Tag: Writing Tips

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From the Editor’s Desk: Little Things That Make a Big Difference

I am both an author and an editor, and it’s important to know the difference when the time comes to switch roles. I can write my own work. I can edit other people’s work. I can kinda sorta maybe start to edit my own work. But ultimately, I’m never going to see all of my mistakes, so I need another pair of eyes on it if I want it to head into typeset error-free (or as error-free as any other book can possibly be!). That said, there are definitely things I can do to my own work to help the editorial process along. 

  1. Take a break. 

Yes, I said it. Walk away from the manuscript. Yes, I wrote it. Yes, I love it. Yes, I wrote it because it’s exactly the kind of book I like to read, but if I want an objective view as I tangle with my sentence structure and word use, I need to have some space (preferably in time, but also in distance, I suppose) between me and when I wrote the book. I’m not saying you need to hide it in a drawer for years, but give yourself a few days to let it settle before approaching it with your prepping-for-editor eyes. If you go directly from composing something to reading it, your eyes will see what you wanted to say, not necessarily what is on the page. Anyone who has written what they considered a semi-passable paper at 4am, printed it out, and then sat in that 8am class staring at a first line that is missing half the words knows what I am talking about. Give your brain a break to see what is actually there. 

  1. Prepare to re-read your book at LEAST twice. 

The first time you re-read your book, settle in somewhere comfortable, preferably soft, with a beverage of choice nearby. Your goal during this read-through is to read the book as a reader would. Immerse yourself in the world you created. Meet the characters anew. Make sure that the story goes where you wanted it to go (and tweak all those little annoying story details that no longer make sense now that the story is finished). Don’t stress out about grammar during this read-through. Focus on the story and the details. Gauge the plot, the pacing, the character development, and the dialogue. Appreciate your work as a whole. 

The second time you re-read your book, sit somewhere serious that you associate with work, like a desk or kitchen table. It’s time to read for grammar. That means doublechecking spelling and capitalization. Look for incomplete sentences or phrases that don’t make sense. Check your punctuation, especially around dialogue. Have your reference guides handy during this process (or use google if in doubt). Please do not rely on Word’s editor and even Grammarly. They try heard and mean well, but they are programs that do not know what you are trying to say. They may fix it correctly, but they may make it much worse. Trust your own voice first. And if you aren’t sure, like I said, google it. I guarantee you there is a blog or video about the exact thing you are wondering. If you have an editor friend, ask them (but don’t bombard them unless you plan to pay them for their time–wordsmithing is their job, and unless they spend all weekend asking you questions about your day job, don’t assume their knowledge is free unless they offer it). 

  1. Send it to an editor (or a very helpful beta reader).

I know I already said it, but this is the time to send your book to the editor. You’ve fixed as much as you possibly can, and the rest is for another pair of eyes. That’s fair. Beta readers and proofreaders are your friends at this point if you can’t use an editor. If it’s all on you this time, consult some references. I always recommend Woe is I by Patricia T. O’Conner for grammar questions and Eats, Shoots & Leaves by Lynne Truss for punctuation issues. I can now also recommend 10 Steps to Save Your Editor’s Sanity (available for pre-order from Accomplsihing Innovation Press). 

  1. Read it one more time. 

Oh, come on. You’re not sick of it. You love it. Enjoy it one more time and see if anything awkward or weird jumps out at you. Take a moment to appreciate this moment. You created a new story and are ready to release it into the world. You rock.

  1. Now, start over with a new story!
https://accomplishinginnovationpress.com/product/10-steps-to-save-your-editors-sanity/
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Trigger Warnings: Why they are important!

As a publisher I get this question a lot: Do you agree with trigger warnings on books?

There was a fantastic article written by Jamie Beck on Writers Unboxed you can find here:

To Warn or not to Warn: The Controversy around Trigger Warnings in Literature

I agree 100% with Jamie that this is a complicated question. However, having looked at what so many are saying I have a way I look at this topic.

One of my first realizations of how this can be important to readers was my discovery of websites such as https://www.doesthedogdie.com/ where it lists any books, tv or movies where a dog is injured or dies. Some people may laugh at this notion, however, for so many this is an issue to the point where a website like this needs to be created and maintained.

In the article by Jamie it was brought up that TV and Movies are including these warnings now as a standard. Some might wonder why these were introduced? Or even the warning system of G, PG, R, etc for movies?

The truth is that there is an audience for any type of TV, Movie or Book. Most would not want a four-year-old to watch a graphic horror movie, so yes, letting a parent know that “Red Riding Hood” (a 2003 horror movie) has an R rating is potentially important. 

But with books, should you let the audience know what they are potentially in for? This is where this debate comes in. If giving these warnings are you doing spoilers or potentially alienating an audience? The answer is Yes and No.

