"I Could Care Less" and Other Pet Peeves

     I've talked about pet peeves of mine before, little grammar flubs and spelling flaws that send my inner editor into convulsive fits.  Well here are five more, comin' atchya hot, and I'll get those engines revving by starting with the most powerful and descending in random order therefrom!


1.  So didn't/So Can't I

     This first started bothering me in the fifth grade.  And when I say bothering, I mean annoying the piss out of me holy shit.  When the students did it, it was one thing; we were nine, ten, eleven at most.  Mistakes are to be expected from children.

     But the teacher.  Oh, woe be unto her, though blessed she be, because good lord when I heard the phrase "So didn't she" come out of her mouth during a lesson on Native American life, I wan.ted. to. puke.  And when I say puke, I mean projectile vomit on the entire class.

     This peeve is not my pet, it is the bane of my existence, it is the skunk living under my porch that eats all my cats' food and every once in a while decides to spritz down my dogs, and I hate it.

     If the phrase were used in proper context, it wouldn't be so bad.  If someone said, for instance, "I didn't like the movie," and someone agreed with, "So didn't I," that would be fine.  A creative, realistic piece of dialogue.

     But the way people use it is always as a form of capable agreement.  "I can paint a picture," "So can't I!"  "I went to the Hawaii over the summer" "So didn't I!"  "I'll go to the store tomorrow," "So won't I."

     iT MAKES NO SENSE!  It's ridiculous, it's preposterous, I expect grammar fuckups from students, but something this severe from my teachers, my god--and on multiple occasions, not just a one-time thing, and never a correction, never once a student saying something, as if everyone else was blind to the blatant abuse of the English language occurring before our very ears!

    Please, for the love of all that is holy, do not use the phrase "So don't" to mean "So do."  They are antonyms.  ANTONYMS!


2.  I Could Care Less

    Okay, now that we've got some of my crazy out of the way; I could care less.  A phrase meant to convey how little one cares about the given situation.

     But it makes no goddamn sense.

     Because the actual phrase is "I couldn't care less."  It's meant to indicate that no fucks are left to be given.  You wouldn't say, "I could give a fuck," you say, "I couldn't give a fuck."  Saying you could care less indicates that you do care, because there's still less care in the world for you to feel, some cares left to give away.

     Unless that's what you mean, when you say "I could care less," you're fucking up, plain and simple.  If your character doesn't care at all, or wants to seem like they don't care at all, they want to say there are no fucks left in the bank.


3.   Affect/Effect

     So I had trouble with these for a very long time myself.  It's a difficult balance between the two, and grammatic education is going down the tubes, so a lot of people are in the same boat as me.

     The way I finally figured out how to differentiate between the two was essentially this;  Affect is a Verb, and Effect is a Noun.  See below:

     "The effects of the storm were horrible."

     "We were horribly affected by the storm."

     Next time you need to use one of these bad boys, take a second to ask yourself if the word you need is a verb or a noun--are you being Affected by it, or are you observing the Effects?


4.  Whining/Whinging

     So this one is included as a fuck you to yours truly, because for a long time I thought "whinging" was just people misspelling "whining" and it really pissed me off.  But it turns out "whinging" is a real word, meaning "To complain in an annoying way."  So it's basically the same thing as whining.

     It's very British (so British that my current spellcheck reads it as a misspelling of whining), which is why I never realized it was a real word.  I should make my peace with it.  It's a real word.  It's a valid word.

     But God do I hate it. 

(you don't have to tho)

5.  Peek vs. Peak

     Okay, just one more, not a pet peeve so much as just a word of warning.  A peak is the top of a mountain; a peek is something you do in people's windows.

     So it's pretty much like the affect/effect thing; if you want a verb, it's peek, and if you want the noun, it's peak.


     Happy writing all!

5 Things I Learned Writing/Editing/Re-Reading My First-Ever "Novel"

1. A notebook of words does not a novel make

My first-ever “novel” was a 42 page book about a Mary Sue superhero getting powers and defeating a dragon.  In between all that, though, lots of bullshit happens that doesn’t have anything to do with the plot, and is mostly just 9-year-old wish fulfillment.  It was, more or less, a notebook full of vaguely connected words and ideas.

But that’s not what a novel is.  First of all, this 42-page story, at around 10,000 words, wouldn’t even qualify as a novella.  It would be more like a novelette at best; a novella is 18,000-40,000 words, and a novel is 40,000 words or more (though most publishing companies prefer that your wordcount be at least 60,000, and often nearer to 80,000, to consider publishing it as a novel).  

Not only is a wordcount required, but a novel has to have a cohesive plot, compelling characters that are more than self-indulgent caricatures of real-life people or cardboard cut-outs, and villains with realistic motives.  You could have a novel that was more anthological, too, as long as all the pieces were woven together to form an overarching narrative, but it still has to say something.  

A bunch of pieces smashed together isn’t a novel just because you want it to be.  Kaleidoscopes are pretty, but there’s a reason we don’t call them paintings.  

2. Tangents Must Go

As I mentioned above, my first “novel” had a TON of tangents.  There was a cringe-worthy sequence where my trio of main characters went off and discovered a new species of weasel that were rainbow colored just … because???  They could???

