“Grammar, What Big Teeth You Have” ~~ by Mark Huntley-James

“Grammar, What Big Teeth You Have” ~~ by Mark Huntley-James

Grammar rules, OK.

Breakages will be reported, criticised and condemned.

I never learned much in the way of English grammar.  Plenty of French, Latin and Greek, but very little English.  I’ve largely forgotten the former three, and now I just struggle with my native tongue and frankly the natives can get pretty damned restless if not outright hostile.  For some reason, there are two things which bring out the tyrants, the complainers, the rabid proselytisers – grammar and spelling.

When I was a kid I was frequently told that there was no such word as ‘can’t’.  Not even finding a suitably recent and liberal dictionary containing the fabulous ‘can’t’ could put an end to the assertion.  There simply was no such word, no matter how many people used it, in speech and print.  Now roll on a few years, to my teens, and those immortal words: to boldly go where no man has gone before.  I don’t care that everywhere they went there were clearly people who had arrived earlier, it was the split-infinitive that troubled me.

Or, strictly speaking, failed to trouble me.  I like to boldly go.  I try to imagine that opening as the grammarians might have it – to go boldly – and I can see myself switching channels.  And back when I first encountered all that bold adventure, there was no remote on the TV so I would have had to have got out of the chair…

The trouble with grammar is the collision, with resultant debris, between a pattern of rules and the fluid reality of people communicating.  People like rules, like patterns and, as someone who once earned a living as a scientist, I like rules and patterns, but language does not follow grammar, grammar is the attempt to slap rules on later.  The one size fits all garment that inevitably sags or pinches.

In the dim and distant past, I learned about verbs – regular verbs and irregular verbs, the ones that follow the rule, and then all the special cases for the ones that don’t.  The very terminology is misleading because the regular verbs are the ones that barely get used.  The irregular verbs have been ground down, knocked about and generally dented by frequent exercise, constant use and regular abuse.

And so the language changes.  Language is like that – words, phrases and grammar of my parents’ generation often seem a bit stilted, and my grandparents’ generation… well that’s some foreign language that sounds close to English.

The trouble is that language changes as if change is the only thing that matters, a crazy race to be somewhere else, whilst those grammatical rules are slow to adapt.  The rules, by my crude and unsubstantiated estimate, describe the language at a time somewhere between my grandparents and my parents and, like me, are a bit too padded around the waist and likely to get out of breath if they have to run too hard to catch up.

I don’t dislike grammar – it’s just a set of rules best treated as guidelines (to borrow from Disney’s Pirates of the Caribbean). Grammar doesn’t define language, it’s a report done later to explain what happened, to hide the uncomfortable bits, to bring the erratic into line. Forget Disney, let’s borrow from the legal world – the rules of grammar are simply sentencing guidelines. And remember that if you deviate too far from those guidelines there will be complaints, protests and appeals to a higher authority that the sentence is wrong and ought to be corrected. There is no deeper sin, except to fail to get the spelling rite.

Those who treat grammar carelessly, who choose to explore beyond and to boldly go where no writer has writ before, they must expect to be hounded mercilessly. If you do it right, and well, then applause and acclaim await, but pick poorly and you are off to literary obscurity.

There’s a quote I like, attributed to Pablo Picasso (but possibly falsely), that I’ve seen doing the rounds on social media lately –  Learn the rules like a pro, so you can break them like an artist.

Syntax, anyone?


OMP Admin Note:  Mark Huntley-James writes science fiction and fantasy on a small farm in Cornwall, where he lives with his partner and a menagerie of cats, poultry and sheep.

Huntley-James has two urban fantasy novels out on Kindle – “Hell Of A Deal” (http://relinks.me/B01N94VXBC ) and “The Road To Hell” (relinks.me/B07BJLKFSS  ) – and is working on a third.

“He can be found online at his blog https://markhuntleyjames.wordpress.com/, and occasionally on that new-fangled social media.”