Using the example above, yes, you might alienate part of your audience if you indicate that a dog dies in your book. With that said, the truth is that for some people this is a topic that they simply cannot handle and can cause them to have serious issues if they are suddenly presented with a dog dying in a book they are reading. When someone is “triggered” by something they read or watch, they are the ONLY ones who can determine how that will or did affect them. This is a topic of the individual’s mental health. 

Now, if we are talking about the fact that the dog dying is the end of the book, like in Where the Red Fern Grows, one of my childhood favorite stories. Then yes, I could also see how you might be having a spoiler. However, as with any book or movie, a person is going to decide to read or watch regardless of letting them know a topic may be featured in the story. You are not saying a dog dies at the end of this book. They have no idea where this features in the story or what effect it has on the plotline.

I think letting people know that the book contains potentially triggering scenes does not actually spoil the book. When people read it, they are doing so to get engrossed in the story. You have a book that has potentially one-hundred-thousand words, how does one to five words letting people know something might trigger them derail your story?

Would you rather have a reader walk away from one of your books having been triggered and dealing with that? They are not going to recommend your book to others. They are also not going to leave you a good review. They will also not follow your or buy other books you have written. So what did  the sale cost you versus the royalties from that one book? Heck, they may even post poor reviews announcing critical plot points because they are so upset by being triggered. 

Every person needs the option of caring for their own mental health. How they do this is up to them and if a trigger warning makes them choose not to read your book. This is not a lost reader. This is someone who was not one of your audience to begin with. If a reader sees a trigger and thinks it gives away the story, they are also not your audience. 

A person once told me you could walk into a room of 100 people and all of them could love your book, some could love your book or none could love your book. It does not make your book any less amazing, it just means they are not your audience. There are millions of people out there who will be. Find them!

Ultimately this is a personal decision for the author in the way that many of how you present your books to the world should be. But when looking at the choices such as your genre (BISAC codes), key words and other metadata, remember the reason behind the triggers and if you feel you want to communicate these to your potential readers.

If you do, I recommend putting them under the blurb or in the forward of your book. You can also put them on your website for reference and let readers know where to find them. This way it is making it their choice. 

Yes, this is a hard topic and I might now have the “right” answer, but I hope this helps you look at this from another perspective.

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From the Author’s Desk: Worldbuilding 101: Let’s Talk about the Weather

An often overlooked element in worldbuilding, the weather is more than just background noise. Tiny details here and there–along with a reliable and consistent system–can bridge the gap between a fun read in an interesting world and a fascinating read in a richly developed world that lingers long after the last page is completed. 

Here are some questions to consider when planning the weather for your world (and story): 

  • What is the typical weather in your world? Are there seasonal changes? Describe these shifts.
  • Is your world big enough to have different seasons at the same time (winter in North and summer in South)?
  • What are some typical weather patterns in your world? Is it the stuff we know: snowstorms, rain, humidity, sunshine, and clouds?
  • Do you have weather phenomena unique to your world? Does it occasionally rain shells in the mountains, or does sand show up over the ocean?
  • How do people respond to the weather in your world? Can they affect it at all (weather machines, magic, or just wear a warmer coat)?
  • What kind of natural disasters are a result of the weather in your world? Do people freeze to death in blizzards, drown in tsunamis, suffocate in mudslides?
  • Do people study the weather in this world? Is there an understanding of weather patterns, or is it just angry gods playing in the sky? Is meteorology a thing in this world or do people guess (“My hip aches—snow’s coming”)? How trusted are meteorologists?
  • Is the weather changing, or has it always been this way? Are the inhabitants of the world affecting the weather patterns (climate change)?
  • Do people have special names for different seasons in your world? What are they?
  • How much does the average person know about the weather in your world?

Bonus questions to ponder:

  • What weather events from our world will you incorporate in your world? Why those and not others?
  • Describing the weather in our world is easy enough based on the location of the situation: it’s colder in the North and warmer in the South. Does your world have such distinctions?
  • In our world, science explains natural phenomena (thunderstorms, hurricanes, blizzards, etc.). How do the inhabitants of your world explain why natural events happen?
  • In our world, we are often at the mercy of the weather. How much agency do the inhabitants of your world have when it comes to the weather? Can they make it rain?
  • How much personal experience do you have with certain weather phenomena and what will you have to research?

When worldbuilding, a good habit is to create a weather tracker for your world (or at least one location in your world—pick the dominant one in your story). You should know the answers to the following questions without interrupting the writing process: What are the seasons of the year? What is the weather like during those seasons? How will the weather impact your story? 
For more Worldbuilding Questions, check out The General Worldbuilding Guide!

The General Worldbuilding Guide (The World Building Guide Book 1)
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Stop Giving Condolences on Revisions

A woman with brown and blonde hair smirks at the camera.

