by Barbara McNichol

If you don’t want your editor spending copious amounts of
time changing weak verbs into emotional or visual ones,
what can you do?

First, watch out for “is” words and their various cousins.
Stay alert to phrases like “is happening” or “was being good”;
change them to “happens” or “behaved.” Search out every
weak “is” form in your manuscript and find a strong
alternative.

Also, don’t overuse the words “start to” and “begin.” What
can you do differently? “Start to rub your hands together”
becomes “rub your hands together”; “allow your energy
fields to begin merg ing” becomes “allow your energy fields
to merge.” Are you guilty of overusing these two weak words?
 
In fact, I’d put the word “just” in the same “weak” category.
I love what one of my subscribers wrote: “I don’t have a
Begin or Start habit. I do, though, have a Just habit. I just
can’t kick it. It just seems appropriate when you just do
something . . . like I just read your newsletter. Without the
just, I could have read it anytime.”

Add to that a few lazy linking phrases like “there are” and
“there will be.”  Rewrite them! For example, “There will be
many representatives elected” becomes “voters will elect
many representatives.” (Better yet, instead of many, use a
specific number.)

Why do I call these phrases lazy? Because they often lead
into long passive sentences that stem the flow and slow
readers down. When your readers have to swim upstream to
follow what you write, they tend to give up. Better to ease
them along with crisp, sharp prose—especially active verbs!

Yes, I do keep beating this drum about active verbs because
I know they will make your writing better. Test the waters
and you’ll see how they improve the flow, enhance the clarity,
add muscle to the meaning, and of course reduce the time it
takes to edit!

by Barbara McNichol

When a colleague asked me to explain common one-word vs. two-word confusions as part of my Word Trippers, I came up with this list. Use it as a quick reference whenever you’re in doubt!

Standby vs. stand by – Use two words when you refer to an action. “Stand by for the latest news.” Use one word when you’re in a waiting mode. “Put your computer on standby while you’re on the phone.”

Online vs. on line – The conventional use when referring to computer connections is one word only. “Do you do most of your work online?” It’s customary to say “on the line” rather than “on line” when you’re not referring to computers.

Login vs. log in – Use two words when you take an action to enter an account. “I log in to my bank account records every day.” Use one when referring to the actual sign-in. “Don’t tell anyone your login information.”

 Pickup vs. pick up – Use two words when you want to lift or get something. “I pick up a local newspaper from the grocery store every Sunday.” Use one word when referring to a kind of vehicle. “I park the pickup (truck) in the driveway because it won’t fit in the garage.”

Alright vs. all right – Although the one-word version is a variation of the two-word phrase, it is considered to be wrong or less acceptable than all right. “Is it all right if I search your house?”

Already vs. all ready – The single word is an adverb that modifies a verb or adjective. “The cat is already out of the bag.” The two-word phrase refers to being complete. “The assignment is all ready to turn in.”

Altogether vs. all together – The single word is an adverb meaning entirely. “Your idea is altogether brilliant.” The two-word phrase refers to being in the same place or doing the same thing.  “Our family was all together for the holiday.” “All together, let’s sing.”

Which other one-word/two-word combos trip you up? Please share them here.

Be sure to check out my Kindle and print versions of Word Trippers at amazon.com. Word Trippers explains 360+ confusable pairings that can trip you up!

by Barbara McNichol

F. Scott Fitzgerald has said you don’t write because you want to say something, you write because you have something to say. When an author is too “into” doing the writing itself, the “something to say” part can get lost.

I recently edited a book that fell into this trap. The author kept losing sight of what his readers would care about—that is, a system he had created. What were the clues? Passages such as these:

• “In a previous chapter, I stressed the importance of self-awareness, and I assure you, dear reader, that I am very much aware of the preachy tone of this chapter.”
• “When I wrote the first draft of this book, I worked for several hours each day for three months.”
• “Before tackling Chapter Eight, I asked myself, ‘Does what you have written through Chapter Seven capture the essence of what you set out to say?’”

