 
  2. An ellipsis can function as end punctuation. You do not need to add a period or question mark or exclamation point after it.  
  3. You use an ellipsis to indicate a pause in the sentence, a moment for a character to find the right word or decide how to proceed or what to say, or even for the narration to reveal something … slowly. 
  4. Generally speaking, treat ellipses like a word when they occur in the middle of a sentence or clause; that is, they get a space on either side. So if you begin … a sentence, and then continue the thought, it looks like this. 
  5. If the ellipsis occurs after a complete clause, put a space after it, but not before. So if I’m not certain how to do this… but eventually I read a blog and figure it out, it looks like this. 
  6. If the ellipsis ends the clause and the next sentence is its own thought, capitalize the first word after the ellipsis. For instance, if I am uncertain… Then I go home and read a blog about ellipses, this is how it would look. 

Ellipses in action

If the ellipses ends the sentence, it looks like this: 

  • Don’t get me wrong: I had a blast. I don’t know… It just didn’t spark anything, you know?
  • “I won’t let you paint my nails because…” Jordan thought for a moment. 

If the ellipse is in the middle of sentence, it looks like this:

  • He paid his bills, his taxes, bought what he needed … and watched his bank account dwindle.
  • We’d need sets, actors, cameramen, sound people … and more importantly, money to pay those people.

If the ellipses is in the middle of a sentence where it is more “stuttering” or hesitating, it looks like this:

  • I… I don’t know. 
  • Wh… What?

MORE Ellipses Examples

No Space before—new idea after ellipses… 

  • Gabriella tells her, “Like you… yes… I see a part of myself in your face, the way you are looking at me now.” 
  • He helped them start the genocide that’s happening where I was born, blinding them into believing they were gods… that they have the power over life and death. 
  • It’d break her heart to hear… and you and I both know I shouldn’t be naysaying a gift. 
  • I would say I like to go out in that rec yard, but it’s a concrete box with mesh over my head… still walls. No need to belabor that… I’m fucking done. 
  • But this… this type of thing, she can’t investigate. 
  • Wilson’s dead… my boy… my legacy is dead, but I’ll be goddamned if my legacy will be some bitch sitting in my house. 
  • He swirls the brown liquid in the cup, teasing spilling it on her white couch… messing with her some. 
  • I know you have something you want to say… Not speaking isn’t an easy thing for you. 
  • I… I don’t know.

Space—pause within same idea … within the sentence (Christopher Walken style) 

  • “They are evil. Devils … destroying what was a great country, a great people.” 
  • Some places … like the one I was at before all this started, they had good food. 
  • Her face absorbs the seriousness of the space … and the death. 
  • Tanner … Brogdon is not just some pretty boy. 
  • That you exaggerated or lied about … some truth.

Both space and no space in the same sentence! 

  • He thought … he couldn’t accept that by working with those … savages who now control the South… He thought he could control everyone. 
  • Either you embellished it or something, or you made it up… Either way … it hurts your credibility.

The bottom line is that ellipses are hard, but they can be mastered by following a few simple rules. Think about the clauses in your sentence and use that as your guide for spacing!

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What Is an Audiobook Guide and Why Do You Need One?

It’s no secret that having an audiobook for your series is a good idea–albeit an expensive undertaking. When the time comes to have someone narrate your words, creating an audiobook guide (or Audiobook Bible, as we call it at 4 Horsemen Publications) can make all the difference between a performance you are proud of and an experience you don’t want to talk about. You invested a lot of time in writing your story–take a bit more to create a guide that will enable an accurate version of your vision. 

What is an Audiobook Guide? 

An Audiobook Guide is a document you share with your narrator (and perhaps your readers?) that contains two vital pieces of information: how to pronounce the names, places, and specialized vocabulary in your story as well as the mannerisms and speech patterns of your characters. You can do this in a few different ways. 

First, let’s talk about pronunciation and why it matters. A lot of authors will say they don’t really care about how a name in their story is pronounced–or my least favorite comment, “Just say it the normal way.” Let’s talk about what the word normal means. 