Though the novel has now moved onto the Editor’s Desk, I couldn’t believe what I was hearing from my fellow authors when I had told them I was in revisions for The Assassin’s Saint under my pen name V.C. Willis. It confused me. I was met with many “I’m so sorry” and “Oof! That’s rough” instead of the expected response of excitement that I felt. Feeling something had to be said, I took to social media and posted my thoughts and reactions to this whilst giving some proper advice, and support for those of you who feel condolences are needed.

Revisions VS Self-Editing

Editing is the final step before it hits the actual editor’s desk. Trust me, it’s impossible to see everything without a second pair of eyes. Revisions however is what happens between emptying the initial draft (rough and/or first draft) onto the notebook or word document. What follows is the tribulation and excitement that seems to either haunt most writers, or worse, send them into a spiraling black hole of grief that is on par with someone dying.

It’s ok. I can easily see why that happens. You would think after painstakingly prying the story from the depths of your mind and imagination, that you would be able to move on, but you can’t. In this way, yea, condolences may feel very on point. Moving on when you suddenly lose someone is very similar to the sensation of: 

“I finished, but I’m not, and I just want to move on to the next story but can’t because [insert muppets hands waving about] emotional distress is still happening with this story!”

Just remember this is not the time to be the grammar king/queen nor aim to polish your work. I know, that feels … wrong … but I assure you, this will make sense in the next few paragraphs!

It’s Not a One-and-Done Process

First mistake I am noticing is that many authors are thinking or forcing the concept that a revision is a one-and-done process. No. Please don’t do this to yourself. Revision is like combing tangles out of a wily little girl’s hair. Prepare for a long process that may even threaten to time spent getting that draft written. You will be combing through this one section or focal point at a time, and you might have to call for help or research or gather additional tools. I know, that sounds frightening, and it shouldn’t. 

This is meant for you to take the time to decide on several factors. Now that you can see all of your story, the first sweeps of the comb should be checking that writing style or voice you developed at the end of the draft. For example, your first few sweeps should do the following:

  1. Go back, make that voice stronger and more consistent from start to finish based on the voice and writing style created by the end of the draft. Make that prose pretty! With everything in place, you can take the time now to adjust the way you are telling the story to really bring out strong prose or create some where none resided.
  2. Make sure what crazy-sauce that was in your head really did make it on the page for the reader. I can’t tell you how often we are unaware we left vital information unwritten because “I knew it off the top of my head” thanks to yammering from imaginary friends.
  3. Summarized paragraphs that may be best as fleshed out scenes and chapter(s). This is probably the most important thing to be doing in those first several comb throughs. I know this is one of my biggest issues that comes up time and time again. Honestly, after recently revising The Assassin’s Saint I realized how much stronger my writing has gotten and that it’s nice to first empty the story out, see what writing style/voice I have, then flesh out these moments more accurately. Who cares I had to have six new chapters between Chapter 2 and 3! The story benefited from the readers experiencing things and I didn’t struggle to write it now that I know what’s happening!

How to Break It Down

Now, how do you get the revision ready for self-edits and eventually the editor’s desk at the very least. BREAK IT DOWN. We are now on the rounds of revisions that tighten our craft. We’ve expanded, deleted, and strengthened the bones and added the muscles. These comb-throughs are intended to build up the muscles, put the skin on the beast we’ve written. Maybe even add some tattoos or piercings. Whatever you want, it’s your story. Here’s some ways I like to polish off revisions before diving into grammar and commas and things I am not so strong at mastering.

  1. Foreshadowing – I talk a lot about foreshadowing and this is a great focal point for a revision round. Now that the plot is clear, there’s plenty of hints and winks you can add in to really build the reader’s immersion and anticipation.
  2. Dialogue – This can be very telling. Some authors go as far as only reading the dialogue to see if they can still grasp what is happening in the story from that much. It’s a great way to check for meaningful and story-provoking dialogue content.
  3. Character – Pick your main character, secondary, love interest, or villain and start a comb through only paying special attention to their actions, dialogue, and narrative meant for them. It’s amazing how often this simple routine has helped me catch holes even in my plot! Try it out!
  4. Story Beats or Plot Points – Make sure you got it all in there and that the order of events makes sense. Sometimes recapping these can let you know if you’re missing something or need to adjust the story in some way. In fact, I realized between this and character revision I was missing an entire subplot and had to write that into the story. These comb-throughs aren’t always an easy fix, but they are often necessary.
  5. Narrative and Setting – Much like the dialogue check, start reviewing just this section of the story. Are you establishing a change of room, scene, and location? Does the narrative support what is unfolding, match the emotions of what is happening while instilling that tone into your readers? Are you leading the reader into the scene and to the next scene with strong enough transitions? These are all important factors that should be one of the many rounds of revisions you perform.
  6. Reader Immersion VS Character State – This is one I do, and I don’t know how many authors really dig their fingers into this. It’s not something I see written or talked about often but I fret frequently over this concept. My last few rounds are often making sure that the emotional states of my characters and readers are where I want them to be chapter by chapter. I find myself tweaking the length of sentences, changing out word choice, and even adding/deleting anything that might damage/improve the pacing. Delivery of those tense moments mean everything in my own work where broody, angsty characters roam and dark fantasy vibes tend to prove PTSD worthy. Ask yourself often if you feel what was written invokes the emotional state the reader should have before the next chapter, and if not, time to massage content.