Do you see how he’s drawing readers into his own process rather than emphasizing his core message?  Remember, people read your book because of the promises you imply with your title and subtitle.

Guess what. Unless you’re Stephen King writing about writing, they don’t care about your writing process! If the title of your book is 7 Habits of Highly Effective People, readers expect a discussion of those 7 habits, not what Stephen Covey asked himself while he was writing the book.

 What’s the fix?

 Remain conscious of the readers’ point of view—not your own— even when you’re deep into the writing and rewriting process. And it never hurts to get an impartial opinion from a good editor!

Editor’s note: I hope you enjoy these fun ways of picking titles from Daily Writing Tips–a fabulous resource for writers.

Picking a title can often be the hardest part of a writing project. Sometimes the title just comes to you, but more often than not, you have to put quite a bit of work into finding just the right one. You may even have to sift through several titles before you find one that sits well with you. Here are a few suggestions to try:

1. Mad Libs

Think of a couple adjectives, nouns and verbs that describe your story. Write them all down on a sheet of paper and combine them into different phrases. Sometimes you can pick up on a title that works.

2. Pick a Part

Look for an important turning point in your novel or just focus on the climax. Describe this event on paper. Pick out the words or phrases that stand out to you in your description. Mix and match these words to see what works for you.

3. Live by Example

Pick out novels or short stories that run in the same genre as your project. Study the titles and how they relate to the story as a whole. Then, look at your project as a whole. Think of the theme or overall message of your book. Write down some words that go along with your theme and work them to see if you can find a fitting title.

4. Go for the Obscure

Avoid the obvious “The” titles like “The Pink Slipper” or “The Brown Dog.” Look for slight recurring themes or undercurrents in your novel and try naming your novel after those subtle nuances. JK Rowling, author of the Harry Potter series, is a genius with titles. The titles, especially the Half-Blood Prince, all highlight under-riding themes that later play a large role in the series as a whole.

5. Appeal to the Higher

Poets usually have a way of weaving words in a beautiful tapestry of art that put prose writers to shame. Read some famous poetry and write down words and phrases that stick out to you. Song lyrics often have the same effect. You can find some powerful titles by mixing, matching and combining words from powerful lyrics.

6. A Writer’s Best Friend

Consult your thesaurus and look up synonyms for commonly occurring words in your novel. Write down as many synonyms as you can to try and get a fresh point of view on an event in your novel. Look up these synonyms in the dictionary to get a better understanding of their meaning. Use different words in context to find a combination that you like.

7. Super Easy Way

Type “title generator” into Google and see what pops up. There are several websites that will either have you type in a couple descriptive words and scramble them for you or they’ll just generate some random titles for a variety of genres. Some, like guywiththecoat.com, just generate extremely random and funny titles. Mostly, these titles are just good for a laugh, like “Pants ride the Bus,” but you may actually be able to find something that works with your project.

Reprinted from Daily Writing Tips, Dec. 16, 2011

by Barbara McNichol

Seth Godin’s ideas find a welcome place in my inbox every day. His
ability to observe our world with a twist and express his thoughts
with wit tickle my appreciation for language and his ability to think
outside the box.

I recently rediscovered his 2008 blog post Advice for Authors, which
still applies to all stages of authorship. Among the 19 points he
makes, I love his final one best:

19. Writing a book is a tremendous experience. It pays off
intellectually. It clarifies your thinking. It builds credibility. It is a
living engine of marketing and idea spreading, working ev ery day
to deliver your message with authority. You should write one.

And the runner-up is—

3. Pay for an editor. Not just to fix the typos, but to actually make
your ramblings into something that people will choose to read. 

I couldn’t agree more about the value of editing. A sharp editor
makes a huge difference in supporting book-publishing endeavors
throughout the process.

To read all of Godin’s 19 insightful points, click here.

Then send me your comments. Agree? Disagree? Which stand out
for you? Please share your comments at www.nonfictionbookeditor.com

by Dawn Goldberg (used with permission)

Editor’s note: Dawn writes a wonderful, encouraging ezine for writers called FUEL. This post from FUEL spoke to my soul because it applies to all kinds of writing, not only to marketing pieces but to the essence of your book, too. Enjoy.