Our short story anthologies written by over 100 writers have been recently published (links below) with all proceeds being donated to the charity organizations our group supports.

If you are a Kindle Unlimited member, you can read the complete anthology for FREE, and KU proceeds are donated along with the proceeds from the sale of our anthologies.

Our volunteer authors love to see reviews, and every review helps to make the One Million Project’s books more visible to Amazon customers, assisting us in our mission to raise One Million Pounds / Dollars for EMMAUS Homeless Programs and Cancer Research UK.

LINKS

myBook.to/OMPThriller

myBook.to/OMPFantasy

myBook.to/OMPFiction

myBook.to/OMPVarietyAnthology

 

 

 

“Don’t Leave Me Here Like This” ~~ by Michele Potter

“Don’t Leave Me Here Like This” ~~ by Michele Potter

The people sitting opposite him in the small room were his people. He knew that and wished he could say it. For a minute, he struggled with trying to form the words. In his mind, he heard them: I’m so glad you’re here. I love you. The garbled vocalizing that came out of his mouth, however, frustrated him to no end.

He could see the sadness and pity on their faces. Faces that he once knew so well, now unrecognizable. He only knew that they were his people. They belonged with him and he with them.

“Do you want to go for a walk, Dad?”

He understood what the woman was asking but couldn’t phrase what he really wanted. Instead, he nodded and smiled in a grimace. His facial gestures no longer worked the way they should.

She helped him up, gently, as if helping an invalid. Suddenly, he had an image, a flash of a memory. A little girl holding his hand, her copper hair shining bright like a penny in the sunher warm hand in his ownhow strong he feltDaddy, she said, looking up to him with all the love in the world.

Then the memory left, a puff of smoke, and he was bereft, sad beyond reason. Resisting the efforts to assist him, he sagged, dropping to the floor, sobbing. He hit the floor hard, almost pulling the woman down with him. The man with her tried to help, and a nurse rushed in.

“You two should wait outside for a bit,” the stern-looking nurse said, after getting him back on the bed.

“Has this happened before?”

“It’s been happening with much more frequency now. The dosage needs adjusting. He is in the final stages, we think.”

They talked about him as if he weren’t there; as if he couldn’t hear or didn’t know what was going on with his memory and his body. He didn’t want this nurse near him, her calloused hands tugging and probing. She was the one who admonished him constantly, telling him to hurry, quit being so stubborn, behave, stop slobbering. If he were strong again, he would push her aside and walk out the door into the sunshine.

Instead, he allowed the ministrations, so as to get them over with. He lay on the narrow bed, looking out into the hallway. He could hear them whispering. He didn’t want them to go.

They were his people.

At last, the nurse left, and they came back in the room, unnerved, it seemed.

“Dad, I think we should get going and let you rest,” she said, reaching out for his hand. The man stood smiling oddly by her side.

He didn’t want them to go. Or if they did, he wanted to go with them. He grasped her hand, his daughter’s hand, with a sudden strength. He knew, for a moment he knew, and he fought to hold onto the moment. He pulled himself up and stood, a bit shaky, but on his own feet. He leaned against her, his daughter.

“Don’t leave me here like this,” he said clearly.

 

This story is not completely fiction. Many of us have or had loved ones in nursing homes/elder care. I believe most of the staff in these places are compassionate, professional people who treat their clientele with dignity and respect. Yet, many individuals have been neglected, abused, or taken advantage, often not detected until it is too late.

If you have someone in a care facility, there are steps you can take. 1) Visit often; enlist friends and family to visit. 2) Get to know the staff, including cooks, janitors, and maintenance personnel, anyone who could have interaction. 3) Watch for a reaction of the individual to the staff. Even if your person is nonverbal, they can show positive or negative reactions.


OMP Admin Note: Michele Potter is a writer and OMP Network member – one of a group of networkers who will be blogging on a regular basis on various causes and issues.