My name is Jenifer. Aside from the odd spelling (only one n–thanks, Dad!), the name Jennifer has been in the top 100 US names for the last few decades. Growing up, I always had at least one (often two three) other Jennifers in my class, meaning we had to pick separate nicknames. For the first fifteen years of my life, I was Jeni (Jenny if I had the traditional spelling). I didn’t think there was any other way to say my name… until I moved to Florida–and my Jeni became the much more serious and adult Jen–and everything shifted. 

Instead of Jen, rhymes with “hen” and “pen,” Floridians pronounced my name as “Jin,” like the drink “gin,” rhymes with “sin” and “tin.” I didn’t think I would become an alcoholic beverage, but this simple example shows how much regional variation exists in even so-called “common” name pronunciation. If this kind of thing matters to you as an author (I have shrugged and accepted that my name can sound different in different mouths), and you don’t want your character names mispronounced, take the time to explain how the word should sound, even common names. 

Your Audiobook Bible Should Include These Two Things:

  1. Pronunciation Guide

There are two ways to describe the proper sounds you want your narrator to use:

  • Option A: Spell it out with rhymes
  • Option B: Use the phonetic alphabet

Option A: Spell It Out

Spell the word out the way it would be pronounced with helpful rhymes and references to help the narrator understand what you mean.

  • Klauden van Sherinak (main character):
    • Claw (like a cat!) din (like dinner is ready) 
    • van (like the vehicle) 
    • Sher (first part of sheriff or an awkward fast sure) in (like an inn or bed and breakfast) ack (like you just stubbed your toe or the ending of the word back or tack or wrack)
  • Chaivin (nickname Klauden uses for Hannah): Chai (like the fancy tea with spices) veen (rhymes with queen and seen)
  • Hannah van Kreeosk (Main character):
    • Hah (like you were right about something and letting someone else know, or you just found the thing you were looking for) nah (like you’re passing on an option “nah man, I’m good” or rhymes with blah or like you’re at the dentist opening your mouth)
    • Van (like the vehicle)
    • Kree (rhymes with sea or like the Marvel creatures) osk (like mosque or the Star Wars character Bossk)
  • Talperin (small town): Tal (rhymes with pal or gal or the first part of the name Mal-colm) per (rhymes with fur) in (like an inn or bed and breakfast)

Option B: Use the Phonetic Alphabet

The phonetic alphabet (see a basic description here) for all the sounds.

  • Klauden van Sherinak (main character): /klaʊ dɛn væn ʃɛr i næk/
  • Chaivin (nickname Klauden uses for Hannah): /tʃaɪ vin/
  • Hannah van Kreeosk (main character): /hæ nɑː væn kri ɒsk/
  • Talperin (small town): /tɑːl pɛr ɪn/

The order in which you list your words is up to you, but think about the ease of use for your narrator. I once had an author hand over an excel spreadsheet with over a thousand words and phrases on it (Thanks, epic fantasy!). At first, this seemed too unwieldy, but it ended up being easier for the narrator to search for keywords and find them quickly. 

Another thing that will help your narrator is if you make short recordings of you saying the word. You can do this with your phone and one of the many free voice recording apps.  Put these files in a folder that you share with the narrator so they can listen to it over and over again, getting your pronunciation down before they begin reading your story. 

2. Character Tone Guide

After your pronunciation guide, you should also give a quick overview of the personality that influences the speech patterns of each character. Include any accents, verbal tics, famous references (She sounds like Famous Person X in Movie X), or anything else that will help the narrator nail the sound you seek. 

Klauden van Sherinak: (Main character) very studious, reserved, patient, speaks thoughtfully except for the rare occasion when he gets upset (usually because Hannah is being a jerk to him). He is a vampire, so if you want to give him an accent different from everyone else (except Hannah–they’re from the same place), go for it.

Hannah van Kreeosk: (Main character) generally happy or excited about whatever is happening, speaks sometimes before thinking (blurts things out), cautious when meeting new people, secretive about her own life/abilities, sometimes shy and awkward, especially around Rory. If Klauden has an accent, give Hannah a similar one, maybe slightly less since she’s been away from home for a bit. 