You have a product or service that solves a problem and that people need, and you want to share that.

But then it comes down to communicating with your target market… that’s where you get stuck. You have to write blog posts, ezine articles, sales pages, campaign emails, affiliate materials… the list goes on. You have trouble taking that concept of your valuable product or service and confidently and powerfully communicating it.

You feel like you are not connecting with your market. (And you’re not.)

You don’t feel like anything you have to say is worth reading. (It’s not UNworthy; it just needs more of you.)

You doubt that anyone cares, will buy, will sign up…. (And you will have fewer sales and sign-ups to your list-because they won’t feel compelled. They won’t believe. Because you don’t.)

And so you stay small. Which gets you nowhere.

Sure, there are models and templates to help you with the technical aspects of what you need to write. But here’s one thing they don’t do: they don’t have room for your soul.

THAT – the soul piece – is what’s going to allow you to connect, reach more people, make a difference.

To really write from your soul, you have to claim the bigness of who you are and what you do in your business.

Because if there’s any part of you that’s playing small, wanting to hide, afraid of rejection and what people think, you can’t very well write from that place.

So, what if you believed wholeheartedly in yourself?

What if you truly accepted that you and your business are needed in the world?

What if you stood up, shoulders back, chest out, arms open wide and yelled, “I need to be here! The world needs me! Watch out! Here I come!”

What if you chose to give all yourself and put it all out there?

What would your writing look like then?

People will be attracted to you. They’ll mimic the woman in When Harry Met Sally: “I want what she’s having.” They’ll watch you. They’ll pay attention. They’ll take you seriously. They’ll notice what you’re doing.

So, how do you go from being small to stepping into your bigness?

Be bold. Be brazen. Be you.

Breathe the following statements your body. Let your heart believe them. Act from them.

• I am confident in expressing who I am.
• I am different from all the others – boldly so.
• I am confident in my uniqueness, not ashamed.
• I am proud to express that uniqueness, to claim it.
• I claim the beauty in me and in what I do.
• I am bold. I am brazen. I am me.

When you write from that place, the world is going to stand up and take notice. So feel that, feel that bigness, feel that uniqueness, feel that youness… revel in it.

Do whatever you need to do to be in that place. Journal. Create a soul map. Call your voice mail and record a lovely message about how wonderful you are. Phone a girlfriend and say, “Okay, tell me about my bigness. Tell me what I need to do to be bold, be brazen, be me.”

Whatever you need to do to claim how big you are… do that. And then, when you are in that place, write from your soul.

Want to write from your soul? Of course, you do! Because when you do, you connect more deeply and successfully with potential clients and your community.  Download your free Writing From Your Soul system at www.WritingFromYourSoul.com.

Dawn can be reached at Dawn@WriteWellU.com or via her website/blog at     www.WriteWellU.com

by Barbara McNichol

Recently, an author and I settled in to have our project-finalizing conversation before starting to edit her manuscript. Price determined. Timelines set. Anticipation high. Before we signed off, she asked with gentleness and genuine interest, “How can I be a good editing client for you, Barbara?”

Quite frankly, this question blew me away—largely because no one had asked it before in my two decades of editing books! Deep inside, my playful side wanted to answer, “Well, accept everything I change, write a glowing testimonial, pay me extremely well, and send me loads of great referrals, too.” But instead, I curbed my enthusiasm and quietly said, “Simply be available to answer my questions during the editing process.” An okay answer . . . well, really kinda lame. Because upon further reflection, I came up with these 7 ways to help turn any book-editing project into an ideal process—for both me and the authors I love to work with.

Ideal Process Point #1: Have a focused understanding of your book’s “reason to be”—that means knowing what this book will do for your readers, for you, and for your business (e.g., solve a problem, provide a new stream of income, open doors to a new niche, etc.). When your goals and overall dream for your book are stated upfront, I can better ensure the writing hits the mark. (See Note below.)

