An epilogue – the final section of a story – brings closure and ties in loose ends. It can be an essential part of a narrative, helping to connect different elements of a story and give the reader some sense of resolution. But is an epilogue needed? There are pros and cons of including an epilogue in your story and you’ll need to consider whether it’s right for your story.
Pros of an epilogue
Closure: An epilogue can provide closure, and resolution to a tale. This can be especially important in a longer story, where the reader has invested more time following the narrative and its characters.
Future insight: An epilogue can give the reader a glimpse into the future, showing what happens to the characters after the main events have taken place. As well as closure this can provide a deeper understanding of the characters and their experiences.
Aesthetic appeal: An epilogue can be a beautiful and moving way to end a story. It can provide a sense of nostalgia and evoke emotions, helping the story and its characters be remembered long into the future.
Cons of an epilogue
Unnecessary information: Wrongly applied an epilogue may introduce information that seems unnecessary or irrelevant to the main story. This can reduce the impact of the narrative and detract from the reader’s experience.
Predictable: An epilogue can be predictable and formulaic, which gives a stereotypical ending to a story. This could be disappointing for readers who expect a more original and creative conclusion.
Detachment from the main story: An epilogue can sometimes feel detached from the main story, as if it separate and unrelated. This can be distracting and detract from the overall flow and cohesiveness of the narrative. It could appear to be a clumsy trail for a follow-on story to come.
Good examples
Here are some examples of stories with well-crafted epilogues and what they add to the book:
Pride and Prejudice by Jane Austen – here the epilogue provides a glimpse into the future of Elizabeth and Mr Darcy showing how the author sees their relationship would develop.
To Kill a Mockingbird by Harper Lee – this epilogue gives a view of where Scout, the narrator, gets to beyond the story, this adds interest and serves as a strong conclusion.
The Lord of the Rings by J.R.R. Tolkien – this epilogue unites different elements of the story and gives the reader an idea of what the characters go on to do after their main adventure.
The Great Gatsby by F Scott Fitzgerald – here the epilogue again shows the future of the characters and allows the readers to gain a deeper understanding of the story themes, including wealth, love and decadence.
Conclusion
Whether or not you include an epilogue in your story depends on your narrative. It can provide closure, more information on the characters and evoke emotions in the reader, but it can also be unnecessary, predictable and detached from the main story – lots to consider.
Beyond the very first draft of a manuscript (where a writer is getting down the ideas in as flowing a manner as possible) there are certain words which are almost always be better substituted out. When these are swapped for a more precise, descriptive and interesting terms the writing quality improves. Here I point out half a dozen of the ripest for replacement.
Suddenly
This must go because it is standing in for words which will give the reader a context for what is about to be described, whether that be events or feelings. It is not necessary because if something happens suddenly telling us this will be slowing the pace down at just the time the action is happening and the pace has sped up.
Nice
This term is okay in a first draft with the excuse that the writer is in their flow and will replace it later. By the second draft this term should usually be replaced by a more descriptive term, as it is vague to the point of almost meaningless. Substitute with a more precise term which will make the writing more interesting, more rhythmical and more enjoyable to read.
Obviously
Anything which is really obvious does not need mentioning and even if it is mentioned it does not need signposting. If the term is left in it can come across as unnecessary telling no reader is likely to appreciate. Any sentence which is obvious can be removed and improve the writing, making it more relevant and more punchy.
Actually
There are so many word to choose from to convey what the writer wants the reader to know and including actually is often irrelevant and belittles the rest of the sentence it is put with. In editing a term is one I often cull.
Thought to herself
Thought alone says it there is no need to add the to himself/their self etc. How do you think to anyone else? No is is just thought.
Inevitably
Well sometimes this has something to add but more often than not it would be best left out. It often points out the obvious or the actual so it is, for the same reasons those words get smoothed out in a second draft, best removed.
Trim this lot and editors will prefer yto see these switched for any more interesting and fresher word choice. The second draft will be livelier and tighter. Readers will find your writing more engaging – what’s not to like?
To see how I can help with your fiction or creative nonfiction do get in touch.
Writers place characters in stories to have an impression on their readers.
“As I don’t write characters that leave no impression on me.”