Michele is an incredibly diverse and talented writer who I hope will collect her short stories and make them available on Amazon someday soon. In the meantime, her story PERCEPTIONS is available in the guest author section of the flash fiction anthology BITE SIZE STORIES VOLUME ONE.

https://www.amazon.com/Bite-Size-Stories-Jason-Greenfield-ebook/dp/B01HALHVBW/ref=la_B00CBFLI1W_1_4?s=books&ie=UTF8&qid=1475095358&sr=1-4

https://www.amazon.co.uk/Bite-Size-Stories-Jason-Greenfield-ebook/dp/B01HALHVBW/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1475095546&sr=1-1


Our short story anthologies written by over 100 writers have been recently published (links below) with all proceeds being donated to the charity organizations our group supports.

If you are a Kindle Unlimited member, you can read the complete anthology for FREE, and KU proceeds are donated along with the proceeds from the sale of our anthologies.

Our volunteer authors love to see reviews, and every review helps to make the One Million Project’s books more visible to Amazon customers, assisting us in our mission to raise One Million Pounds / Dollars for EMMAUS Homeless Programs and Cancer Research UK.

LINKS

myBook.to/OMPThriller

myBook.to/OMPFantasy

myBook.to/OMPFiction

myBook.to/OMPVarietyAnthology

 

 

 

The Importance of Dialogue in Plot Development ~~ by Kate McGinn

The Importance of Dialogue in Plot Development ~~ by Kate McGinn

Dialogue — can you picture a story without it? Most stories have chapters or scenes without dialogue, and an example of a book without any dialogue from the main characters is the animal story, An Incredible Journey.

So, yes, it can be done and successfully, but dialogue plays an important role in a story. Humans communicate with more than dialogue. Their actions, tone of voice, what they say and how they say it as well as what they don’t say all communicate something about the message they want to convey or perhaps what they are reluctant to say.

One important role of dialogue in a story is that wherever it occurs it should move the story forward. The following excerpt is from my book, Winter’s Icy Caress, and I’ve used it to show an example of how dialogue moves a story forward.

“What are you reading?” Wyatt asked while surveying the contents of the refrigerator. He lifted the half gallon of milk in a mock toast before tipping it back for a drink. She knew he drank from the milk jug because it irritated her. One corner of her mouth turned up.

“There was another abduction. A Chippewa woman. Have you heard anything about this?” She scanned the article for more information.

“No. I don’t think Dave’s involved yet. The local authorities would still oversee the investigation until they decided to bring in the FBI. Do you know either of the women?”

Clare’s forehead furrowed, and she shook her head as she continued to read about the Wind disappearance. “The latest woman’s name is Sara Wind. I wonder if she’s related to Alana.” Wyatt looked over her shoulder at the newspaper photo.

“Not the best photo. I know Alana when I see her, but I’ve never talked to her. Maybe Loretta knows.” Wyatt grabbed a glass from the cupboard and poured the remaining milk into it before stealing a slice of peanut butter toast from Clare’s plate. She slapped his hand. He gave her a saucy grin before taking a big bite of toast.

“I think I’ll ask her when we have dinner tonight.”

In this example you meet two characters — Clare and Wyatt. The dialogue between them moves the reader further into the story as we learn about the disappearances of women in the Bayfield area. We are also introduced to other characters during their conversation: Dave – who is connected to the FBI, Sara Wind – the missing woman, and Loretta – the woman they will have dinner with that evening.

In a few sentences we find out Clare is concerned about the news, wants to know more information about the disappearances and plans on asking her friend that evening. The dialogue moves us into the next scene, but what isn’t said while they are conversing tells us another story about the couple and their relationship.

This next example from Empty Chairs, Empty Promises offers an example of how dialogue can define character. What the character says, the words they use, their tone reveals who they are as well as their relationship to the other character. Dialogue changes dynamics in the story by creating emotional responses to what is being said.

“Mom, I don’t understand you! You sell our family home and now you want to go alone to who knows where…” Carrie argues over the phone with me.

“Puerto Rico. That’s where I’m going,” I correct.

