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Writing

Why and How to Recognize AI Writing

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Can you really spot AI writing? Here are the subtle clues to look for.

One of the biggest topics being debated in the writing world is how to approach or handle AI in writing. On one hand, AI can be an incredibly helpful tool for authors. It can help brainstorm, organize research, spark ideas, explore alternative verbiage, help you remember how to use a certain phrase—all things that most people agree can boost the writing process in a great way. 

On the other hand, there are many fears about AI writing becoming a replacement for real writing—whether that means writers relying on AI or AI replacing humans altogether. 

The key is to use AI responsibly and not let it replace your own voice. Readers can tell when AI has been used too freely, even if they don’t immediately recognize what’s off. When people copy and paste whole paragraphs of AI-generated content, that’s when inaccuracies, fabricated sources, awkward phrasing, or overly formal styles are noticeable. 

Why Should Writers Learn to Recognize AI Writing?

Why is it important for writers and readers to recognize AI writing? Here are a few reasons:

To Stop Misinformation

AI can and has spread inaccurate facts and information in the publishing industry.

Imagine following a top summer reading list published by multiple newspapers only to realize that 10 of the 15 books were just made up by AI and, worst of all, were attributed to real authors. That actually happened in May 2025 in newspapers like the Chicago Sun-Times and The Philadelphia Inquirer. Notably, the fake reading list was published just two months after the Chicago Sun-Times had announced that 20% of its staff had accepted buyouts as the paper dealt “with fiscal hardship.” Naturally, subscribers were outraged, and the situation sparked debates online about publishing standards and credibility in a time when AI is being used more and more.

Now imagine browsing books on Amazon, finding an intriguing one with numerous positive reviews, only to realize the reviews seem to be written by AI. And maybe the book itself is AI-generated. That is all too common now.

AI-written “companion” books (summaries, workbooks, and guides of legitimate books) are also becoming a widespread problem on Amazon. These low-quality books are designed to piggyback on the success of new, human-written books by using nearly identical titles and the original author’s own name. By the time these books are caught and taken down, damage has already been done in the form of stolen sales, ruined reputations, and confused readers.

Recognizing AI writing helps writers judge the trustworthiness of certain sources and ensure the accuracy of references. This is especially important for authors of nonfiction books.

Generative AI chatbots are designed to be very agreeable, and their responses to prompts sound very authoritative and convincing, even when they are completely wrong. Many writers—or, unfortunately, their readers—are finding that AI boldly cites sources that don’t exist, attributes fake quotes to characters, or proclaims wrong details as truth. Authors, reporters, and lawyers who have relied on AI to assist them in writing have taken public hits to their reputations for publishing incorrect information. Learning to spot AI writing can help authors choose credible and real sources. 

To Protect the Revision Process

Some authors have paid for beta reading services only to discover later that the “feedback” was produced entirely by AI. The so-called beta readers confidently referenced sentences and ideas that didn’t exist anywhere in the manuscript, leaving the authors with wasted time and money, not to mention reduced confidence in the revision process.

Being aware of AI writing could help authors—especially those self-publishing—put safeguards in place to find beta readers who won’t use AI and to spot AI-generated feedback.

Some ways authors can carefully vet beta readers include reading detailed client reviews instead of relying on five-star ratings, utilizing reputable author circles for recommendations, and exchanging a small sample at first. Authors can also request examples of the reviewer’s work, use AI content detectors (imperfect as they currently are) as a preliminary screening tool, and request to pay for services after the feedback is received. For more on this topic, see 7 Ways Writers Can Prevent Beta Readers From Submitting AI-Generated Feedback.

Occasionally checking out publishing forums, such as r/selfpublish, is a great way to stay informed on recent trends and pitfalls in the publishing industry.

To Preserve Creative Writing

From deciding to engage with a lengthy post on Reddit to picking a book, readers want to read content that is original, nuanced, relatable, and real. Aka, the kind of content that comes from lived experience.

Almost every piece of published creative writing comes with an unspoken agreement between writer and reader: that it is written by another person. We care that care has been put into the media we consume and become invested in.

AI can suggest ideas, but it struggles to form cohesive storylines or maintain consistent character and plot threads. Writers who can see these shortcomings can better appreciate the skill they bring to their own work.

How Can Writers Recognize AI Writing?

When it comes to AI writing, there are no hard and fast methods to determine if a piece of text is, in fact, AI. AI-detection software is getting better, but so is AI. The only indisputable way to tell if someone is using AI models, like ChatGPT, Copilot, and Gemini, in their writing is if they forget to cut out their prompt.

But the more AI-generated content is used in online discourse, social media, emails, and even creative works, the better we are getting at identifying it. This is because people are wired to recognize faulty patterns, inconsistent tones, and unnatural expressions. That’s why the concept of the uncanny valley—when something looks or sounds almost human, but feels slightly off—is a thing we pick up on fast.

You can also identify multiple clues found in AI writing patterns that indicate the writing likely wasn’t written by a human. If you see a few of these clues in what you’re reading, be wary of the source.

First Clue: A Dramatic Change

The best clue might ultimately be familiarity. If a person’s writing style shifts dramatically within the same piece of content, or if they use more complex vocabulary or grammatical phrases than usual, it stands out. A sudden shift in tone, style, verbiage, etc., is something to take note of.

Second Clue: Frequent Em Dashes

A common attribute of AI-generated writing is its frequent use of em dashes. It is no surprise that AI favors em dashes, since AI models are trained on real human writing. And writers love em dashes!

Em dashes are some of the most versatile punctuation—they can function like a colon, semicolon, parentheses, or even comma. Those of us who love to write probably use em dashes on an hourly basis; however, the general public does not—especially on social media.

Because em dashes are easily identifiable, a piece of informal content like social media posts or articles that are filled with them may be an early indicator that AI was used, because humans likely wouldn’t use em dashes in these contexts as much.

Third Clue: Overly Formal and Structured

Remember the structured paragraph essay format you were taught in school? Introduction (broad overview and thesis statement), body paragraphs (supporting details and transition phrases), and conclusion (restatement of introduction). That structure was designed to teach students how to organize their thoughts clearly and is still used in professional reports, proposals, and academic-adjacent writing. But in everyday situations, few people write this way. AI, on the other hand, often does.

AI tends to default to professional or academic language. It favors grammatically perfect sentences with predictable connectors like “furthermore,” “in addition,” or “it’s not x but y.” While these phrases aren’t wrong, their overuse can make the writing feel stiff, robotic, and overly polished. The issue is when this formula shows up in places where writing is usually more flexible, like emails, social media, casual articles, or creative writing. The rigid structure of the formula throws the casual tone off.

In short, if the writing feels like it came out of a textbook or a standardized test—especially in places where a looser or more conversational tone would make sense—it might be AI.