– Lauren DeStefano
Creating characters
When creating main characters in your writing they need to be make an impact on the reader and should be believable and engaging. Main characters are more believable and arguably more interesting if they are multifaceted and show identifiable personality with motivation to pull them through the events of the story.
Memorable main characters
Unlike side characters the main characters in most novels will have memorable names which clearly distinguish them from other people. The main characters will also be developed through the story and undergo some degree of change, this process is often described as the character arc. This arc is most pronounced with the main character, especially the protagonist.
Your main character is so important that they are likely to be introduced within the opening section of the novel where they will be introduced in an active scene making them relatable for the reader who will witness the character making a decision or reacting to something rather than reflecting on events in their backstory.
What makes a character different from everyone else, is characterization. Describing direct characterisation Janet Burroway highlights a character’s qualities as speech, action, appearance and thought and to these Matthew Salesses adds that we should think about our character’s attitude. In this we develop understanding of their actions and decisions. He suggests an exercise a writer can carry out to focus on the character’s attitude by considering as broad as possible ‘They [the character] were the kind of person who … ’ by answering this question repeatedly about the character, the writer focuses on what attitudes the character holds. The significant features will be the basis of what makes that individual different from others and it is that which will make them interesting and engaging.
For the protagonist this attitude is likely to include some of several positive and appealing features.
Orson Scott Card reminds us that some characters are drawn as relatively flat characters which was pointed out by E.M. Forster, who suggests that, in fiction flat characters can be just as important as rounded characters. An example of a flat character would be Mrs Micawber who never deviates from supporting her husband.
Craft complex protagonists
The delight in a complex character can be their unpredictability. It is this ability to surprise which intrigues and engages as Mary Kole points out the best characters are those readers either love dearly or that intensely. For igniting of this passion within the reader comes from the same passion for the character in the writer. The level of care the writer has about their character can be increased by them getting to know that character in detail perhaps by listing answers to questions about the individual to build up a clear picture of what the character looks like, what food they like, what the main events were in their life, who they mix with and where they live and are they in love. From this bank of information some detail will be used in the writing but rather like the tip of an iceberg most will just inform the writer so they can build up a more rounded personality to set in action within their story to carry out the events of the plot and interact with other characters through the story.
Another technique for developing character is to decide on a character and in a scene then, as an exercise, write what that character would be thinking – their internal monologue. By doing this for several different characters you begin to hone in on the differences between those characters which will help to find those you are most passionate about and most interested in writing about. Awareness of the internal monologue could also be the basis for incorporating some of that thought within the novel. This can increase how the reader relates to that character allowing them to witness internal conflict and personality closely.
Often characters are made to stand out by having a memorable quality or quirk and this can be used to differentiate individuals, to surprise and bring both interest and uniqueness.
Make marvellous antagonists
To bring conflict to a story the protagonist is likely to be up against antagonistic forces and most often this will be in the form of an antagonist. This character will be interesting if they are much more than one dimensional. The stronger or more objectionable your antagonist the more powerfully they can work against your protagonist. This will lead to more extreme measures being required by to overcome the conflict the protagonist will find themselves in.
Antagonists are more satisfying if they possess their own morality which the reader can see playing out this may be part of their backstory or a feature of their personality but it needs to make them seem rounded and believable with their own consistent objectives and motivation.
The same questions could be used to build up a bank of information on this character or you could develop a specific set for these. Such a set could include, what their weakness is, what they secretly enjoy and what are they like most about themselves.
Whatever the conflict and struggle between the two main characters readers do not want the protagonist to succeed easily so the villain must have skills and allies to work to mount a convincing and enduring challenge to sustain the story. The stakes of your story can increase where the two main characters are pitching against each other strong opposing forces lead to higher stakes and greater reader engagement.
Authors seek to make their main characters lifelike but as David Morrell points out there is a paradox here as we have never known any living person in the way we can feel we know a written character. In fiction we can access someone’s innermost thoughts and emotions, an experience which he describes as ‘…totally unrealistic, however magical.’ He also cites Forster saying one of the central appeals of fiction is that novels suggest a more comprehensible and thus more manageable human race.