 Ideal Process Point #2: Have a feel for what to expect throughout the editing process (e.g., Does the manuscript go through one, two, or three editing reviews for the stated project fee? Is proofreading included? Do you want it to come before the layout stage or after?)

Ideal Process Point #3: Early on, communicate any sense of urgency (e.g., book must ready for an upcoming conference). Planning for tight timelines affects priorities and avoids a “push” that adds crazymaking—and the potential for errors.

Ideal Process Point #4: Understand the level of editing desired—ranging from proofreading to minor edits to major rewrites. Doing a Sample Edit (editing 3 to 10 pages of your manuscript) helps both author and editor assess the level required.

Ideal Process Point #5: In reference to #4, take heed when the editor advises a “deep massage” rather than a “fluff-and-buff” approach to editing the chapters. In my experience, authors appreciate the “deep” treatment when it’s needed to clarify and strengthen their writing so readers can readily understand what you want to say.

Ideal Process Point #6: Hold off making copious changes and additions once the editing process gets underway. Integrating the “new” with the “old” can increase time, expense, and frustration, so make your content as complete as possible from the get-go.

Ideal Process Point #7: Send red roses when all is said and done—just kidding (although it’s happened J). Like most editors, I appreciate receiving a signed copy of the printed book, a testimonial that reflects the benefits of our work together, and a willingness to refer my services to other authors.

Most of all, I appreciate it when the process runs smoothly and we can both reap the rewards of being “good clients” for each other.

Note: You can download a Quick-Start Planner for Editing Your Book or eBook to help you articulate the dreams you have for your book at www.BarbaraMcNichol.com

by Barbara McNichol

Daily Writing Tips has become a key resource for sharpening my mind about the proper use of the English language. But recently, a controversial post rocked my world by saying it’s okay to use “they” as a singular pronoun. Example: “Each person is entitled to their opinion.”

To quote the post’s author Mark Nichols: “Every time I use ‘they’ as a singular pronoun in one of my entries, someone scolds me for my grammatical error. My response? I (politely) tell them (him or her) to get over it.”

I consider alternatives to using “they” quite acceptable, thank you very much. My favorite option? Making the subject plural. E.g., “Each person is entitled to their opinion” becomes “All people are entitled to their own opinions.”

Here’s the link to the full article.

I admit, the author’s arguments have merit (despite going against the grain for those who insist on proper grammar in the written form). Be sure to weigh in on the survey at the end. I did.

 When you do, you’ll enjoy giving your opinion and then instantly seeing how it compares to what others believe. Come on, add to the fun—and the controversy.

P. S. After featuring this post in my ezine, I received numerous emails, some noted below. Please weigh in on this subject, too, by leaving your comments.

That IS a controversy! I’m a little queasy about using “they” and “them” with the singular and agree about recasting, but language changes …. M. W.

I remember about two years ago an editor gave a speech to my group and he covered the “his/her” vs “they” controversy. I agreed with him – His or Her is just awkward.

Using “his” was common back when it was ok to write everything as if all the world were male. But when the powers that be decided we actually had to include women, “his or her” became common. This writing “rule” has really only been on the books for three or four decades.

Personally, I think it messes with the rhythm and cadence of good writing and its awkwardness borders on preening and self-consciousness. To me it shouts, “Look at me! I’m gender conscious. I’m making sure everyone reading this is comfortable and no one ever will get their feelings hurt.” I believe being overly careful about being politically correct with “his or her” steals the energy from the piece. It is rarely required. “They” works just fine, just as contractions work just fine. “It is” vs “It’s” is just plain easier to read. “They and Them” is easier to read and it makes sense. – B.T.

About the use of the word ‘they’ as singular. About 15 years ago, a woman who was grammarian in our Toastmasters club pointed out that someone had made this mistake in a speech. I agreed with the feedback. But when I researched it at the time in a newly published dictionary, the dictionary said it was ok. I guess a dictionary captures popular usage rather than ‘correct’ usage. Still, I prefer this technique rather than using ‘his/her’ in a sentence. – G.S.

by Barbara McNichol

When attending the annual conference of the National Speakers Association in July/August, I challenged myself to “land” pearls of wisdom for my businss as I sifted through the copious amount of advice.