Repeat after me:

“I am not grieving! 
No one has died (besides [insert character(s) names here])! 
I don’t need condolences and certainly shouldn’t be giving them!
Revision rounds are where my prose turns pretty!”

Good! Do you feel better? It’s not a race, it’s revisions. You will have to comb these tangles out a few times before it’s ready for you to work grammar magic. That’s ok. Take it one step at a time, break it down, and watch how strong your story becomes.

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Like the advice and information you see here? Follow me on social media where I often post videos talking about and discussing my own tribulations as well as encouraging others to excel. From advice about writing, book design, to insight on my own work and creations that may prove inspiring. Stay connected here at WillisAuthor.com OR https://linktr.ee/WillisAuthor

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How to Use Your Manuscript to Guide the Book Formatter

It can’t be said enough times of how important it is as a writer and author, to be aware of how you are using your craft. Every space, placement, and the overall format you give your manuscript can impact how the editor, formatter, and reader interact and perceive the content on the page. As with anything else, consistency is key and being aware of what you can do to strengthen your formatting to carry through to the book formatter for optimal results in the overall print design. Here’s some great tips that can be huge game changers in your writing, editing, and publishing. Let’s take a look at what matters the most when formatting your manuscript to hand to editors and formatters alike.

Margins and Page Size

Stick with standard 8.5 x 11 or Letter sized pages. Don’t try to shrink the page size or mimic the print size of the book. Instead, focus on standardizing this so it’s easier to see any key changes in the overall content. On that same note, normal margins or 1 inch margins on all sides are just uniform for preparing a document. Leave book trim or size and the math for proper margins to the book formatter so that the print house has to correct parameters.

Line Spacing and Font Choices

Double spacing a manuscript is pretty well known whether it’s a class essay to a manuscript for a literary agent. The reason for this is that they can print and have space to leave marks and corrective notes. Same goes for most editors where this is also standard. As for the formatter, they will be basing line spacing on the font choice since these all have different natural spacing.

Fonts should be standard or common choices such as New Times Roman or Times, Arial, Garamond, Helvetica, and similar. Courier, Comic Sans, Papyrus, and other fonts should be avoided in case there are special letterings or accented characters that could be lost completely when importing into other programs for book formatting. These are also common fonts for eBook readers and are a great way to make sure the content you are writing is completely compatible for ebook devices and formats. 

Double Return versus Line Break

Be sure to either make a paragraph style that adds a space after or utilize a double return between flashbacks and similar slight content changes. As for a line break or scene change within a chapter, pick a means of communicating this by adding a line with asterisks (***) or hashtags (#). This should be consistent so that a simple find and replace can be done to identify where line break artwork or ornaments will go in the book design. 

Never hold SHIFT+ENTER since this creates a manual line break, not a hard return. These can cause weird spacing and awkward forced breaks in the middle of content, sentences, and more. Most designers may clean them out as they see them, while others simply assume they are intended to be there. 

Don’t force things to land on the next page unless it’s intended to do so like a new chapter start. You can even set the heading style or chapter header style to page break before or start on the next page. These make life easier as you start to write and prep your manuscript for editors and formatters. If you do need a manual page break, you can use the insert break options or use CTRL+NUMPAD ENTER to create one. Never use multiple hard returns to force content to the next page as it can cause confusion when the content is placed within the book trim and layout. 

Styles and Headers

Many word processors now have means of labeling paragraph styles, styles, or heading styles to content. Use them! These not only add vital programming, but makes it much easier for your formatter to understand the hierarchy of the content without guessing or making an attempt to read the content. Be mindful of how you are labeling chapters and subheads with these styles to make sure they will be designed with the same intent in the print version. 

You can also use styles or make custom styles to identify quotes, pull quotes, letters, references, and similar aspects. Be sure to make the formatter aware to expect these extra components. Using one or more character styles should help make these stand out via formatting choices such as italics, bold, or underline. Combine these with paragraph justification for further visual impact such as indent left, indent right, space before, space after, and center alignment.

Using style and heading systems can help you see your sections in navigation panes as you write and make it easier to jump to sections you want to work on or edit. It also utilizes and opens up doors for automation for ebook creation or even utilizing the Create a Table of Contents options so you can make sure you have assigned and layered your styles in the intended way. Most formatters will utilize TOC systems in their programs in the same manner, but with a wider range of styling and formatting options.