Bibliography
Morrell, D. 2008 The Successful Novelist, Sourcebooks Inc. Naperville, Illinois
Boulter, A. 2007, Writing fiction, Palgrave, Hampshire
Forster, E.M. 1956 Aspects of the Novel, Mariner Books,New York
Once your first draft is done, and you have taken a well-earned break, the manuscript will need some more work. You may make further drafts and do some self-editing. Then could be when you feel it is ready for someone else to read. If your presentation lacks uniformity you should consider resolving this before anyone else reads it. This standardisation will reduce the reader being distracted from the meaning of the words.
Who will the next reader be?
Who you choose to read through your manuscript could be a family member, a beta reader, a friend, publisher, an agent or any combination of these. Maybe you will decide to collaborate with a professional editor, as you could feel that the writing would benefit from their expertise and fresh eyes. Whoever you present your writing to, you will want them to form an opinion and probably offer some feedback, advice and their suggestions for improvement.
Why good presentation matters
How your manuscript looks to a reader will make an impression, favourable or otherwise. Clear writing will take the reader less time to read. This would be desirable even if they were family but if they’re an editorial professional a difficult-to-read manuscript could end up costing you more in their time. Presenting your manuscript well will reflect how seriously you take your writing and how well you respect their time.
How to set out writing clearly
Some agents and publishers offer authors a predetermined style, in the form of submission guidelines or author guidelines. Experienced authors may have a style or convention they like to follow for all their writing as their own preferences or guidelines.
If you do not have a documented format that your manuscript should follow there is flexibility but aim to be consistent. As a general guide the following choices will present a clear, readable manuscript:
Use a title page(unnumbered)
Begin numbering on the first page of the text
Typeface: keep to one font throughout and use a commonly available one such as 12 point, regular (not bold in text), Times New Roman, Black
Margins 1 to 1.5 inches all round
Each chapter on a fresh page, following a page break (not multiple spaces down to the start of the new page)
Line spacing 1.5 or double spaced
Align left (also called ragged right)
Only one space between sentences
Do not use tabs (use Word Styles with indents of five spaces for each new paragraph)
Care with formatting your manuscript will make your work easier to assess and eventually to typeset. This level of presentation will help with reader experience and reduce distraction from the message of your writing.
By doing this you will come across as having a professional attitude to your writing and help everyone concentrate on what you written rather than how you have written it.
The final arbiter is you
The more people you get to read your manuscript the more opinions and suggestions you will collect. Once two readers have seen your manuscript be prepared for them not to agree on everything. Professional editors are likely to back up their suggestions with reasoned explanations but on reviewing their edits, if you feel that you need more explanation or are unclear, you should ask for clarification. Whoever you get to check your writing before it moves to the next stage always remember that you will be the one attaching your name to it and as author you are the final arbiter.
To let me know about your fiction or creative nonfiction writing do get in touch, perhaps we can collaborate.
Often writers will ask me variations of the question ‘how many words make a proper book?’ This question suggests the questioner is probably a new writer. They may not have spent long looking at the type of books they are writing or aspire to write.
As with many questions about writing, my immediate thought is, it will depend. Although some will say that a creative should let their writing flow and produce the manuscript which tells their story and writing should not be constrained by a set wordcount, this is not going to help a new writer. In the early stage of getting a first draft written, flowing creativity is most helpful and story is paramount. The beginning, middle and the end need to be crafted. At some point in the writing process, perhaps still at first draft or when self-editing and editing, manuscript length is worth considering.
When does it NOT matter how long a book is?
When the words are precisely as the author wants and the intention is to self-publish, the wordcount does not matter. Some books may be made in this way, for example where a poet has invested a great deal of time crafting their lines and verses and has a group of themed poems to go into a volume. The author is the final arbiter and if this is their process the reader could be presented with any wordcount in a book. Once an author has become established and has a loyal following, they can be less concerned about the wordcount of their manuscripts.
When DOES it matter how long a book is?
With digital publishing typesetting constraints are not what they once were but physical books still have the same issues.
Picture books are typically thirty-two pages long, as they need to be in page count multiples of eight. The words need to fit within this construction.
Most books are not tied to a fixed page count, and equally most are not entirely free from an expected wordcount norm.
At any stage in the writing and publication process the word count of a manuscript comes with implications.