Like drinking from a firehose, it’s never a easy task! 

Instead, I came away realizing it’s possible to harvest the wisdom of others at my pace through their books. Of special note was digesting Brendan Burchard’s The Millionaire Messenger–a beautifully written how-to he gave attendees. Burchard clearly lays out a roadmap for turning one’s message into a multimillion-dollar enterprise (as he has through his Experts Academy).

Burchard’s own message both energized and overwhelmed me. Yet if one completes his strategic exercises full out and in order, its value becomes enticingly apparent. Not fast and easy to do, nevertheless these exercises  propel the earnest entrepreneur into action.

Burchard’s model centers on individual skill-building rather than recruiting specialists onto a team. His expert model works if you know how to write, speak, market, and manage brilliantly yourself, with maximum use of technology and minimal use of staff.

This daunting requirement made me question how utopian his model might be. After all, doesn’t it take years to hone each one of these skills to a sharp point?

Although I consider this admirable model well worth striving for, it seems the whole premise could fail if the expert’s writing (and speaking and marketing and more) wasn’t stellar.

As I muse about this, my thoughts turn into a pitch for quality, especially in this crowded marketplace where crummy books can be printed cheaply and easily. I’m especially concerned about the quality of writing–the cornerstone of every content development, communication, and marketing activity for any enterprise.

In a rush for expert status, it becomes ever more important to pay attention to the quality, clarity, and substance of your writing–a craft you don’t ever want to neglect.

What’s your experience about  sacrificing quality for quickness to market? Is it one of your hot buttons? Please comment below.

by Barbara McNichol

I used to delude myself that watching the pros play their brand of
tennis on TV would benefit my own game (even though I didn’t start
playing until my 40s). I’m not sure how much technique can be picked
up by watching. But what’s even more important to pick up on are qualities like tenacity, strength and deftness, and grace under pressure that the pros model.

Every day I watch the pros, I’m more eager to know how they overcome setbacks and build their careers. Yes, tournament play—like the recent Wimbledon Championships in England—fascinates me, engages me, almost possesses me.

 photo credit: mbevis 

Why? For the same reason it’s impossible to put down a good novel.

Each of the men’s and women’s singles field starts with 128 players
and, within a fortnight, only one man and one woman stand victorious.
In the meantime, unveiling character traits (who’s got the most
resolve? quickness? stamina?) keeps me involved. So does the suspense
(who can remain unphased by former champions?).

In addition to absorbing match after amazing match, I love reading
about the unfolding drama. I’m especially in awe of sports writers who
can hook a whole article on a minute angle. My favorite, Jane Voigt,
turns a sporting affair into a slice-of-life vignette anyone can
relate to.

For example, she wrote a piece for Tennis Server about The Queue—a
line that forms for those vying to buy tickets to Wimbledon’s Centre
Court. She explained how The Queue has evolved into a culture of rules
and politeness.

“The Queue first became a part of The Championships in 1927 when some
27,000 appeared for entry to the grounds. The system has become such a
time-honored experience that the Wimbledon Lawn Tennis Museum
established a special exhibition t o trace the history of The Queue.
The Code of Conduct for The Queue details everything from what is The
Queue to the 10 PM cutoff time for music and game playing at the
campsite, plus the maximum number of people allowed in a tent (two).
Alcohol is limited to one bottle of wine . . . Some fans make The
Queue an annual celebration. They like the party atmosphere of the
campsite, which can draw musicians, jugglers, and hacky-sack players.”

What’s my point? That you can turn a seemingly ordinary event into a
slice-of-life masterpiece by writing about it with verve and
originality. Observe. Research. Look for variety. Tell unexpected
things. Within the writing process, you can build character, suspense,
drama—making it like a novel within a book, even a nonfiction book.

Our language is just waiting to be massaged with your insightful and
talented writing. Are you playing with that part of your game
“brilliantly” (as the Brits would say)?

Your turn. When have you turned an observation into a delightful
slice-of-life story? Leave your comments below.