Tabs versus Indents

If you are utilizing styles for even the Normal or Body text, setting these paragraph styles to have a First Line Indent of 0.25 inches is pretty standard for a manuscript with no space after or before the paragraph. You can make a “no indent” variety which is often applied to the first paragraph of a chapter start, after a line break, after a subheading, or similar divided space designed to show a jump in content or major change.

Tabs can be a great way to make a chart in your content without having to insert a spreadsheet. Many folks have been taught to use the tab key to add their first line indent. It is highly recommended to utilize the paragraph style settings for this since this is becoming more of a tool for spreadsheet programming and can cause some weird results when multiple tabs have been used. If you need something aligned to the left, then use the paragraph alignment menu to do so. There should be a ruler and tab system to customize those settings for each tab dropped. Most of the new word processors, if fully updated, now convert a single tab to paragraph style. In short, it’s one less keystroke and thing to worry about as you work on your manuscript.

Track Changes and Comments

Track changes are a great tool for you and your editor, but if left in place when a manuscript is sent to a formatter it can cause weird import issues that include content going missing in places, words broken apart, and stopping the placement or import system short of completing its task. Even more so, it inserts hidden programming in the XML coding that can bug out ebooks unbeknownst to author and designer in most cases.

Avoid this by clearing all comments out and accepting all track changes. There should be none left open or active, and all deleted before sending the file to the formatter or designer. If you wish to provide a copy with comments that identify formatting remarks, it should be sent as a guide copy or remind the formatter they were left as indication for them (and they should be able to delete them out). Granted, these apply mainly to Word and Google documents in particular.

On occasion with Word documents, “Content Panel” of altered content shows up. Whether this is caused by opening the document in third party applications or converting from one program to another, I can’t say, but these can bug out importing the content for a formatter. In Word, identify one such section, select all (so it highlights the whole document for other instances), and use the left click to open the Content Panel options and Delete!

Check Your Hidden Characters

Not sure about the returns, the tabs, or the accidental line breaks? No problem. Most programs have a Paragraph Icon that toggles between show or hide “Hidden Characters” that looks like a backwards P. Sometimes these are also labeled non-printing characters and these options are commonly found in the view section of programs. If you have tabs or manual line breaks, they are often shown as arrow type symbols unlike the common dot for a space or backwards P for a hard return. 

File Formats to Use

Lastly, most design programs utilize Word Documents (DOC, DOCX) for the sheer reason that much like eBooks, these files are written in XML and are easily convertible. Most programs, including Google Docs and Apple Pages have the option to EXPORT or SAVE AS – Filetype dropdown, to select this option. If you are unsure of the default save format front eh program you are writing in or don’t have this option, there is a solution! SAVE AS RTF RICH TEXT FORMAT. This is an older text file that is tried-and-true to what it does. The underbelly programming stripes XML coding to the basics and should maintain your character and paragraph styles just fine. In fact, it’s not uncommon for designers who have import failures on submitted files to convert them to RTF and import them with no issue afterwards.

Discover More

If you haven’t discovered Writer’s Bane: Formatting 101, you’ve been missing out on a lot of answers to questions and even a stronger understanding of how impactful formatting is on a book. This includes what goes inside your book, how to prepare a manuscript for a typeset, and how to design the interior of your book. 

Like the advice and information you see here? 
Check out the Formatting 101 textbook here at: https://4horsemenpublications.com/product/writers-bane-formatting-101/ . This book holds a variety of answers for those seeking to become typesetters, looking to self-publish their book, or simply want to learn how to communicate and prepare their manuscripts to get the most out of their designers. The Writer’s Bane is a curse and passion, both a want and need to tell a story. In this volume, you will learn the importance of preparing a book for layout as well as laying it out in a way that appeals to your readers of any genre including picture books, chapter books, fiction, memoirs, textbooks, workbooks, and everything in-between.

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5 Reasons You Should Pay Attention to Book Formatting

It’s strange to think about the fact that book formatting and layout still shows signs of those early printing press books in the 1400-1500s. Over the centuries, academia has evolved that format to create standards that began to take hold as public consumption increased in the 1800s. Regardless, your book’s format has to fall in line in a lot of ways for several reasons which include guiding and navigation of content, pacing of a story, placement on bookshelves, limit print issues, and reader immersion. If you haven’t discovered Writer’s Bane: Formatting 101, you’ve been missing out on a lot of answers to questions and even a stronger understanding of how impactful formatting is on a book. This includes what goes inside your book, how to prepare a manuscript for a typeset, and how to design the interior of your book. 