Fourth Clue: Surface-Level Substance

AI-generated writing tends to lack substance. This is partly because AI is trained to predict what sounds plausible or typical, not what’s nuanced or new. As a result, its writing often resembles marketing copy: agreeable and inoffensive. But unlike marketing copy, which is typically concise and snappy, AI-generated writing tends to be verbose and overly relies on metaphors to explain simple concepts. You’ll notice familiar buzzwords, vague clichés, and an overall upbeat tone that avoids conflict or complexity.

In sum, it’s writing that wants to please everyone.

Fifth Clue: No Mistakes/Too Perfect

We’ve all encountered the red or blue lines that show up under our misspelled words or incorrectly formatted phrases. And what are the programs that mark our mistakes powered by? AI. So it makes sense that AI-generated writing rarely contains typos, misspellings, or incorrect grammar.

But flawless grammar and punctuation just isn’t part of the writing process, especially in early drafts. And flawless content is often not the goal in the first place. People bend grammar to sound more natural or to make a point or to simply be creative. We start messy and then revise. We leave a sentence fragment for emphasis. AI can’t make those intentional deviations effectively.

So, when you encounter flawless and overly professional or stiff text on places like social media, that may be an indication of AI.

Authors can use AI to support their work, but they must do so responsibly—for their readers and themselves.

These are all helpful clues—but that’s all they are. Even when several signs point toward AI, there’s still plenty of room for doubt. Writers who use em dashes and ensure their writing is error-free shouldn’t feel afraid that their work will be confused with AI. Unless you have hard evidence, it’s best to assume the writing came from a human.

Make AI a tool, not a replacement. At the end of the day, readers love, value, cherish, connect with, and pay for books written by humans.

This article was written by Amy Guan and was republished with permission from Ever Editing.

A headshot of Amy Guan

Amy Guan

Co-Owner and Managing Partner, Ever Editing

I edit because I love it. I love plotting outlines, treading through unfamiliar topics, and discovering misplaced modifiers. Editing is an adventure, and I wouldn’t give it up for anything. I love playing video games (open world only), eating whatever my husband grabs from the clearance section at Asian Mart, and being taken on walks by my two big dogs. I have a BA in English and a minor in editing.

    Networking and Pitching to Agents (Even When You’re Scared to Death)

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    I have the world’s greatest critique group. Not only are the members super smart and talented, they are fun to be with. So why is it that every Thursday night I have to convince myself to get up and go to writers’ group? They don’t even care if I show up in my pajamas, so that can’t be it! The answer is, I’m a huge introvert. I love my down time, hidden in my room, not having to worry about socializing with anyone but Lizzy Bennet and Mr. Darcy, Katniss and Peeta, or my favorite characters of the week (which this week happen to be Anna and St. Clair!). If you’re an introvert like me, you know this feeling. Maybe that’s why we choose to be writers. We don’t get distracted by parties and events, and we’re fine staying home on a Friday night to type away. Writing appears to be a very on-your-own type of career.

    Until you finish your novel and actually want to get noticed.

    Susan Cain, author of Quiet: The Power of Introverts in a World That Can’t Stop Talking, had this same awakening after she finished her book. In an interview on Marie TV, Cain, a proclaimed introvert, said: “I spent seven years happily writing a book in splendid solitude and since then my life has been all about being public.”

    I’m sure there are hundreds of writers out there who would love that type of a “problem,” but for those of us who walk into a room and look for the nearest exits and the quietest corners, it can be a scary thing. Especially when you’re at a con or writing event and you not only need to talk to perfect strangers, but you also have to get them to want to read YOUR book.

    Never fear! Whether you are planning on pitching or just want to network confidently, we’re here with five great tips to keep in mind as you set out to your next con.

    1. Listen to Me.

    Many times, we look at our introverted personalities as a barrier, when actually they can be an advantage. One thing that introverts are usually great at is listening. Just because we’re quiet doesn’t mean we don’t know what’s going on. Listening to others—especially to an agent or presenter—can benefit your career greatly. Half the reason you’re at this particular con is to learn—so don’t be afraid to soak in all the advice you can. You’re sure to find great writing tips. Remember: Agents have hundreds of people who want to talk to them. When you take the time to listen to what the agents really want, you’re sure to be ahead when it comes to the pitching game.

    2. Pitch Perfect.

    If you’ve been listening, you’ll know the right time to bring out your pitch. But when that right time arrives, what should you say? On the introduction page of her website, Cain says, “I like to think before I speak.” This is another great introvert trait. Use it. Nothing is worse than being put on the spot. Knowing what your book is about doesn’t count. Even if you’re the most extroverted person out there, when you’re standing in front of your dream agent, anxiety will kick in and it’ll be nearly impossible to sum up your book in one brilliant sentence. Think about what you’re going to say. Plan out exactly how you want to present your book and yourself before you even leave the house! If this sounds as daunting as actually having to share it with someone, check out this article on writing pitches by our in-house expert Elena Johnson.

    3. Don’t Overdo It.

    Depending on which convention you’re attending, you may have the opportunity to talk to several of the presenters and pitch to several agents. If this makes you want to go back to your room and crawl under the covers, then don’t force yourself to do it. Cain advocates having a quota system. Tell yourself you’re going to network with one, two, or three people. Pick a number you feel comfortable with and stick to it. Wouldn’t you rather give one really great pitch or have one meaningful conversation on improving your skills than stress about having to live through five or ten mediocre ones?

    4. Agents: Big Bad Wolves or Fairy Godmothers?

    Agents are people too, and some of them are as introverted as you are. One member of our writing community, a solid introvert, wrote this after his first-ever pitch session: “This was going to be my first time actually interacting, in person, with actual agents. I follow some agents on Twitter, subscribe to some of their blogs, and read what others say about their experiences, but this was going to be my first pitch. Needless to say, I was extremely nervous—to the point I was worrying over how I should greet them. Did I go with the ‘Hi,’ the ‘Hello,’ or the ‘Nice to meet you’? I think I finally settled on ‘Hi’; it was all a blur. So what happened? All the agents were extremely friendly, open, willing to let me ask questions, responsive to my comments in their classes, and basically made me and the other aspiring authors feel at ease. Some people see agents as the big bad gatekeeping wolves, but for me they are now gracious fairy godmothers doing their best to create happily-ever-afters.”

    Don’t be afraid to look for a kindred spirit among the agents and pitch to that person. He or she may, after all, make your wishes come true.

    5. This, Too, Shall Pass.

    Just because you’re at a con, you don’t have to spend all your time pitching. But if you’re there, chances are you love your book enough to give it a shot. So do it. Make the pitch. According to Cain, we can act out of character for work we really love. But we should do it mindfully and then restore afterward. If you’ve practiced your pitch and set your quota, then you’ll be all right. Make the pitch. Break the shell, then give yourself a break. As Marie Forleo, who interviewed Cain and is, herself, often overwhelmed by being in the world spotlight, says, “When it’s time to fly, don’t deny.” Go ahead and let yourself restore when you need to.