“What are you talking about? Traipsing off in some type of mid-life crisis, it’s ridiculous. I’m embarrassed one of my friends will find out how demented you are!” Carrie isn’t going to let up and frankly, I’m getting tired of the tirade.

“Young lady, I’m your mother, and I won’t have you talking to me like this. I’m not having a mid-life crisis. I’m taking a much-deserved vacation, and I plan on enjoying myself. I’ve got another thirty or forty years ahead of me. I need to decide what I would like to do with it.”

“Whatever. Have fun. Don’t worry about your children, we’ll be fine.” My daughter is filled with resentment and each word drips with venom.

“Carrie, you’re an adult. I’m not abandoning you. You and Nate are always in my thoughts. I’ll get in touch with you when I get there.”

“Well, don’t let it interfere with your fun. I need to go.” And then, she was gone. I sigh at the petulant tone in her voice and shake my head, wondering if I’d been as insufferable when I was her age. No, I had two children to care for when I was her age. I didn’t have time for drama.

In this conversation, you are introduced to Libby Crenshaw, the protagonist of the story and her daughter, Carrie. The conversation moves the story forward by revealing Libby’s plans, gives the reader a glimpse into Carrie’s personality and how she and her mother interact. Through Libby’s inner dialogue, we see that she has made up her mind and will not give in to her daughter’s demands.

Through this passage, the reader may begin to form a connection towards one or the other of the characters, choosing sides and bringing them into the story as they feel the tension build between the two women.

Dialogue serves many purposes within the story structure by providing realism, dramatic tension, and giving voice to the characters as it defines who they are.

It makes the story advance by helping to direct the course of the plot. Characters should experience some type of change after a scene containing dialogue. If it doesn’t cause change it isn’t required to tell the story. It is nothing more than filler and should be deleted.

Dialogue provides information as secrets are revealed and the histories of the characters are divulged. It serves to balance the elements of storytelling by breaking up action sequences and/or descriptive passages.

Keep it natural by giving characters different voices. Let them interrupt each other and give them and non-participants in the scene actions in the background to convey reactions to the conversations. Put them in a specific identifiable location and time during their conversation. Use misdirection, what is unsaid, what is ignored or implied to increase the tension in the scene. Use internal dialogue to communicate those things only the character knows.

Dialogue is a powerful tool for the writer, but it is only effective if it moves the action forward.


OMP Admin Note: Kate McGinn is a writer and OMP Network member – one of a group of networkers who will be blogging on a regular basis on various causes and issues. Kate hopes to spread awareness of the issue of American Veterans returning home to less help than they deserve. EMMAUS is one of the two main charities we are supporting.

Kate McGinn’s fiction can be found on Amazon in the flash fiction series BITE SIZE STORIES (Volume Two) along with five other guest writers, and in the One Million Project Fiction Anthology. Her Clare Thibodeaux Series which include the suspense books — EXODUS, WINTER’S ICY CARESS, and NEVER SHOW YOUR HAND are available on Amazon and Kindle Unlimited.

https://www.amazon.com/-/e/B01KUKTYFQ

https://www.amazon.co.uk/Kate-McGinn/e/B01KUKTYFQ/ref=sr_tc_2_0?qid=1473258097&sr=1-2-ent

https://www.katemcginn.com/


Our short story anthologies written by over 100 writers have been recently published (links below) with all proceeds being donated to the charity organizations our group supports.

If you are a Kindle Unlimited member, you can read the complete anthology for FREE, and KU proceeds are donated along with the proceeds from the sale of our anthologies.

Our volunteer authors love to see reviews, and every review helps to make the One Million Project’s books more visible to Amazon customers, assisting us in our mission to raise One Million Pounds / Dollars for EMMAUS Homeless Programs and Cancer Research UK.

LINKS

myBook.to/OMPThriller

myBook.to/OMPFantasy

myBook.to/OMPFiction

myBook.to/OMPVarietyAnthology