Getting it written – if you know the wordcount you are aiming to write for a project (whether book, blog post or article) you can use it as a gauge for how far remains to completion. The wordcount can be helpful to break the writing down into chunks which are more manageable to consider as chapters, scenes or acts to help bring a balance or pace to the narrative. Grouping wordcounts within a long-form manuscript can help outline and plan.
Managing the project – wordcount can be used to monitor progress. Awareness of wordcount helps with scheduling dependent activities such as self-editing, copyediting, proofreading, beta readers, publication and marketing.
Meeting genre expectations – book genres come with standards for the number of words they require which is based on traditional publishing. Staying within the recognised wordcount appropriate to genre will prevent frustrating the expectations of others.
Wordcount will have a bearing on editing and proofreading costs; production costs and perceptions of value. Books which seem short may appear as poor value for money and books that are longer than readers expect may be perceived as drawn out or demanding.
What are standard traditional publishing wordcount guidelines?
These are benchmarks wordcounts and come from various sources including Hill (2016), and the Writers and Artists Yearbook (2020):
Children’s Picture Books: up to 500 (absolute maximum 1,000)
Short Stories: 1,000 to 8,000
Children’s Chapter Books: 6,000 to 10,000
Novellas: 20,000 to 50,000 (some recommend a maximum of 40,000)
Novels: between 40,000 and 100,000 but typically 90,000
Young Adult: 50,000 to 80,000
New Adult Novel: 60,000 to 85,000
Horror, Mystery, Suspense, Thriller: 70,000 to 90,000
Mainstream Romance: 70,000 to 100,000
Literary Fiction: 80,000 to 110,000
Women’s Fiction: 80,000 to 110,000
Crime: 90,000 to 100,000
Science Fiction: 90,000 to 125,000
For a new writer it is advisable to keep within wordcount guidelines as it is less likely to succeed as an exception than by conforming, although there will always be some exceptions.
To see how I can help with your fiction or creative nonfiction do get in touch.
Resources:
Hill, B. (2016). The Magic of Fiction: Crafting Words into Story: The Writer’s Guide to Writing and Editing. Atlanta: Title Page Books
Writer’s and Artist’s Yearbook (2020). Writer’s and Artist Yearbook 2020 113th ed. London Bloomsbury Yearbooks
I think honesty from the outset about the quality of writing is important. Clients sometimes ask for their manuscript to be edited to be perfect, but quality in writing has a subjective component. There will be improvement but perfection is an elusive aim.
Every writer decides at some point that a piece of writing is finished and ready. However, they know that if they leave their document for a while, then go back to it and read it again, they are likely to tweak and improve what they have written – to improve the clarity or the pace of the story or the words which are used. Redrafting and editing are all iterative processes; many writers produce multiple versions before they feel that their work is complete. What writers aim for, and what readers seek, is good writing but it is difficult to pin down exactly what that is.
Perfection v. improvement
Editorial professionals, be they developmental editors, copy-editors or proofreaders, work to improve the content they are presented with. Ask a dozen copyeditors to work on the same manuscript and give them all the same reference books (such as Butcher’s Copy-editing,The New Oxford Dictionary for Writers and Editors, New Hart’s Rules or Merriam-Webster and The Chicago Manual of Style), then read the twelve edited versions. You will find that no two versions will be exactly the same. Why is this?
They will have spotted a great many of the same changes needed in spelling, grammar, capitalization, consistency and the use of language. But their individual suggestions will differ, if only slightly, and across the manuscript there will be a number of variations. Each edited version will be an improvement but no two versions will be exactly the same improvement.
As an editorial professional I aim at perfection, but writing is subjective and each revision of a text will find further improvements to make. There are constraints on everything and deadlines need to be met so, at a point, the work must stop and the improvement be deemed sufficient.
I work to lift your text and voice to the next level. Realistically, perfection is the aim and improvement is the reality.
To see how I can help with your fiction or creative nonfiction do get in touch.
There isn’t an easy answer to when an author should find an editorial professional, be that for developmental editing, copyediting, line-editing or proofreading. However, it is best to give a collaboration of this sort some time for consideration. It is good to be clear what the different services provide and to approach suitable candidates with enough time to find a good match to achieve the best outcomes for yourself and your manuscript.