    Trying to convince someone else that your book is the greatest thing since sliced bread can be hard and scary. But it doesn’t have to be. So stop trying to talk yourself into it and get the skills to feel confident. Follow these steps and you, too, “can shake the world in a gentle way.” We believe in you!

    Do This Now

    1. Write your pitch. Check out our How-to Guide.
    2. Start seeing your introversion as an asset to your career and learn how you can be successful without changing yourself. Check out the Susan Cain interview on Marie TV.
    3. Believe in yourself just the way you are. You don’t have to be swinging from the chandeliers to get noticed at a con.

    This article was written by Sabine Berlin and was republished with permission from Eschler Editing.

    A headshot of Sabine Berlin.

    Sabine Berlin

    Editor

    Sabine Berlin is a senior editor at Eschler Editing, where she has worked for over twelve years to help writers bring their stories to life. She is the co-publisher of Mad Cat, the young adult imprint of Roan and Weatherford Publishing. Sabine has also successfully self-published (Oh My Oppa!) and traditionally published (And the Sky Full of Stars). 

      Writing with Faith: An Interview with LDS Author Gale Sears

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      Gale Sears’ path to becoming an acclaimed LDS historical fiction author began with writing screenplays. She earned a bachelor’s degree in playwriting from BYU and a master’s degree in theater from the University of Minnesota. For decades, Gale’s creative life revolved around the stage—acting, directing, and crafting stories for live audiences.

      “I didn’t start writing novels until I was almost 50,” she shares, yet storytelling had always been part of her nature. “When I was about seven or eight years old, just after I’d learned about words, we had a little shed out in our backyard in Lake Tahoe, where I grew up. It was a magical place. I’d go out there with paper and pencil and write stories.”

      Exploring Different Genres

      The transition from playwriting to novel writing came naturally. “I had a story in my head that I thought would be a very cool play, but it was kind of epic, and it didn’t fit the genre,” Gale explains. “So, I started jotting down thoughts and a skeletal outline of chapters for a book, which I’d never thought of before because my mind always thought in terms of plays. I had to learn a different writing process because plays are composed of dialogue, but novels must include descriptions of place and setting.”

      That story became Autumn Sky, the first book in a trilogy published by Covenant Communications.

      Writing as a Divine Calling

      For Gale, writing is a sacred practice, centered on divine guidance. “I pray constantly. I have no ego when I’m writing my books. I believe that EGO stands for Edging God Out, and I’m not ever going to do that. When I dedicate my work and consecrate it to His purposes, I must include Him in the process.”

      The Spirit guides Gale throughout her process. “It’s as if I’m walking along and all of a sudden, I stumble, and something makes me pause. I stop and say, ‘Okay, something’s wrong here. Either I’m pushing it too much, or I’m not telling the right story, or I’m not going in the right direction.’ That’s how I know.”

      The Power of Research

      This spiritual foundation shapes every aspect of Gale’s work, especially her research approach. She is tenacious about accuracy. “If you’re going to write historical fiction, it needs to be true to the history,” she emphasizes.

      For The Silence of God, which explores communism and Christianity in revolutionary Russia, she immersed herself in Russian history and communist theory. “I wanted to tell the story of what a society looks like when they rip God out of their lives,” she explains. She thought she’d have to create a fictional Orthodox Christian family—until she experienced what she calls a “God wink.”

      “I thought to myself, I’m never going to find an LDS Russian family back in that time,” she recalls. “Well, I was at the Church History Library and found this article about the Lindelof family—the one and only LDS family in Russia during the Bolshevik Revolution.” This moment of divine serendipity became central to the novel.

      For Letters in the Jade Dragon Box, set in China under Mao Tse-Tung, she studied Chinese culture and government systems. The book juxtaposes Mao’s communist regime with the gospel as experienced by early Latter-day Saints in Hong Kong.

      Belonging to Heaven draws from George Q. Cannon’s actual journal entries about his mission to Hawaii, exploring his relationship with Jonathan Napela, one of the first Hawaiian converts to the Church.

      Her novella, Brilliant, required research into autism, Indian culture, mathematics, and Eastern philosophy to authentically portray its protagonist—a young autistic college professor from India. Gale met with Indian families and individuals who understand autism and reviewed autobiographies to ensure accuracy.

      But Gale doesn’t just rely on books. She travels to the locations she writes about—Italy, Russia, Hawaii—with her husband, George, acting as photographer and videographer. She interviews people from the cultures she depicts and visits ethnic markets.

      “I’ll go up to people and say, ‘Do you have a minute? Can we talk about Indian food?’ or whatever I need to learn,” Gale explains. “Most of the time, people are gracious and thrilled to help.”

      “It’s so important in historical fiction that readers feel as though they’re there,” she says. Whether it’s the food her characters eat, the clothes they wear, or the streets they walk, Gale ensures every sensory detail rings true. Each book ends with an extensive bibliography and notes explaining the historical context. “I stick to the facts as much as possible, but if I need to deviate because of the story, I let readers know.”

      Blending Faith and Story

      When depicting conversations about faith, Gale uses a subtle touch. “I want to tell the story of God’s Saints in a way that all my readers can appreciate, and weave in Christ’s teachings without beating people over the head with the gospel.”

      For example, in The Silence of God, the LDS character Agnes discusses the law of consecration with her Bolshevik friend, Natasha, while chopping cabbage for borscht. The exchange feels natural rather than preachy. “You can push doctrinal discussions too far to where readers feel like they’re in a Sunday school room, or you can just put a little flavor of it,” Gale explains. “You have to honor your readers and trust that they’re smart enough to interpret the story through their own lens.”

      This approach has connected with readers beyond the LDS community. “I have a lot of readers who are not LDS who appreciate the structure of the story and how I involve Christ in it,” she says. Universal themes of faith, courage, sacrifice, and family resonate across religious boundaries.

      Writing Process and Craft

      Despite her theatrical background’s emphasis on structure, Gale describes herself as “pretty much a pantser.” However, she acknowledges the value of structure, particularly in historical fiction, where “the journey has to go through certain historical processes.”

      “Normally, I start with a character,” she explains. “Then I ask, ‘What is this character’s journey?’ With historical fiction, that journey is kind of mapped out for me.”

      Character development comes through revelatory moments. In Letters in the Jade Dragon Box, the protagonist, Chen Wen-Shan, receives a box from her grandfather containing paintings and letters. This catalyst unfolds her family’s story under Mao’s regime.