Once you have started your Audiobook Guide, keep it updated as each new book in the series comes out. Just add new names, places, or words from the newest installment. Make this a living document that grows with your series. (Also, keeping it all together makes it easier to remember how you wanted that word from book one to sound when the characters revisit that idea in book five.)

Choosing a Narrator

Finding the right voice for your series is a big decision–and there are many other blogs that have useful tips about the process, so I will just sum up the biggest ones here. 

Remember that recording an audiobook is expensive. Make sure you and the narrator are on the same page about everything from pronunciation and payments to timeframe and corrections. Listen to the person reading a sample of your work, and think about listening to that same voice for hours as they read your entire story. Listen to other recordings by that narrator and see if you like the vibe. 

Choosing the voice for your series is an important decision, and one that sets the tone for the rest of the series. Changing narrators midway can be jarring for readers, so you want to avoid that situation. 

Overall, an Audiobook Guide can make life easier for you, your narrator, and ultimately, your readers. You wrote an epic story! It’s time to let new readers hear it–the way you want it to sound. 

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From the Editor’s Desk: The Oxford Comma

You may be wondering what is so special about the Oxford comma and why there are so many delightful memes about it. Some context: the comma before the “and” in a list of three or more items is known as the Oxford comma (also known as the serial comma). You may have heard some debate about whether or not this comma is necessary. 

Let me assure you—it is. 

While it pains the editor in me to say, there are times when a comma doesn’t really matter. You can put it in or leave it out, and the sentence will survive. Readers will comprehend the nuanced meaning, and life will go on. Those commas are often called stylistic commas, and they may rely on their surroundings. Does the previous section or sentence have a lot of commas? Can you get the meaning across without including this one? Then leave it out to spare your reader’s attention span and focus on the important things instead. 

The Oxford comma, however—that comma in a list of three or more things—is NEVER a stylistic comma. It is never optional. It means something very specific in a certain situation, and when you need it to be there, you really need it to be there. 

Essentially, here’s what the Oxford comma says: these three (or more) items are not related to one another, as in, they are not dependent on the previous item to make sense. 

Consider the sentence: 

Tonight, at my computer, I drank a cup of tea, a bottle of water, and a can of lime Bubbly.

This sentence has three separate things: tea, water, and Bubbly. 

Here’s what happens if I remove the Oxford comma. 

Tonight, at my computer, I drank a cup of tea, a bottle of water and a can of lime Bubbly. 

Ew. Right now, my cup of “tea” is apparently a mixture of water and lime Bubbly. When you don’t have the Oxford comma, what you are conveying through your punctuation is that the two (or more) items following the commas are EXAMPLES of that first item. 

My heroes are my parents, Captain America, and Oprah Winfrey. 

Great, you have three heroes: parents, Captain America, and Oprah. Awesome. 

My heroes are my parents, Captain America and Oprah Winfrey. 

Uhh, really? I didn’t know Cap and Oprah were a thing…

When you leave out the Oxford comma, you change the meaning of the sentence and the relationship between those listed items. Instead of a list, everything after the first becomes an example. 

Hence, the litany of glorious memes!

With the Oxford comma: We invited the strippers, jfk, and stalin. Image includes stripers, jfk, and stalin. Without the Oxford comma: We invited the strippers, jfk and stalin. Image includes jfk and stalin dressed as strippers.
We invited the rhioceri, Washinton, and Lincoln. Image included has rhinos, Washington, and Lincoln. We invited the rhioceri, Washinton and Lincoln. (missing the comma) Image included has Washington and Lincoln as rhinos.
decorative
Decorative Image

Or you can even argue that the items following the first are being addressed in the sentence!

With the comma: I had eggs, bacon, and sausage. 3 items in the picture. Without the comma: The person says he had eggs while speaking to the bacon and sausage.

So, let your readers get the message you’re trying to send. Use the Oxford comma.

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From the Editor’s Desk: How to stop placing commas like you’re throwing darts

Do you find yourself adding commas to your document like throwing darts at a dartboard? 