It would be an understatement to say that how writers write varies. The amount of planning which different writers undertake ranges from the highly detailed plotters like John Grisham who feels that the longer he spends preparing a detailed outline the easier the book is to write. Through to writers like Steven King who plans very little, preferring to work things out as he writes. To him very outlined books have a somewhat stale quality.
Some writers use a Pomodoro approach, with disciplined daily word count goals and others will take a cabin in the woods with the aim of not resurfacing without a completing manuscript. Bashing out a first draft and not looking back is the advice of many how to write books and some writers edit as they go along.
As a writer you will know how writing a book is a major accomplishment and the culmination of a great deal of time, discipline, perseverance and not a little emotion. Many will be unable to say the number of hours it took to reach that stage and will frequently answer with the number of years since the first idea came to them.
Redrafting and editing choices
However, it is arrived at the completed manuscript it is a good idea for the writer to distance themselves from the manuscript, at least for a while before embarking on the next stage. Self-publishing writers will not have the same set up as a publishing house with the team focused to ensure all the necessary stages of the production process are carried out in a coordinated way so that deadlines are met and all the preparations are carried out smoothly.
If you are thinking of using the services of an editorial professional you may want to involve them at any stage. Once the manuscript is written you may request a developmental edit or ask for a manuscript critique. This would be to help you identify where there may be difficulties of plot or with the structure of the writing. Perhaps you do not want to change any of the big picture features of your manuscript and you have time to rework the manuscript through some rounds of redrafting. After this you may decide to collaborate with a professional copyeditor. It could be that you feel you have reached the point where your latest draft would benefit from being looked at with fresh pair of eyes. Even if you set aside time and decide that you are going to rely on your self-editing skills you may seek the reassurance of a proofreader for a last check before it goes in front of a reader, be that publisher, agent or beta readers.
Some authors feel their time is best spent creating the next title and may already be preoccupied with that. From an editor’s standpoint schedules get filled up and earlier approaches are easier to accommodate.
If a publisher is already interested in the manuscript planning for editorial services will help get the manuscript to be as good it can be for the publisher. Experienced authors appreciate the value of booking their editorial collaborations to meet their deadlines and aspirations.
To see how I can help with your fiction or creative nonfiction do get in touch.
You can have ambassadors who are envoys for their country and you can have brand ambassadors who promote a brand. But the Chartered Institute of Editors and Proofreaders (CIEP) have voluntary ambassadors who represent the profession and help introduce others to editing and proofreading as well as encouraging engagement with the CIEP.
What are important skills for ambassadors?
Any ambassador would be expected to know a great deal about the thing they represent and it is not a role for a newbie or novice. Alongside this subject knowledge they should have a high level of professionalism and be interested in spreading awareness of what that professionalism means to stakeholders. This, as far as the CIEP is concerned, means that they are members and thereby follow the Code of Practice.
This set of standards, entitled Ensuring Editorial Excellence, covers both in-house and freelance professionals as well as their clients. It sets out relevant definitions to help with clear communication. Professional standards are detailed in relation to issues including working agreements, working relationships, confidentiality, legal issues, levels of work and loyalty. Different forms of editorial work are defined and materials and practices are covered which include online content, page mark-up, multimedia and project management. The Code of Practice goes on to set out advice and a wealth of information on training, finances, health and safety, contracts, copyright, data protection and British Standard Institution marks.
Furthermore, an ambassador is likely to be keen to meet with others, to raise the profile of the profession and to set clear and accurate expectations of the profession within a wider context. They will be passionate about their chosen specialisms and happy to discuss them.
An ideal skillset for the role includes ability at networking, strong interpersonal skills and some confidence with public speaking.
What do CIEP ambassadors do?
Ambassadors might be asked to attend local CIEP groups, perhaps get involved in discussions or give presentations. Each ambassador will have particular subject expertise depending on their experience and background. The groups they address are often not CIEP members but may have a particular interest in publishing, writing or collaboration.