      Advice for Aspiring Writers

      For young LDS creators and writers, Gale offers perspective gained from her unique journey:

      • Don’t worry about starting late or about success, fame, or money. Just stay true to the story you’re called to tell.
      • Focus on impact, not numbers. If your book only touches 10 people, that’s wonderful. If it only touches your family and they love it, that’s wonderful too. Remember, it’s a success just to get your story down on paper…Well done, you!
      • Remember the importance of the individual reader’s testimony. You’re planting a gospel seed, and you may not see it grow, but someday the Lord will use it. Eternity is long.
      • Write stories that inspire. For example, if you’re writing fantasy, you can still include the quest for good against evil. Your character’s struggles and triumph can encourage and lift a young person who’s questioning their abilities and whether life is worth the effort.
      • Consecrate your work. “When I dedicate my books to the Lord, I say, ‘Lord, take this little offering that I’m making and do with it what you want.’ I might not have a huge readership, but that’s not my path, and I don’t really mind.”    

      A Legacy of Faith

      Gale’s work now extends beyond novels. Her children’s book, Christmas for a Dollar, based on her father’s experiences during the Great Depression after losing his mother and contracting polio, has been adapted into a Christmas movie.

      No matter what form her writing takes, Gale ensures it is an act of discipleship. She reminds fellow writers that life is a tapestry, and we’re only seeing the back side. In seasons of trial, the threads look tangled. But eventually, God will turn that tapestry around, and we will see His divine design. Until then, authors can help readers through difficult times by writing good stories that show them there is light ahead.

      “These stories, these people’s lives—what a blessing it is for me to be able to share them,” Gale reflects. “And hopefully, prayerfully, the stories will resonate with someone and help them and strengthen them. That’s what I want.” 

      Headshot of Kami Pehrson.

      Kami Pehrson

      Kami Pehrson lives with her husband and five teenage children in Stansbury Park, Utah. She recently finished her master’s degree in English and creative writing and has written three novels—but is still trying to figure out what to do with them. She loves editing, reading, and playing word games on her phone. She also enjoys listening to audiobooks while half-heartedly doing Pilates in the living room.


            

            


            

            


            


            


            

        Twenty of the Most Confused Grammatical Terms

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        We love English. Twenty percent of the world’s population speaks it, with about 400 million native speakers and 1.5 billion learning it as a second language. English blends and borrows words from many cultures and languages. It’s a linguistic melting pot. 

        English is fascinating! But let’s face it—it’s also really complicated. English is one of the languages with the most complex grammatical structures. And when you throw in spelling . . . well, English can be rough to nail down.

        But no worries! We’ve collected a list of some of the most confused grammatical terms in the English language. If you learn these, you’ll be speaking and writing English better in no time.

        A lot, Alot, Allot

        A lot is an adverb that means “much” or “frequent.”

        I go to the gym a lot.

        That is a lot of ice cream. 

        Alot is not a word. Don’t write it.

        Allot is a verb that means “to distribute” or “to assign a portion.”

        I will allot half of the posters to my business partner to hang up.

        After her speech, Dimitria will allot ten minutes for questions.

        Affect, Effect

        This one is tricky, but the main rule is affect is used as a verb and effect is used as a noun.

        The new machinery will affect the productivity of the plant.

        The effect of the lights is stunning.

        Among, Between

        Among is used for relationships of three or more items. Between is used for relationships of only two items.

        I can’t choose which among all my shoes to wear.

        I often stand between the stop sign and the fire hydrant when waiting for the bus.

        Assure, Ensure, Insure

        All three of these words are verbs that mean “to make sure.”  Though some of their definitions cross over, there are a few rules of thumb you can remember that will help you place the correct word in the right context.

        Assure removes doubt and suspense from someone’s mind. Ensure can be replaced with guarantee. And insure is mainly used for financial risk. Refer to Merriam-Webster’s dictionary for more examples and definitions.

        I assure my pets I will be home no later than 3:00.

        David ensures he has next week off work.

        Gemma will need to insure her new car. 

        Complement, Compliment

        Complement means “to complete.” Compliment means “to say something nice to or about someone.”

        Her red heels complement her shade of lipstick.

        Jane complimented Michael on his choice of tie for the evening.

        Every day, Everyday

        Every day is a noun or adverb. Everyday is an adjective and is used only before a noun.

        Erika teaches yoga classes every day.

        Erika’s everyday yoga classes will keep you invigorated.

        Farther, Further

        Farther refers to literal distances. Further means “more.”

        Jenna runs farther than Jared every time they jog.

        The team decided they needed to discuss the concept further.

        Fewer, Less

        If you can count it, use fewer. If you can’t count it, use less.

        The fewer pets  you own, the less hair you’ll find on the floor.

        The less flour Halley uses in the mix, the fewer pancakes she’ll be able to make.

        In to, Into

        Into refers to movement and is attached to a noun. When separated with a space, the in and to in in to are normally attached to other parts of the sentence than to each other. For example, in the phrase “call in to order food,” call in and to order go together more than in and to.

        Chloe stepped into the car.

        Please sign in to your computer.

        Its, It’s

        Its is a possessive pronoun showing ownership. It’s is a contraction meaning “it is.”

        The dog lazily gnawed at its bone.

        Kiana assures Luz that it’s happening sooner than she would think. 

        I.E., E.G.

        I.E. means “in other words.” E.G. means “for example.”

        When decorating my home, I prefer to use earth tones (e.g., greens, browns, and tans).

        When decorating my home, I prefer to use earth tones (i.e., warm and muted

        shades found in nature).

        Lay, Lie

        Lay can be replaced with “place.” Lie can be replaced with “recline.”

        After a long day, Noah wants only to lie in his bed.

        I lay six eggs in the carton.

        Like, Such as

        Like is used to give a comparison. Such as is used for specific examples.

        I have read many novels like Dracula, Twilight, and Carmilla. (This sentence implies that the reader has read novels similar to these but not necessarily these novels.)

        I have read many novels, such as Dracula, Twilight, and Carmilla. (This sentence implies that the reader has read these specific novels.)

        Lose, Loose

        These words are mainly mixed up because they are spelled so similarly. Loose is something that is not tight. Lose means “to be deprived of.”

        I lose my keys constantly.

        Stella has a loose tooth.

        Peak, Peek, Pique

        These words can be confusing because they are all pronounced the same. But they each have different meanings. Peak is the “top or apex of something.” Peek is “to take a quick glance.” And pique is “to excite or irritate.”

        Did you see the snow at the peak of the mountain?

        Jill peeked around the corner.

        That topic always piques my interest.

        That, Which

        These words are used pretty interchangeably in speech and writing, but here is the correct grammatical rule: Use that if information that follows is important and should not be taken out of the sentence. Use which if the information that follows can be taken out without changing the meaning of the sentence.

        The peach that is sitting on the end of the table is Gabe’s.

        My favorite fruit, which is a peach, is sitting at the end of the table.

        Their, There, They’re

        These are common words in English and are often confused because they are all pronounced the same. Here’s the difference in their meaning: Their is a possessive pronoun showing that more than one person or thing owns something. There is the opposite of here. (You can remember that because they are almost spelled the same.) They’re is a contraction for “they are.”