Guiding and Navigation of Content

Imagine a world where books didn’t have an expected chronological order to the content presented. I mean, no chapter numbers, no headers, and no page numbers. PURE CHAOS! A book’s format has an expected order and rhyme and reason. If they didn’t, it would be impossible to grasp where the information can be found. Even in “Choose Your Own Path” novels they have clearly written instructions and rely on guiding a reader via the page numbers. Let’s also be mindful that, for example, page numbers should land in the same spot throughout a book, but if this was inconsistent, you would be lost especially in a textbook. 

Keeping these navigational devices in your book in place and consistent means a lot. There have been a few books where page numbers were non-existent, and with so much automation in even word processors, WHY? How am I supposed to know where I am and what page my bookmark fell out? CHAOS. And worse, this example had a Table of Contents with numbers. PURE CHAOS. Be mindful of using all the navigational tools not for you, but your readers.

Pacing of a Story

This starts at the manuscript level and can skew how a typesetter or book designer “translates” the final book format, but be sure to use double returns and marking line breaks (***, #, or some other consistent searchable indication) in the right way. 

For example, double returns often come into play when a flashback starts or ends, a change in point of view or head hop happens in the moment or scene with no jump in time, or in non-fiction change in thought or moving on to the next thought within the same subject matter for that section/chapter. 

As for the line break, this is often where an ornamental icon will be added into a book. These often signal a change or passing of time in fiction work, change in location or jumping to a character not in the current scene, or the start of a new subject matter in a more significant manner in non-fiction. 

Placing these consistently and using them for the age-old expected reasons can help how a reader and story paces visually and limit any confusion. Imagine if neither of these existed in the novel you’ve been reading? MAYHEM!

Placement on Bookshelves

If you fail to fall in line with CMS or similar styling (Chicago Manual Style, APA, MLA, ect.), there’s a good chance that your book will not be chosen for bookshelves in commercial stores, libraries, and schools. It’s not uncommon for schools to require books to be in APA for medical books and degrees while other textbooks on certain matters for researched content may want MLA. Overall, commercial or public consumption often falls under the CMS standards though they aren’t as strict as academic and textbooks can be. These tend to be far more artful and allow more creative means. That doesn’t mean go hog wild and go above-and-beyond to break the formatting until it’s no longer recognizable. We’ve spent centuries to develop these styles and for good reason. 

Limit Print Issues

Margins and layout are also defined under these styles. Not only does it help identify the anatomy of what’s on the page, but these often aid in keeping the content from printing off the page or deeping into the spine of the book. Headers and footers play dangerously close to the edge, but the core content never should come close to this. The information is far more vital if the page prints crooked, right? Often book designers will have to adjust the margins dependent on the printer and press they are sending the file too. For example, for a perfect binding or glue binding Print-on-Demand book we typically set the inner margin with no bleed. Meanwhile, for Smythe Sewn or sew-bound hardcovers we would have to add bleed/trim/margin for stitching and binding to take place. A lot of math gets involved in those final moments of a book’s design that can impact the final look, so be mindful that anything that is pushed to the edge or super close has a high potential of “being lost” or cut off completely. 

Reader Immersion

Lastly, the biggest factor in all of this is the impact your consistency in formatting has on the reader. If the styling and broken style rules are too many, the reader will be confused and most likely will stop reading or even abandon the book. Again, for CENTURIES, books have an order and cadence that readers for GENERATIONS have been taught to read. Breaking the normal expectation in certain umbrellas can have detrimental effects to how readers feel and perceive your book and its content. Bad reviews, low sales, and social media thrashing will be just a few of the impacts here. The way a book is formatted is designed to optimize COMMUNICATION and to alter that has dire consequences and breaks the connection with the readers. Immersion can be granted, but the moment the font changes without warning, or the content isn’t labeled as expected, the reader gets distracted or frustrated. Remember, you’re not formatting for you, but for the audience. Don’t cause chaos!

Discover More

Like the advice and information you see here? Check out the Formatting 101 textbook here at: https://4horsemenpublications.com/product/writers-bane-formatting-101/ . This book holds a variety of answers for those seeking to become typesetters, looking to self-publish their book, or simply want to learn how to communicate and prepare their manuscripts to get the most out of their designers. The Writer’s Bane is a curse and passion, both a want and need to tell a story. In this volume, you will learn the importance of preparing a book for layout as well as laying it out in a way that appeals to your readers of any genre including picture books, chapter books, fiction, memoirs, textbooks, workbooks, and everything in-between.

Writer’s Bane: Formatting 101
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From the Author’s Desk: Calling all English Teachers!

Looking for a new composition book for your class? The faculty at Hillsborough Community College decided that none of the publishers had what our students needed, so we wrote our own book that meets the needs of today’s students. 

Composition & Grammar is an easy to use, ADA-compliant textbook that includes useful overviews, practice exercises, and student samples. 