During 2018, as an ambassador for the CIEP, at that time known as the Society for Editors and Proofreaders (SfEP), I attended a two-day conference of the Materials Writing Special Interest Group (MaWSIG) at Oxford Brookes University. This group is a specialist section of the International Association of Teachers of English (IATEFL). As a group which includes many professional writers and professionals who write, they were interested to hear about editing and proofreading professionals and their organization. Several of the delegates were also SfEP members but others had not heard of the group before. Many of the delegates were considering how materials they had created for their own lessons might be shaped either for sharing with their work colleagues or as publishable resources to be shared more widely.
What’s a cauliflower got to do with it?
At the conference presenter Johanna Stirling proposed that teaching materials were becoming too strongly focused on testing. She stressed the need to move learning forward in interesting ways rather than just assessing current knowledge.
There was a lively talk by Fiona Mauchline about designing material for teens and adults entitled, ‘Not rocket science but brain science’. Speaking spoke enthusiastically, she waved a halved cauliflower to represent the brain and discussed how being aware of how the brain works helps with creating engaging, motivating and memorable materials. Her understanding of memory, and how memories are made, led her to urge teachers to go beyond language, language acquisition and methodology and to incorporate creativity and fun within their materials and within their lessons. She described these as valid and desirable, exhorting teachers to include creativity and fun as it would lead to greater retention. She stated that ‘if you use sensory stimuli to encourage an emotional response, you facilitate learning’.
The final session by Jon Hird, ‘Adapting texts for ELT: intuition, analysis and authenticity’ included a look at the importance of sensitivity. There is a risk or reducing authenticity when texts are altered. This thought-provoking presentation included some amusing adaptations of original texts which had been changed to avoid, in some cases, copyright infringement.
Jennifer Dobson and Michelle Worgan presented a session, ‘Giving up the day job – a double-edged sword’, in which they pointed out the pros and cons of leaving the teaching profession to write materials full time. They discussed some pitfalls of working as a freelancer, both full and part time, and stressed the importance of maintaining close links with the profession.
As a CIEP ambassador I have become a regular visiting speaker at Roehampton University, on the MA in Publishing course, in their School of Humanities. The thriving course is led by the author of A Poetics of Editing, Dr Susan Greenberg. It is a relatively new postgraduate course designed for students seeking a career in the publishing industry. The course can be studies full time for a year or part time for two years.
One of the optional modules presented to students is Dimensions of Editing. This takes a practical look at different editorial services and gives an insight into how the processes vary when carried out on hard copy and digital manuscripts. Although this is usually an in-person event, due to the Coronavirus pandemic it was held online in 2020–2021.
Being a professional body ambassador has led to meeting interesting people involved with words, writing, teaching and publishing. There have been some engaging discussions which have enriched my continued professional development in a dynamic and fascinating business.
To see how I can help with your fiction or creative nonfiction do get in touch.
The written and unwritten rules of fiction, which readers and authors acknowledge, group stories into recognisable genres which usefully serve as a form of jargon or shorthand to guide readers to find the type of novels they enjoy by knowing which genre they are choosing. On the other hand, genre also helps the authors to deliver fulfilling writing to their readers and to meet reasonable expectations based on the chosen genre.
Publishers also use genre to inform their purchasing decisions and to direct their marketing. Genre is of great importance in fiction writing and there are many tropes and standards which apply within particular genre and do not apply in others, for example a story from the romance genre and a story from the horror genre will attract different readers. For an author to include extremes of the horror genre within a romance is very likely put off a swathe of readers, who will then avoid selecting titles by an author who does not write in a manner which conforms to their expectations.
The term genre comes from the French word for kind and is helpful for everyone in choosing the right content or type of story. Knowing the genre of a book helps to recognise what can be expected from it without having to read it first.
Text in context
Whatever story an author writes a genre will be fitted to it by the world at large and that labelling will, to some extent, select who chooses to engage with the story. Readers come to a title with certain assumptions depending on its genre. Knowing this, authors wisely craft their stories to fulfil those expectations in the reader. If it is a humorous work the reader will have different expectations to those they would have for a thriller where they are looking for suspense and intrigue. Umberto Eco states that no text is ever read independently. Authors and editors do well to steep themselves in their preferred genres to help create the emotional effect of stories on the readers while at the same time avoiding the presentation of cliché.