“Wherever they shall fall, there shall they remain!”

Please, for the sake of editors everywhere, just don’t. 

Generally speaking, people tend to use commas one of two ways: throwing a bunch like darts and leaving them where they land or avoiding them completely and hoping it all works out. Neither is very efficient. Don’t even get me started on the old, “Use a comma when you would take a breath.” Have a professional singer and a lifetime smoker read the same sentence and see how accurate that method is. (It’s not!). Now, you can argue that sometimes the comma=pause will work, but only if you’re actually saying something that requires a comma–not because of the pause. 

Now, what if I told you there was an easy way to master this small punctuation mark? I know it may sound wild, but there are actual rules that govern how and when you use a comma. In fact, these guidelines can be broken down into six (yes only six!!!) fundamental rules. If you don’t find yourself in one of these six situations, don’t add a comma!

Rule #1: Use commas when you start a sentence with a dependent clause. 

If the sentence starts with a subordinating conjunction–wait, did I just curse at you in grammar? Okay, pause. Subordinating conjunctions are words that combine two complete sentences while implying their relationship (which part is dependent on the other part). These are words like because, until, although, since, when, while, where, and others like that. When you start a sentence with those words, you put a comma before the subject of the sentence (the word the sentence is about). 

  • Because English grammar is weird, we like to add commas to help facilitate comprehension. 
  • Until you understand how commas are supposed to work, you will remain confused about their usage. 
  • Since we’re now discussing commas, you can use them with more confidence. 

Note: If you flip those sentences around and the subordinating conjunction is in the middle of the sentence, you do NOT use a comma. 

  • We like to add commas to help facilitate comprehension because English grammar is weird. 
  • You will remain confused about their usage until you understand how commas are supposed to work. 
  • You can use them with more confidence since we’re now discussing commas. 

Rule #2: Use commas when you have two complete sentences connected with a FANBOY. 

First, you need two complete sentences. To be complete, a sentence needs a subject and a verb. If both sentences are connected by a coordinating conjunction (for, and, nor, but, or, yet, so), you should put a comma before it. If you don’t have a coordinating conjunction between them, you can just use a semicolon. You can’t use just a comma by itself–that’s called a comma splice. Commas can do a lot of things (obviously), but they can’t connect two complete sentences without the help of a coordinating or subordinating conjunction. Basically, if there isn’t an extra because or and between your sentences, use a semicolon or a period instead. 

  • I love grammar, but I know that it can be ridiculous. 
  • Commas are amazing, and they can do so many wonderful things.
  • Sometimes, commas feel like the best piece of punctuation, yet they do have limits. 

Note: If the second part of your sentence doesn’t have a subject, do NOT use a comma. 

  • I love grammar but know it can be ridiculous. 
  • Commas are amazing and can do so many wonderful things. 
  • Commas can feel like the best piece of punctuation yet are still limited. 

Rule #3: Use commas to separate non-essential information. 

If your sentence has a group of words that can be removed without changing the fundamental meaning of the sentence, set it off with commas (a comma on both sides). This rule also includes extra information like parentheticals, transitions, and names in direct address.  

  • Commas, which are a versatile piece of punctuation, seem complicated.
    • Commas seem complicated. The fact that they are versatile is interesting but not necessary to the gist of the sentence.  
  • The Oxford Comma, the comma before the word “and” in a list, is necessary to the meaning of the sentence.
    • The Oxford comma is necessary to the meaning of the sentence. That is all. 
  • I know you mean well, of course, when you put commas in your work.
    • I know you mean well when you put commas in your work. 

Note: You do not need to put commas around information that is only one word. 

  • My co-author Beau Lake knows how to use commas properly. 
  • My husband Remi teases me about my dedication to the Oxford Comma.
  • He arrived in June from Baltimore.  

Rule #4: Put commas around introductory information of more than two words. 

When you begin a sentence with a preposition phrase (any group of words starting with a preposition like in, of, with, to, by, under, etc.), you should put a comma before the subject of the sentence. This rule is different from Rule #1 because that deals with complete sentences (clauses) while this rule is for phrases (groups of words that do not have both a subject and a verb). 