Take a look at the Table of Contents to see what is included in the textbook:

  • Part 1: Reading
    • Ch 1 Active Reading Techniques 
    • Ch 2 Reading Comprehension Strategies
  • Part 2: Writing Process
    • Ch 3 Writing Situation 
    • Ch 4 Writing as Exploration 
    • Ch 5 Planning/ Prewriting
    • Ch 6 Outlines 
    • Ch 7 Thesis Statements 
    • Ch 8 Introductions 
    • Ch 9 Conclusions 
    • Ch 10 Organization
    • Ch 11 Drafting, Revising, & Editing 
  • Part 3: Modes and Types of Writing
    • Ch 12 Writing Modes
    • Ch 12.1 Narration 
    • Ch 12.2 Description 
    • Ch 12.3 Exemplification
    • Ch 12.4 Definition 
    • Ch 12.5 Classification/Division 
    • Ch 12.6 Process 
    • Ch 12.8 Cause & Effect 
    • Ch 12.9 Argumentation 
    • Ch 13 Types of Writing 
  • Part 4: Grammar
    • Ch 14 Parts of Speech 
    • Ch 14.1 Nouns
    • Ch 14.2 Verbs
    • Ch 14.3 Adjectives 
    • Ch 14.4 Adverbs
    • Ch 14.5 Prepositions 
    • Ch 14.6 Pronouns 
    • Ch 14.7 Conjunctions 
    • Ch 14.8 Interjections 
    • Ch 15 Sentence Structure
    • Ch 15.1 Parts of a Sentence
    • Ch 15.2 Types, Patterns, & Structure 
    • Ch 15.3 Coordination & Subordination 
    • Ch 15.4 Modifiers 
    • Ch 15.5 Parallelism 
    • Ch 16 Punctuation 
    • Ch 16.1 End Punctuation 
    • Ch 16.2 Commas 
    • Ch 16.3 Semicolons 
    • Ch 16.4 Colons 
    • Ch 16.5 Apostrophes 
    • Ch 16.6 Hyphens 
    • Ch 16.7 Dashes & Parentheses 
    • Ch 16.8 Ellipses & Brackets 
    • Ch 16.9 Quotation Marks & Italics 
    • Ch 17 Common Errors
    • Ch 17.1 Verb Errors 
    • Ch 17.2 Pronoun Problems 
    • Ch 17.3 Run-on/Fused Sentences
    • Ch 17.4 Comma Splices 
    • Ch 17.5 Sentence Fragments s
    • Ch 17.6 Mixed Sentences 
    • Ch 17.7 Commonly Confused Words 
    • Ch 18 Style 
    • Ch 18.1 Person
    • Ch 18.2 Voice
    • Ch 18.3 Diction 
    • Ch 18.4 Clarity & Conciseness 
    • Ch 18.5 Tone 
    • Ch 19 Reference Overview
    • Ch 19.1 Numbers 
    • Ch 19.2 Abbreviations 
    • Ch 19.3 Capitalization 
  • Part 5: Research
    • Ch 20 Plagiarism 
    • Ch 21 The Research Process 
    • Ch 22 Finding Sources 
    • Ch 23 Integrating Sources 
    • Ch 24 MLA Format 
    • Ch 25 APA Format 

We live in a world of words.

The way we interact with our fellow humans is very often based on the language that always surrounds us, whether it be the messages we send, the news we read, or the assignments we complete in classes that give us the education intended to lead us to success.

What might be the best way to navigate the complexity of language, especially in a first-year composition course? This book addresses these issues by presenting lessons, examples, and student samples through an approach that is friendly, conversational, and realistic.

Created by actual instructors of composition at HCC, this book includes many resources to guide composition students of different skill levels:

  • In-depth overviews of reading, writing, and revising
  • Engaging exercises that anticipate and address the most common errors of writers
  • Actual student samples that provide the basis of class discussions and analysis

With guidance that includes both theory and practice, Composition and Grammar for HCC by HCC provides students with the skills they need for their educational goals, their careers, and their lives.

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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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Tapping into Your Hero’s Emotions: The Key to Engaging Creative Writing

In the realm of creative writing, heroes are more than just characters who drive the plot forward; they are the heart and soul of your story. Understanding and tapping into your hero’s emotions is crucial for creating compelling narratives that resonate deeply with readers. 

Emotions not only humanize your hero but also provide the reader with a window into their inner world, making the journey more immersive and impactful. Here’s a detailed guide on how to effectively harness your hero’s emotions in your writing.

The Importance of Emotional Depth

Emotional depth in a hero is what transforms a flat character into a dynamic one. Emotions provide motivation, shape decisions, and drive actions. They also make your hero relatable, allowing readers to connect with them on a personal level. This connection is essential for maintaining reader interest and investment in the story.