 

As I said, it was very self-indulgent.  

And it was painfully evident, re-reading it, that it did. not. work.  It didn’t matter, it was a dumb stand-in for conflict, it wasn’t interesting, and it contributed nothing to the plot, such as it was.  

Bottom line; tangents--by which I mean, tangents that contribute no value or actively detract from the audience’s understanding or enjoyment of a piece--have no place in your novel.  In your first draft, sure, stick in as many tangents as you want, they may turn out to have little pockets of information or entertainment you could later rework into something saleable, but when you go back to edit, cut that shit down.  Hack the jungle down to a garden and breathe deep the fruits of your labors.

Then choke, because you can’t breathe fruit.  Why were you trying to breathe fruit?  Who do you think you are, Fruit-Breathing Man?

3. Daydreaming isn’t the best way to write a book

Again; I was basically day-dreaming when nine-year-old-me wrote this.  And I should probably state, if it wasn’t clear already, that while I’m posting this for the education of all, this post is primarily a letter to kid me about what she could have done better.  

Namely, written a fucking BOOK instead of an IMAGINATIVE DIARY.

Little me had a lot of passion, but she was thin on the execution.  (Don’t worry, she’ll learn ;) )

4. Demonizing childhood bullies isn’t a recipe for a compelling villain

Honey, this is a lesson we all have to learn someday, and you’re learning it *checks watch* ten years ago.  You may have some unresolved issues with the kids that are bullying you right now, and demonizing them in writing can be cathartic, but if you want this book to be great, you need a better villain than a strawman.

Your villains have to be every bit as three dimensional as your protagonists; they need to have realistic reasons for having the goals they do; they need motivation, and even if their goal is to use a dragon to kill someone because they just don’t like her, they need to have a reason not to like her in the first place.  It doesn’t have to be the character’s fault (though it’s often more interesting a story if it is), but the villain needs to be able to see it that way.  

Every character is the protagonist of their own story; find the ways that your villains are the protagonists of theirs.

5. Paragraph usage

This is one thing that school never taught me, which I thank my eldest brother for.  One day, as I was typing away, he stopped behind me, reading over my shoulder, and gave me a piece of advice that forever changed the way I write.

“Include a new paragraph every time a new character speaks.”

And then he disappeared in a puff of dragon smoke and blood-orange incense, never to be seen again until dinner.  

It’s a very simple thing, so obvious a rule that schools don’t even bother telling you to do it (because they teach technical writing, so they don’t bother thinking about what the conventions of creative writing are until you’re already expected to know them all), so I see a lot of young writers making the same mistake.

So.  Every time a new character speaks; new paragraph.  It makes it so much easier to keep track of who’s saying what.  Trust me, you’ll love it.  And so will your readers. :)

Fixing Talking Head Syndrome

What it is:

     "Talking Head Syndrome," as it's known in literary circles, is a condition characterized by the metaphorical detachment of your character from a physical form during dialogue or monologues, especially if world-building or info-dumping is involved.  Essentially, the monologue or dialogue goes on for so long with so few indicators of what's actually happening in the scene that the reader gets lost and confused and, worst of all, bored.

Why it's bad:

     Talking Head Syndrome results in a couple different things, but most importantly, it's boring.
     When THS creeps in, all that's left is words, words, words--words that usually aren't that interesting, don't hold our attention, and make us want to skip over everything to get back to the action.  We lose track of what's going on with the characters, where they are physically, emotionally, etc, and you lose opportunities to really get in touch with the character, advance the plot further, or entertain the audience.

How to fix it:

     There are a couple things you can do to try to cure your MS of Talking Head Syndrome.

• Action Tags:  Action tags are essentially what they sound like; the action that goes on during and between dialogue, and they might be the simplest way to cure your THS.  Instead of saying, "she said," which is a dialogue tag, you cap the end of a sentence (or interrupt the sentence, when it flows that way) with action.  

  For example, instead of, "'I hate this,' she said," you'd use, "'I hate you.'  She put down the clock and crossed to Henry.  

  This is a relatively quick way to let your reader know what's going on while your characters are chatting, which, when done right, won't interrupt the conversation and will keep the details clear in your audience's heads.  Plus, it's more interesting to read.
• Dialogue Tags:  Dialogue tags ("she said," "he asked," "they inquired," etc) are the Action Tag's annoying cousin.  A necessary cousin, who isn't always annoying, but can be.  These don't help terribly much with THS (you can load your MS up with them and still have talking heads as far as the eye can see), but they do help the reader keep track of who's speaking at any given time.  And not knowing who's speaking is a dangerous side effect of THS.
• Slash and Burn:  Another solution is to cut down your dia/monologues.  Instead of having those long-winded passages of speech that take up six pages, you can make it more of a back-and-forth to break it down into more manageable chunks, which can help create space for action and narration.

      Talking Head Syndrome is tricky; it's one of those issues that just keeps coming back around and around and around.  I'm 99.99999% certain that there are talking heads somewhere in your first draft, because it's endemic, and it's natural; when you get in the dialogue flow it's hard to break out of it.  It's not spilled milk, it's nothing to cry about, just try to keep things interesting, and remember to balance your dialogue, action, and narration, lest you end up with more of a play than a novel.