        The new car is their blue Subaru.

        You won’t find the blue ball over there.

        They’re as tall as my sister.

        Than, Then

        Here’s another set of words that gets confused because they are often pronounced the same way. Then is linked to a sequence, normally “if . . . then” or “first . . . then.” Than is used for comparisons. 

        If you think you can beat me, then give it your best shot.

        Peter is faster than Sam.

        To, Too

        These words are pronounced the same way and almost spelled the same way too! The difference is that too means “also” or “an excessive amount,” while to is used in every other instance. We won’t list those because there are a lot of them. 

        Vanilla Coke is my go-to drink.

        Do you want to come to my house a quarter to one?

        Annelise is wearing red too.

        That is too much ice cream to eat in one sitting.

        Your, You’re

        These words are pronounced the same but have different usages. Your is a possessive pronoun showing that you own something. You’re is a contraction meaning “you are.”

        You’re going to your grandmother’s tomorrow after lunch.

        Your sweater you’re wearing obviously shrunk in the dryer.

        The examples above are just some of the many grammatical terms that are commonly confused in the English language. But now you have a succinct list to look back on if you get confused. Keep practicing your grammar, and with the help of this tip, you’ll be a grammar master in no time!

        We would like to thank Breanna Call and our friends at Ever Editing for allowing us to share this article with you. To read the other great articles they’ve written, click here.

        How I Learned Not to Loathe Revisions

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        We’ve all been there. We just put the finishing touches on our creative piece. After hours of work (and perhaps a few tears), we submit it to a professional for review. Often, we receive feedback that requires considerable revision and makes us question whether we should be engaging in this work at all.

        I write historical romance novels, so this feedback usually comes in the form of substantial content edits from an editor. Unfortunately, I haven’t had the best mindset when it comes to editing my work. In fact, the word I often associate with editing is “loathing.”

        My first novel will be published by a small publisher this September. The first thing I wanted to do when I received the content edits? Cry. I had already hired a developmental editor and made significant changes based on her feedback and input from other readers. I even rewrote the entire ending! And still more edits? 

        I know, I know. I should be open to feedback that helps me grow and improve as a writer. But still, I couldn’t get my brain on board with that idea until I applied a few simple principles to my thought process. You might already be familiar with them because they align with the counsel we receive in the gospel. Here are a few simple ways I’ve found to shift my mindset and develop a healthier attitude toward feedback.

        Recognize the True Potential in My Work

        At least fifty—that’s the number of “no’s” I received from agents and editors when querying my manuscript for almost a year. I didn’t handle the rejection well. Remember those tears mentioned above? Yes, there were lots during this phase.

        I had the idea for my novel for more than a decade, but I put off writing it until three summers ago. My degrees and licenses in business and law don’t exactly translate to writing love stories, but I couldn’t ignore the prompting to embark on this creative journey. My work is not what I’d consider gospel centered. I write clean historical romances that don’t typically include characters with a faith arc. I like to call them “kissing books.”

        So, why did every attempt to put that work out into the world lead to a dead end? Even now, despite a contract with a small publisher (the only one who said “yes” instead of “no”), these doubts still manifest themselves. Why isn’t anyone buying or rating my self-published novella? Why do I have fewer than 200 followers on my social media accounts after eighteen months of effort? Why did 2% of my newsletter subscribers unsubscribe after my latest message? The list goes on.

        When “numbers” and “quantities” start niggling at my mind, it helps to view my work’s potential the way Heavenly Father views us—with an eternal perspective.

        Focusing on the quality of connections I make in this industry realigns my perspective. Reaching one person with my writing is far more important than earning ninety-nine likes on my latest Instagram post.

        Removing the “worldly lens” when valuing my work helps me recommit to this creative calling, especially when critiques (and the doubts that accompany them) follow.

        Speak with My Heavenly Father

        After I received the content edits for my first book, I tried to sit and write part of my current book. No words flowed. It was my worst attempt at writing. I doubted each word, erased more than I wrote, and ended up frustrated, discouraged, and dejected—never a good combination, especially when trying to create.

        This pity party lasted far longer than I care to admit. But I had a deadline to meet, so after hoisting myself up by my bootstraps, I decided to act on a thought that had come during the wallowing—pray.

        Perhaps it’s even more embarrassing to admit that I hadn’t really prayed much in my writing career. Again, these are just kissing books. Why would I need inspiration about romantic interactions like brushing hands and flushing cheeks?

        I gave prayer a go, however, because the idea wouldn’t leave me alone. Did I mention I was stubborn, too? I prayed each time I sat down to edit. I prayed to be open to the editor’s comments and recommendations. I prayed for guidance and inspiration as I selected the right words and phrases while rewriting. I prayed that I would complete tasks by the deadlines. And I prayed for help with my other responsibilities, including being a wife and mom of two, holding down a part-time job, and managing other volunteer roles, such as serving as one of the new vice presidents of LDSPMA.

        I’m not suddenly spitting out a masterpiece akin to Jane Austen’s work or tripling my word count, but I can set aside the emotions telling me my work isn’t good enough. I’ve also overcome the feeling of overwhelm that plagued me during the rewriting process. I meet my deadlines, too (I even met one five days early!).

        Most importantly, prayer changed my perspective. I now see revision as a way to ensure that my work is the best it can be. I feel the loving support of Heavenly Father, even if the process isn’t easy.

        Strive to Do Better Each Day

        Through what other process do we try to improve little by little and day by day? Repentance. We are often counseled that repentance should be a joyful process. While I still pray to find true joy in editing, I can safely say I’ve made it to the “not loathing” stage. I see the true potential in my work by speaking with Heavenly Father through prayer.

        And the best part? I can strive to elevate the gift Heavenly Father has given me every day, even after receiving feedback that requires yet another rewrite. I hope that you, too, continue to strive for true joy in your creative journey.

        Headshot of Casey Cline

        Casey Cline

        Casey Cline collects hobbies and pursuits as quickly as she reads books. She likes to believe her degrees and licenses in business, law, and real estate aren’t entirely incongruous with writing historical stories about the ultimate adventure in life—love. Casey is one of the vice presidents of the Latter-day Saints in Publishing Media and the Arts organization and is a member of the Nebraska Writers Guild. She lives in Nebraska with her husband, two daughters, and three cats. You can connect with her at www.caseycline.com.

           

          How to Master the Apostrophe

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          Apostrophes are one of the most diverse punctuation marks in the English language. They can be used and placed in various ways to change the meaning of a sentence. You’ll want to make sure you’re using them correctly, so that your writing reads clearly. In this article, we’ll outline simple rules that will bring confidence and accuracy to your apostrophe use in the future.

          This is an apostrophe: ’ It is also known as the right single quotation mark.

