Two Words? Oops, One Word

[found on quickanddirtytips.com; by Bonnie Trenga Mills]

“Do you want to get ahead (one word) or are you cooking an esoteric dish and want to get a head (two words)? That one little space can make a big difference in meaning: Either you are moving past others in business or you are purchasing a skull…..

When it comes to pairs such as “apart” with no space and “a part” with a space, the spelling doesn’t matter when you’re talking; both sound the same. When you write the words, however, you might forget to add a space, or you might add an unnecessary one. This problem crops up with all kinds of words, but in this episode we’re focusing on words beginning with the letter “a.”

Words That Start With “A”

Here’s a short list of pairs like “ahead” and “a head”: “alight” and “a light,” “abuzz” and “a buzz,” “apart” and “a part,” and, lastly, “ahold” and “a hold.” As you can see from this list, the one-worders beginning with “a” can be various parts of speech: “ahead” is an adverb, “alight” is a verb,” and “abuzz” is an adjective. The two-worders, on the other hand, consist of an article—the word “a”—and a noun: “light,” “buzz,” “part,” and “hold.” True, these words can sometimes be verbs, but when something follows the article “a,” it’s a noun (unless something such as an adjective comes between the article and the noun, as in “a delicious cake”).

“Alight” Versus “A Light”

Let’s see these four pairs in action. The first two—“alight”/“a light” and “abuzz”/“a buzz”—are the easy ones. You could say, “That annoying bee wants to alight on my nose.” This means the bee wants to land on your nose, and there’s no space in “alight.” If you say, “He turned on a light”—with a space—that means he was no longer enveloped in darkness.

“Abuzz” Versus “A Buzz”

In keeping with the bee theme, here’s our next example: “I heard a buzz.” A quick test for those listening: Is there a space or not? Well, yes, there is! “A buzz” with a space means “a buzzing noise.” “Abuzz” with no space is an adjective that means alive with activity, as in “The room became abuzz when the grammarian entered.”

To read the entire article from Grammar Girl, click here.

[found on http://www.quickanddirtytips.com/education/grammar/a-hold-or-ahold]

Webinar: Meet the Editor

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Editing Addict’s Billi Joy Carson is joining A Book’s Mind in a free webinar on June 19, 7pm (AZ time). Come join her as she shares about the editing process, and discusses its value in the publishing industry.

Registration:

When:

    • Thursday, June 19, 2014

    • 7:00 PM – 7:30 PM (Mountain Time – Arizona)

Where:

Detecting Crime Fiction

[found on storylite.com; by Maria Z/GD]

Sub-genres of  Crime Fiction:

“• Cozy / cosy

o Set in the 1920-1930’s of middle-class England.
o Graphic details of murder scenes are either downplayed or described humourously.
o Popular writers of this subgenre include Agatha Christie and Dorothy L. Sayers,
o ‘International cosies’ such as the African Ladies Detective series by Alexander McCall Smith, and the Vish Puri Mysteries by Tarquin Hall.

Hardboiled

o ‘Hardboiled’ is most a reference to the detective’s nature of going through perilous situations and emerging the victor while solving a case, in comparison to other ‘half-boiled’ detectives who merely solve cases without facing much risk.
o Also refers to a boiled/tough use of graphic violence and unsentimental sex.
o Popular writers of this subgenre are Raymond Chandler and Dashiell Hammett, Walter Mosley, Nicholas Blincoe, Stella Duffy and more.

Legal

o Stories revolve around lawyers, their cases and the suspects, leading to courtroom drama.
o It is hard to run from clichés with this subgenre. Being equipped with thorough knowledge of the law may not be enough to write a killer legal crime story.
o Stories are highly-dependent on strong characters.
o Reading works like The Runaway Jury and Street Lawyer by the king of legal crime fiction, John Grisham, is a good way to observe how characters develop.

Police Procedural

o Stories of this subgenre have an inspector or detective who conducts investigations to find the perpetrator.
o These stories have highly-intricate plots supported largely by the connections between the main characters.
o Popular writers of this subgenre include Stephen Booth and Ian Rankin.
o Includes TV shows CSI (also Horror gennre) and many others.

Buddy

The story is really about how two people (almost always men, often older guy/younger guy or straight guy/slightly off-kilter or comedy guy) relate in stressful situations.

The buddies are usually cops with some sort of secret shameful past, with the crime background keeping it exciting (and sellable).

Mismatched pairs are the norm, ‘about to retire’ another cliche, so try and be original. Perhaps two identical twins, separated at birth, who both sign up to become cops…

 Real life crime

Many ex criminals, some still in jail, have written up their exploits as more or less reliable memoirs. Or writers have produced gripping biograhies. Examples here include the many books about the Kray brothers in London’s East End; Razor Smith’s excellent autobiograhy ‘A few kind words and a loaded gun’.

These are made up but the truth is usually more horrible. Many great novels by Irving Welsh are in this general area, such as Trainspotting (and the sequel); Bedroom Secrets of the Master Chefs.

So fiction can be used to create false histories and made up real life dramas.

• Drug crime

Can be gangs, individuals, this is a hot topic and very popular, especially with TV and film. Often has a double crossing or three, stolen drugs, fake drugs, prostitution, assassins, international elements. Has to be true-to-life – which is easy as so many non-fiction books.

• Space crime

Another commercial genre, many SF novels have a large crime or whodunit angle, particularly cyberpunk, which is usually about computer hacking, brains, corporate crime, drug subcultures etc.”

For more tips on writing from storylite.com, click here.

[found on http://www.storylite.com/genre-writing/crime-criminals-police-cop-law]

Punctuation Is Your Friend . . .

[found on thepunctuationguide.com]

 . . .

“An ellipsis is a set of three periods ( . . . ) indicating an omission. Each period should have a single space on either side, except when adjacent to a quotation mark, in which case there should be no space.”

“The em dash is perhaps the most versatile punctuation mark. Depending on the context, the em dash can take the place of commasparentheses, or colons—in each case to slightly different effect.

Notwithstanding its versatility, the em dash is best limited to two appearances per sentence. Otherwise, confusion rather than clarity is likely to result.

Do not mistake the em dash (—) for the slightly narrower en dash (–) or the even narrower hyphen (-). Those marks serve different purposes and are further explained in other sections.”

!

The most flagrant way a writer demonstrates contempt for his readers is by ignoring punctuation altogether. A close second is the abundant use of the exclamation point. Some writers even use three or more exclamation points, lest the reader not fully grasp the significance of what is being said.  To be effective, the exclamation point should be used in moderation.”

[ found on http://www.thepunctuationguide.com/index.html ]