  1. Relatability: A hero with authentic emotions mirrors the human experience, making them more relatable. Readers are more likely to empathize with a character who feels joy, sorrow, fear, and love in realistic ways.
  2. Motivation: Emotions are often the driving force behind a hero’s actions. Understanding what your hero feels helps to explain why they make certain choices, adding layers to their character and making their journey more believable.
  3. Conflict and Growth: Emotional struggles and triumphs create compelling conflict and drive character development. Witnessing a hero navigate their emotional landscape allows readers to experience growth and transformation alongside them.

Techniques for Exploring Your Hero’s Emotions

To effectively tap into your hero’s emotions, you need to employ a variety of techniques that reveal their inner world to the reader. Here are some strategies to consider:

  1. Show, Don’t Tell: Instead of directly stating how your hero feels, show their emotions through actions, dialogue, and internal monologue. For instance, instead of writing “John was angry,” describe how he clenched his fists, his face turned red, and he spoke through gritted teeth.
  2. Internal Monologue: Use your hero’s thoughts to delve deeper into their emotions. Internal monologue allows readers to hear the character’s inner voice, providing insight into their fears, hopes, and desires. This technique is particularly effective for conveying complex or conflicting emotions.
  3. Dialogue: Emotions can be powerfully conveyed through dialogue. The way your hero speaks—tone, word choice, pacing—can reveal their emotional state. Pay attention to subtext as well; what is not said can be as revealing as what is said.
  4. Body Language and Facial Expressions: Nonverbal cues are a vital part of emotional expression. Describe your hero’s body language and facial expressions to convey their feelings. Slumped shoulders can indicate defeat, while a bright smile can suggest joy or relief.
  5. Sensory Details: Emotions often heighten the senses. Use sensory details to immerse readers in your hero’s emotional experience. Describe how the world feels, smells, sounds, and looks from their perspective when they are happy, scared, or grieving.

Building Emotional Arcs

An emotional arc is the journey your hero undergoes in terms of their emotional state from the beginning to the end of the story. Crafting a strong emotional arc is essential for character development and overall narrative impact.

  1. Starting Point: Establish your hero’s emotional baseline at the start of the story. This provides a reference point for measuring their growth and changes.
  2. Challenges and Triggers: Introduce events and situations that challenge your hero’s emotional state. These triggers should be significant enough to cause an emotional response and propel character growth.
  3. Climax: The emotional climax is often tied to the story’s overall climax. This is the point where your hero faces their greatest challenge and their emotions reach a peak. It’s a moment of intense vulnerability and revelation.
  4. Resolution: Conclude the emotional arc by showing how your hero has changed emotionally. This can be a return to a new normal, a moment of acceptance, or a newfound strength.

Playing on Your Hero’s Trauma Using CBT Principles

Cognitive Behavioral Therapy (CBT) offers valuable insights into how trauma shapes a person’s emotions and behaviors. By applying CBT principles to your hero’s emotional journey, you can create a more authentic and nuanced portrayal of their trauma and growth.

  1. Identifying Core Beliefs: Trauma often leads to the formation of negative core beliefs. These beliefs shape how your hero sees themselves and the world. For instance, a hero who survived a traumatic event might believe they are powerless or that the world is inherently dangerous. Understanding these beliefs helps to explain their actions and reactions throughout the story.
  2. Triggering Emotional Responses: Use specific events or interactions to trigger your hero’s trauma-related emotional responses. These triggers can be people, places, or situations that remind them of their trauma, leading to intense emotional reactions. This technique adds depth to their emotional arc and provides opportunities for growth.
  3. Cognitive Distortions: Highlight your hero’s cognitive distortions, such as black-and-white thinking, catastrophizing, or overgeneralization. These distorted thoughts can create internal conflict and drive the plot. For example, a hero who catastrophizes might interpret a minor setback as a complete failure, leading to a crisis of confidence.
  4. Emotional Regulation: Show your hero learning to manage their emotions through healthy coping mechanisms. This can include self-reflection, mindfulness, or seeking support from other characters. Their journey towards emotional regulation can be a significant part of their character development.
  5. Reframing and Growth: As your hero confronts their trauma, use CBT techniques like reframing to show their growth. Reframing involves changing negative thought patterns into more positive or realistic ones. For instance, a hero who initially believes they are powerless might, through their experiences, come to see themselves as resilient and capable.

Tapping into your hero’s emotions is essential for creating rich, engaging narratives. By understanding their emotional depth, employing techniques to reveal their inner world, and crafting a compelling emotional arc, you can create heroes that resonate deeply with readers. Incorporating CBT principles into your hero’s emotional journey adds authenticity and depth, making their experiences and growth more believable. 

If you’re eager to explore more tapping into your Hero’s emotions and using psychological principles to do it, I highly recommend checking out my book, The Psychology of Character Building for Authors. This comprehensive guide delves into the psychological underpinnings of character development, providing invaluable insights and practical techniques to help you create multifaceted characters that resonate with readers. 

Happy writing!

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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)