          This looks like an apostrophe but is not: ‘ It is the left single quotation mark, which can’t be interchanged with an apostrophe.

          Apostrophes are used for three main reasons: signifying possessives, replacing missing letters or numbers, and—rarely—to form plurals.

          1. Signifying Possessives

          This is the most complicated use of the apostrophe. Possessives have a handful of nuances based on singular or plural form and, in some cases, the pronunciation of the individual word. But don’t let that scare you. We’ll lay out some simple rules you can follow so you’ll get this down in no time.

          Singular Possessive

          This is the easy one. To show that a singular person, place, or thing possesses something or someone else, add an apostrophe and an s to the end of the noun.

          The cat’s paws were as pristine as a white carpet.

          A student’s book was in the street.

          My toddler’s red balloon sailed into the sky.

          The same rule applies to singular nouns that end in s. Add both the apostrophe and the s at the end of the word.

          James’s dog chases Chris’s ball.

          Arkansas’s capital has a booming industry.

          Agnes’s report said that her crocus’s petals were as vibrant as ever.

          Note: Not every style guide agrees on the treatment of singular nouns as possessives. For example, in the Associated Press (AP) style, the noun being proper or common will determine whether to use an apostrophe or the apostrophe s. However, the majority of style guides, including Chicago style (CMOS), American Psychological Association style (APA), and Modern Language Association style (MLA), agree with the rule above.

          Plural Possessive

          Most plural words in the English language end in s or es to show more than one person, place, or thing. For those plural possessives, add only the apostrophe after the end of the word.

          The knives’ sharpness made even the most experienced chefs take precaution.

          My sisters’ shoes always look pristine.

          The boxes’ angles interested the children.

          For plural nouns that don’t end in s or es, we revert back to the original rule. Add an apostrophe and an s.

          The children’s toys were sprawled across the room.

          The mice’s tails whipped behind them as they ran.

          The women’s discussion enlightened each member of the room.

          There are a handful of words in English that end in s both when they are singular and plural. Examples are leggings and politics. For these kinds of words, just add an apostrophe like you would for plural words ending in s, even if they are used in a singular sense.

          The headquarters’ main office had cubicles.

          The crossroads’ intersections both needed to be cleared of debris.

          The tweezers’ prongs were sharper than necessary.

          Similarly, words that have a plural form ending in s but are singular in meaning, like United States, follow the same rule of adding only an apostrophe.

          Beverly Hills’ homes are some of the most expensive in the country.

          Longwood Gardens’ woodlands contain over 100 floral species.

          Portland Academy of Writers’ meetings are extensive and informative.

          Joint Possession

          When a noun is owned by two or more people, this is called joint possession. The placement of the apostrophe (or apostrophes) in joint possession will change the meaning of the sentence. If two or more people own the same item, only one apostrophe is used with the last written owner’s name. If two or more people own separate but similar items, apostrophes are used with each written owner’s name.

          For example, if we wanted to talk about dogs that were owned by both Jim and Pam, we would write, “Jim and Pam’s dogs.” The apostrophe is placed only after Pam’s name to show that Jim and Pam own the same dogs. If we wanted to talk about dogs that were owned separately, some by Jim and some by Pam, we would write, “Jim’s and Pam’s dogs.” The apostrophes after both names signify that Jim and Pam do not own the same dogs but have their own set of dogs.

          Chancy, Noah, and Clara’s parents celebrated their 28th anniversary.

          (Chancy, Noah, and Clara all have the same parents.)

          Emma’s, Anthony’s, and Sawyer’s parents shop at the same grocery store.

          (Emma, Anthony, and Sawyer all have different parents.)

          Halley and Stuart’s bakery is located on the corner.

          (Halley and Stuart own the same bakery.)

          Josie’s and Caleb’s bakeries are across the street from each other.

          (Josie and Caleb own two separate bakeries.)

          Last Names Ending in S

          Here’s a little bonus section for you. Sometimes last names that end in s can make the plural and the possessive complicated. But if you follow the rules stated above, you can figure out the correct way to write each last name in each situation.

          Let’s say the last name is Leavitt. If we want to talk about one Leavitt (singular) in the possessive form, we would add an apostrophe and an s. “Sophie Leavitt’s nails were painted red.”

          If we want to talk about all the people in the Leavitt family (plural), it would be Leavitts. Now, let’s add the possessive form with the plural. Like we mentioned above, for plurals already ending in s, simply add an apostrophe. “The Leavitts’ car is brand new.” Simple enough, right?

          Here’s where the confusion comes in. What if the last name ends in s already? Let’s take the last name Roberts, for example. In the singular possessive form, we would say, “Ignacio Roberts’s house is the quaintest on the block.” Making that last name plural, it’s Robertses. Now, follow the same rule for a plural noun already ending in s: add only an apostrophe. “The Robertses’ cat dashed under our porch.”

          2. Replacing Missing Letters or Numbers

          Sometimes apostrophes stand in for letters or numbers. These are called contractions. For example, in the contraction don’t the apostrophe stands in for the missing o in the phrase do not. Here are more examples:

          won’t for will not

          ’twas for it was

          gov’t for government

          rock ’n’ roll for rock and roll

          cookin’ for cooking

          Apostrophes standing in for numerals have less variations. They are mainly used to signify the year. So, instead of 1994, we could use an apostrophe to replace the numbers 19 and simply write ’94.

          3. Forming Plurals

          This is the least common use of the apostrophe. In fact, it’s pretty rare. An apostrophe can show the plural form only when adding an s or es would make the meaning ambiguous.

          For example, if we’re talking about lowercase letters of the alphabet in the plural form, it would be confusing to read “The teacher wrote xes on the chalkboard.” The reader may not know if the teacher wrote more than one x or xes. Instead, to be very clear, we would use an apostrophe. “The teacher wrote x’s on the chalkboard.” This applies to lowercase letters, but capital letters are pluralized by adding only s. (“She got all As on her report card.”)

          You may also see this same usage being applied to numbers, but it’s not as common. (“The algorithm required we use only 0’s and 1’s.”)

          Apostrophes are diverse, but you can master them if you review the guidelines outlined above. The more you practice using apostrophes, the more confident you’ll be that you’re applying them correctly. To learn more about apostrophes, you can read the Chicago Manual of Style, sections 7.5–30 and 5.20. And if you’re ever confused, you can always refer back to this article.

          We would like to thank Breanna Call and our friends at Ever Editing for allowing us to share this article with you. To read the other great articles they’ve written, click here.

          Common Publishing Terms to Know

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          If you’re jumping into the publishing world—welcome! We’re happy you’re here. We love new people, voices, and stories. As you’ve looked into writing groups, editing stages, publishers, and more, you’ve likely come across the many terms associated with the publishing industry. As with any trade, there is a plethora of jargon. 