The reader should be offered an entertaining experience where they can be drawn into a story and feel that the author has crafted a believable world, without the distraction of unpleasant surprises. These pull the reader out of the story, leading to dissatisfaction and disengagement. This is especially a problem with long form due to the greater investment of time for both the reader and the writer. Whatever an editor can do to steer a work to better fit a genre will serve both the author and the reader.
Dynamic nature of genre
McCaw notes that genre is not static. So, whereas there is a temptation to view what works of a genre have in common, as though there were a fixed set of criteria to be met, genres change over time. The differences within a genre can be studied and change is ongoing which points to the importance for both authors and editors to be aware of recent works written in the genre they are writing for, or editing within.
At the online Edinburgh International Book Festival 2020, The Midnight Library author Matt Haig, points out how he has witnessed massive change over the past ten years. He says ‘genre snobberies have evaporated remarkably’ and the barriers which used to exist between literary and commercial works have moved, making it much more possible for authors to take creative influence from everywhere. Which he sees as a more natural way of doing things.
Experience shows that editors may come across a manuscript which pushes the boundaries of genre and they must be ready to embrace this in their work otherwise the dynamic nature of genre could be restricted and the new could be stifled. As with much about fiction editing sensitivity and tuning into the author’s voice is paramount. I would argue that this craft element will always present a problem to techniques of artificial intelligence and will ensure human editing retains its elusive, unique quality and value.
To see how I can help with your fiction or creative nonfiction do get in touch.
Eco, U. (1981). The Theory of Signs and the Role of the Reader. The Bulletin of the Midwest Modern Language Association,14(1), 35-45. doi:10.2307/1314865
Speech can bring difficulties when it is written and one area of difficulty is that of whether to capitalise some naming words. This is because words Mum, Dad and Grandad have different forms. These words can be used in their proper noun form, and this is when they should be uppercase.
Proper noun form
Sentences where these words are used as proper nouns:
Did you like the flowers, Mum?
✔
Can I borrow your glasses, Dad?
✔
I asked Grandad to pass the map.
✔
To check that a word is being used in this form you can keep the sentence the same but swap out the proper noun form and swap in their proper name, if the sentence still makes sense then the word was being used in its proper noun form.
The same sentences with the names swapped in:
Did you like the flowers, Mary Gilesbie?
✔
Can I borrow you glasses, Ian Telling?
✔
I asked Alfred Potter to pass the map.
✔
Generic noun form
However, these words can also be used generically – as generic nouns or regular nouns and when they are, they are lowercase.
Sentences where these words are used as generic nouns:
If theses sentences are given the same swap test they don’t work because the word was being used as a generic noun.
My mum does not like red flowers.
✔
All dads have children.
✔
My granddad called on us.
✔
Sentences where generic nouns have been swapped for proper names:
My Mary Gilesbie does not like red flowers.
✗
All Ian Tellings have children.
✗
My Alfred Potter called on us.
✗
Rules of thumb
Whenever these words are preceded by a possessive adjective like (my, your, his, her, its, our, your, their) the noun will be lowercase.
Whenever you use these directly as a name, they will be uppercase.
I brought this for your mum.
✔
The coat was from my dad.
✔
These are from Grandad.
✔
When there is determiner preceding the word (such as – a, an, the, this, that, these, my, his, their, much, many, some, two, seven, all, every) use lowercase.
Some mums drove the car.
✔
Seven dads ate the pizzas.
✔
His grandad was in the play.
✔
This works for other similar words in the same way, these include: uncle, aunt, father, mother, daughter, cousin etc.
Is it a name?
Changing between upper and lowercase depending on usage happens with other words. This applies to when the word is a title or political entity.
Where a word is used as a name it will be uppercase:
They followed Captain Wilson over the bridge.
✔
We walk up the steps to meet Queen Bess.
✔
Come on let’s go Governor. (instead of name)
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Where a word is not when it is not being used to replace a name and is being used as a description it will be lowercase.
Our old captain turned to fight.
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The girl was a princess.
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The governor was going to the meeting.
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Style guides often have requirements regarding capitalisation and these should be followed where applicable but as with general rules about writing it is important that the rule is applied consistently or the writing can be jarring and the reader can be distracted from the meaning of the content.
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