  • When using commas, be sure to make sure you actually need one. 
  • Often in essays, writers will add commas where they aren’t necessary. 
  • In writing, commas can be used for many things!

Note: If you only have two words and the sentence is short, you can leave the comma out if you want. 

  • In 2020 4 Horsemen Publications was formed.
    • Though I would probably just say, “4 Horsemen Publications was formed in 2020.”

Rule #5: Use commas around items in a list of three or more items. 

When you list items in a sentence, put commas between the first few and also before the and. Yes, that’s the Oxford Comma–and it matters! (See image above for reasons why it matters.)

  • Commas are used to set off non-essential information, show items in lists, and separate dependent clauses at the start of a sentence. 
  • You can have lists anywhere in a sentence–beginning, middle, or end–and it still works the same way!
  • Editing, reading, and writing are three of my favorite activities!

Note: You do not use a comma when you only have two items. 

  • Either my laptop or my printer is having a stroke right now. 
  • I need to decide if I’m bringing my tablet or my laptop on vacation this weekend. 

Rule #6: Weirdness (dates, names, addresses, contrast)

This is the catch-all rule for the rest of the stuff you may run into:

  • Commas are also used between the elements of an address.
    • Send payment to 300 West Road, Stanford, CT 06860.
  • Commas also separate the elements of a date.
    • The wedding was on December 12, 2004.
      • If you say December 12th 2004, you do NOT need a comma. Wedding invitations everywhere–take note!
  • Commas are used after answering a question with yes or no.
    • No, I do not like this. 
  • Commas are used when addressing someone specific.
    • Annie, where did you get your gun? 
  • Commas are needed after interjections like ah, oh, etc.
    • Ah, this water is refreshing. 
  • Commas are also used to contrast.
    • Harold, not Roy, is my favorite player. 

And that’s it! If you are writing and it’s not one of those six situations listed above, you do NOT need to use a comma. 

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From the Editor’s Desk – Revision and Editing Part Three: Final Review (making sure your story is ready)

Excellent! You’re at the end now–only a few more things to keep in mind. If you want to, you can re-read the story again, this time skimming for the following elements: 

  • Point of View
    • You should be consistently 1st person (I, we, me, etc.), 2nd person (you–though books written like this are RARE), or 3rd person (she, he, it, they, etc.). Do NOT change point of view/pronouns mid-story. 
  • Tense
    • Your story is probably in past tense (I said) or present tense (I say). You may be experimental and use future tense (I will say), but that’s not common. Make sure your verbs are consistently in the same tense as the rest of the book!

If you have an eye for it, this is a good time to doublecheck your punctuation as well, but that’s in another blog! When in doubt, google it. There are tons of resources on how to use commas, semicolons, colons, hyphens, dashes, parentheses, and ellipses properly (You’re probably fine with periods, question marks, and exclamation points, so you already know a bunch of this stuff!). 

Obviously, if you spot typos, fix them. If you’re not sure which word to use (affect/effect, lay/lie, passed/past, etc.)… can you guess what I’m going to say? GOOGLE IT!!! You have all of the knowledge known to mankind at this moment at your fingertips. Use that resource for some good as well as looking at cat videos. (Psst…here’s a cute cat video. You’re welcome, and Rick says hi!).

Wow, it looks like you’re nearly there. One more thing–open your document and zoom way WAY out, down to like 10% or so, and gaze lovingly at your manuscript laid out in tiny little square pages. Skim it, and make sure that your formatting hasn’t gotten wonky somewhere along the way. Your chapters should start on new pages (and ideally should be marked as Heading 1). Your paragraphs should be indented a half-inch. And if you plan to submit your book to 4Horsemen Publications, the whole thing should be double-spaced, Times New Roman, 12-point font. (Come on–you know I had to say it!). 

Everything looks good? YAY!! You are now ready to send your manuscript out the door and into the world. Enjoy this feeling of satisfaction, and then get started on the next book!