          But there’s no need to be overwhelmed or confused as you step into your writing journey. We’ve got you covered. This publishing tip will introduce you to some of the main terms used in writing, editing, design, and publishing.

          Acquisition. When a publisher “acquires” a manuscript and sends a contract to the writer for publication.

          Advance Reader Copy (ARC). A copy of a book that is given to a select amount of readers before it is officially published. This allows readers to read the book before publication so that they can positively review the book as soon as it is published.

          Alpha Reader. A reader who looks over the first, unpolished draft of a manuscript to give feedback.

          Backlist. Books that are not newly published but are still in print.

          Back Matter. The material in the back of a book, including afterwords, addendums, appendices, author biographies, epilogues, glossaries, and indices.

          Beta Reader. A reader who gives feedback on a manuscript after it has gone through several drafts. Beta readers can be volunteer or paid and should be regular readers of the book’s genre.

          Bibliography. Section in the back of a book that cites all sources that were consulted in the book’s research. Bibliographies are commonly found in genres such as nonfiction, reference books, and historical fiction.

          Blurb. A brief description of a book that entices readers to read it. The blurb is commonly found on the back of a cover, inside a book jacket, and as the book description in an online store. Also known as cover blurb.

          Character Arc. How a character develops from their original state at the beginning of the book to their new state at the end of the book based on the events that transpire throughout the storyline.

          Chicago Manual of Style (CMOS). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in print publications, fiction books, and nonfiction books.

          Climax. The part of a story that has the highest tension, emotion, and action and is a major turning point for the main character.

          Comps. Published works that are similar to a writer’s own work. Comps are usually referred to when a writer is pitching their work or writing a proposal to an agent or publisher.

          Copyediting. A type of editing that corrects errors in capitalization, grammar, punctuation, spelling, and usage. This stage of editing generally comes right before the book is put into printer-ready format.

          Copyright. The right to publish, sell, and revise a work, be it written or artistic. This right generally belongs to the creator of the work automatically unless otherwise stated by the creator or sold by contract.

          Cover Blurb. A brief description found on the cover of a book that entices readers to read the book. Also known as blurb.

          Developmental Editing. A type of editing that evaluates overarching story elements, such as themes, organization, character arcs, and pacing for the manuscript as a whole. This stage of editing would be done before any other stage. Also known as substantive editing.

          Editorial Letter. A letter that most often accompanies a developmental edit and can accompany other levels of editing. This letter is written by the editor and includes actionable steps and advice for revision of a draft.

          Elevator Pitch. A short promotional description of a book that aims to sell the book as fast as possible. An elevator pitch is typically no more than 100 words and delivered vocally to agents, publishers, or potential readers.

          Endnote. A source reference or author note that is listed at the end of a book or the end of a chapter. It is marked by a superscript in the main body of text.

          Epilogue. A section at the end of a book that is found directly after the main chapter content. It can act as a conclusion for the book or give commentary on what happened in the story.

          Flash Fiction. A short fictional publication generally no more than 1,500 words. It may be a few paragraphs or even a few words long.

          Footnote. A source reference or author comment that is listed at the bottom of a printed page and marked by a superscript in the main body of text.

          Foreword. Section at the beginning of a book that briefly describes how the book came into being and why readers should read the book. Forewords are typically written by someone other than the book’s author.

          Front Matter. The material at the front of the book, including title pages, forwards, prefaces, copyrights, dedications, lists of publications by the same author, and tables of contents.

          Galley. A typeset document that authors, editors, and publishers review before the final publication. Also known as a proof.

          Hook. A sentence or paragraph that catches the reader’s attention and entices them to keep reading. Hooks can be found at the beginning of a book or chapter and even on cover material.

          Hybrid Publishing. A new publishing model that combines aspects of traditional publishing and self-publishing. There are many variations of hybrid publishers that allow for more author involvement, but it is important for authors to research any hybrid publisher in order to avoid illegitimate publishing deals.

          Imprint. The trade name a larger publisher uses to distinguish and publish a specific type and collection of books.

          International Standard Book Number (ISBN). A number used to identify a specific book. This number is needed in order to sell a book.

          Lead Time. The time between when an editor receives a book and when it is officially published.

          Line Editing. A type of editing that amends discrepancies in tone, style, plot, and characterization at the paragraph and sentence levels. This stage of editing happens after a developmental edit and before a copyedit.

          The Modern Language Association Style Manual and Guide to Scholarly Publishing (MLA). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in the humanities, liberal arts, and literary criticism.

          Narrative Nonfiction. A genre of books in which actual events and facts are structured and presented in a storytelling style.

          Pacing. How quickly or slowly key events in a story develop.

          Pitch. A very brief written or verbal presentation of a book that authors use to entice agents, editors, or publishers to accept their book for representation or publication. This pitch may also be found in a query letter.

          Printer. Not to be confused with a publisher, a printer is a company that prints the physical copy of a book.

          Print on Demand (POD). A printing process that prints single physical copies of a book only after they are ordered by a customer, instead of printing a large amount of books at once to sell at a later time.

          Prologue. A section at the beginning of a book that is sometimes found directly before the main storyline. It acts as an opening for the book or gives relevant information needed to understand what will happen in the story.

          Proofreading. A type of editing that catches the final errors in the typeset format of a book, including making corrections in punctuation and formatting.

          Proposal. A document sent to an agent, an editor, or a publisher to convince them to accept a manuscript for representation or publication. It may include a cover letter, an author’s bio and credentials, a query letter, comparable titles, sample chapters, an outline of the book, and marketing strategies.

          The Publication Manual of the American Psychological Association (APA). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in behavioral sciences, healthcare, and social science.

          Publisher. A company that acquires, edits, designs, and markets a book. They also oversee public relations and sales.

          Query Letter. A brief letter, typically one page or approximately 250 words, that is sent to an agent, editor, or publisher to convince them to accept your manuscript for representation or publication. A query letter includes a manuscript’s title, word count, and genre, as well as a hook, quick author bio, and synopsis of the story.

          Revisions. The changes an author makes to a work.

          Slush Pile. Unsolicited manuscripts received by an agent, editor, or publisher. These manuscripts may not be top priority and may not be read in a timely manner.

          Story Arc. The chronological structure of a plot, including a beginning, a middle, and an ending.

          Synopsis. A brief summary of a manuscript.

          Title Page. A page near the front of the book that includes the title, subtitle, edition, author name, publisher, and, when necessary, the imprint.

          Trope. A common theme or element found in a specific genre.

          Typesetting. Formatting a manuscript from a Word document, Google Doc, or similar format to an industry-standard e-book or PDF. 

          Unique Selling Proposition (USP). What makes a book stand out in the marketplace.

          Work in Progress (WIP). A manuscript that a writer is currently working on.

          You’re sure to find many more terms and acronyms in the publishing world, but this list should give you a good starting point to understanding the rich jargon used by agents, editors, designers, publishers, readers, writers, and more.

