by Liz Bureman |
“The difference between the right word and the almost right word is the difference between lightning and a lightning bug.” —Mark Twain
One of the best parts about writing is the fact that you get to pick your words. And we have so many words to choose from! Literally tens of thousands of beautiful words flitting through space, just waiting for you to pinpoint exactly which one to use to describe your protagonist, setting, or climactic scene. However, despite the fact that you have seemingly unlimited options when it comes to word choice, the meaning that you’re trying to express may narrow your selection significantly.
by Liz Bureman |
We’re venturing into a realm where writers bend the rules of grammar in the name of creativity, but to the great frustration of editors. A comma splice is one of the most easily avoidable grammatical travesties.
by Liz Bureman and Sue Weems |
If you’ve opened a novel and seen a quote on the opening pages then you’ve seen a literary epigraph. But what are they really? Why do authors use them? And how do you know if you need one for your own work in progress?
by Liz Bureman |
When someone asks you, “How are you?” how should you respond? Should you say, “I’m good,” or, “I’m well?” Which is correct grammatically: good or well.
Since “how are you?” became a standard greeting, the use of good vs. well has been hotly disputed. Let’s straighten this confusion out.
by Liz Bureman and Joe Bunting |
Polysyndeton is a literary device in which conjunctions (e.g. and, but, or) are used repeatedly in quick succession, often with no commas, even when the conjunctions could be removed.
It is often used to change the rhythm of the text, to make it either faster or slower, and it can convey a sense of gravity or excitement. It can also be used to intentionally overwhelm the reader, giving them very little room for mentally or visually breathing with the lack of commas.
Below are a few more examples now that you know what to look for.