          We would like to thank Breanna Call and our friends at Ever Editing for allowing us to share segments of this article with you. To read the article in full, click here.

          10 Writing Tips to Make Your Writing Glisten 

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          I’ve always been the bookish sort, hanging out with imaginary characters in the library while my peers went out to recess, reading about adventures instead of going on them, and scanning the dictionary for sophisticated zingers to wield in future (and unlikely) debates. It wasn’t that I didn’t have many friends—though that is also true—but I believed I had a firm grasp of language arts from a young age. However, it wasn’t until I set out to write a novel that I discovered I’d been making some rookie mistakes. Through my study of the craft, suggestions from editors, and earning an MA in English and creative writing, I’ve compiled a list of tips you might find helpful. While no one wants their artistic endeavors stifled by dos and don’ts, incorporating these suggestions to align with your style will make your writing more effective, engaging, and concise. 

          • Eliminate Adverbs 
            Stephen King once told me to cut out all my adverbs. Well, he didn’t tell me this personally, but I did listen to him narrate his audiobook On Writing, so it felt like he was speaking to me. This advice confused me at first. Why wouldn’t I want to use a million modifiers to clear up any ambiguity a lone verb might create in the reader’s mind? Well, because adverbs can be condescending and lazy. Strong verbs provide narrative context to allow the reader to grasp your meaning without relying on a plethora of -ly words. Readers are intuitive; go ahead and trust them. Use adverbs as you would cayenne pepper—just enough to give your writing a kick. (I learned this the hard way in writing and cooking—sorry, family). 
          • Choose Your Dialogue Tags Carefully 
            I loved assigning a clever tag to each dialogue line in my stories. One character would “exclaim,” the next would “shout,” and another “declare.” However, these expressive tags distract from the dialogue and narrative flow. Stick to simple tags like “said” or “asked,” but even these aren’t entirely invisible. Mix them with action beats, internal thoughts, sensory details, and body language. If dialogue can be understood without a tag, don’t use one. Don’t reiterate a character’s emotion with a redundant tag. Also, be wary of onomatopoeic words like “grunt,” “snort,” “groan,” or “guffaw”—these sounds are hard to make while speaking. 
          • Avoid Clichés 
            The adage “All that glitters is not gold” is as true now as when Shakespeare coined the phrase, but overuse of expressions degrades their literary impact. In dialogue, common idioms can reflect a character’s voice, background, or personality, but avoid them in narrative and descriptive passages. Don’t say, “Listening to him talk was like watching paint dry.” There are countless other boring things in the world. Create something original to complete the metaphor and make your writing stand out. 
          • Eliminate or Change Repetitive Words and Ideas 
            I try to avoid overusing my favorite words when writing. However, searching for a synonym in the middle of a writing session can slow down creative flow, and in my case, lead to deep dives into etymological rabbit holes and distractions like word games and quizzes on the dictionary app. Instead, wait until the revision process and use your word processor’s “find” feature to search for words you tend to repeat. Then delete them or think of alternatives.
          • Ground Your Characters and Set the Stage 
            Even if readers can reasonably assume the scene takes place in a particular city or country, let them know where the characters are at the start of the narrative. Don’t let your characters float in a void for the first few paragraphs. Provide enough description to ground readers, but be careful not to overdo it. Each aspect of the character’s environment should serve a purpose, like carefully chosen decorations in a room. Include enough key pieces and furniture to make the setting feel real, and avoid littering it with unnecessary details that distract from your purpose.  
          • Be Specific 
            Words like “there,” “that,” “those,” “it,” “this,” “here,” and “which,” along with other vague pronouns, can slip into sentences when you’re not looking. While these pronouns might be convenient placeholders in a first draft, carefully examine them during editing. Pronouns are necessary and effective when their antecedents are clear, and they help avoid repetition of nouns. However, when their reference is unclear, they can confuse readers and weaken the impact of your writing. Specific language clarifies your meaning and helps readers form a complete mental image of the scene. 
          • Avoid Heavy-Handed Dialect 
            Overwrought vernacular can cause readers to stumble over dialogue, pull them out of the story, and frustrate them. Avoid phonetically spelling words to make a character seem ignorant or foreign. Misspelling words to mimic pronunciation can make the text challenging to read and disrupt the narrative. Plus, it’s easy to get it wrong unless you’re very familiar with the region or social group you’re trying to represent. The goal is to enhance the narrative, not create barriers between your story and the audience. I once tried to write all my dialogue in Early Modern English because my book was set in the 17th century. Alas! My readers grew tired of slogging through all the “forsooths” and “prithees.” I left some archaisms in because what fun would it be to remove them all? As my linguistics teacher advised, “Remain true to your characters and their language, but don’t sacrifice clarity.” Use dialect sparingly to give a subtle flavor of a character’s education, background, and regional origin.  
          • Limit Adjectives 
            Oh, how I love delightful, beautiful, intrepid adjectives. Why else would I spend my childhood reading the dictionary but to stuff my prose full of sharp-witted, erudite, and droll descriptive words? Are adjectives your darlings too? Kill them. They cling to a sentence like barnacles and drag down the narrative. Scrape off adjectives that don’t serve a purpose before they sink your story. Keep only those that sharpen the image or add essential information. 
          • Get Rid of Filter Words 
            Perception verbs like “feel,” “hear,” “see,” “realize,” “watch,” “notice,” and “wonder” clutter up the story, create distance between the reader and the narrative, and dilute the story’s immediacy. For example, instead of “I saw the car drive by,” you could say, “The car drove by.” Immerse the reader in the action and setting by showing instead of telling. For example, instead of “She felt nervous,” you might say, “She clasped her trembling hands in her lap.” Let the reader experience the story through the POV character, not filtered through an extra layer of interpretation. 
          • Use Active Voice Instead of Passive Voice 
            Look for words like “had,” “were,” “was,” “have been,” and other “to be” verb forms followed by the past participle of the main verb. For instance, instead of saying, “The food was eaten by me,” opt for the more direct, active version: “I ate the food.” Replace weak “to be” verb forms with stronger verbs. Using the active voice whenever possible will make your sentences more engaging and precise. 

          Apply or Disregard These Suggestions as You See Fit! 
          Don’t be afraid to write for fear of “breaking” a rule. The key lesson I’ve learned is to put your ideas down on paper, then go back later and make your writing glisten.


          Happy writing and revising! 

          Headshot of Kami Pehrson.

          Kami Pehrson

          Kami Pehrson lives with her husband and five teenage children in Stansbury Park, Utah. She recently finished her master’s degree in English and creative writing and has written three novels—but is still trying to figure out what to do with them. She loves editing, reading, and playing word games on her phone. She also enjoys listening to audiobooks while half-heartedly doing Pilates in the living room.