I see this error so often in both edited and unedited work, I have to write about it. As usual, it’s something I never had trouble with, so I have problems understanding why it’s so hard to get it right. I’m mean like that. However, I’ll do my best to explain. I’m helpful like that, too. Continue reading “#HomophoneHell: Bear and Bare”
The word pair is right up there (::points to the blog post title::): stationary and stationery. They sound exactly the same, and sadly the latter has fallen into disuse to the point where some people don’t even know the word anymore. Continue reading “#HomophoneHell: Stationary/stationery”
It’s almost time for #HomophoneHell again (October’s coming up fast!), so I’m getting the jump on it with this post about some of the most troublesome words in English: lead/led, and their rhyming partners read/red. For whatever reason, I don’t see the last ones misused nearly as often as the first ones. Continue reading “#HomophoneHell Is Coming!”
Note that initially, “titular” has nearly nothing to do with the title of a book or story or what have you. It has to do with a title, as in an office (like queen or king or president), and with that title being “in name only” with no actual power. Continue reading “Titular or eponymous?”
That’s extreme, but it’s also an example of today’s subject: choosing the right words for your work.
One of my biggest concerns when I’m editing is “voice.” I work hard to maintain my clients’ “writer’s voice,” because it’s their writing, not mine, that is being published. Part of that work is helping them choose the best words for the purpose. And part of THAT work is, quite often, teaching them about diction.
Not in the sense of “enunciation or elocution.” In the sense of word choice. None of my clients would come up with a sentence like the one I used for the title of this post. Some of them, though, have more trouble than others keeping a grasp on the language that best suits their purpose. It’s particularly difficult with “medieval fantasy,” a phrase I’m using here to encompass “the usual” in terms of a story with a pseudo-medieval setting, royalty, wizards, magic, dragons, elves (and perhaps orcs and so on), and the like. Your standard fantasy, perhaps.
When I’m reading a story with this kind of setting, nothing jars me more than modern speech patterns, phrases, and words. “Okay” is one of them. “Alright” (sic) is another. (Yes, I sicced that. I don’t like it. I’ve tried to get used to it, but — no. I see no point in it. I waffle about allowing it or not, and ultimately, if my clients overrule me, that’s on them. I mark it every time.) “Are you really going there?” is yet another, when used to mean “Are you actually taking that route in this conversation?” These words and phrases have no place, in my opinion, in a medieval fantasy setting unless there’s time travel involved. If a character from our modern world winds up in that setting? Well, I’d expect that character to speak appropriately for their origin, and for the other characters to be confounded by it.
Certainly there’s no need to write in the style of Shakespeare in order to write fantasy. But there’s no reason not to use appropriate language and sentence structures, either. The words shape the reader’s experience. What do you want your reader to see, hear, feel, taste, touch? For me as a reader, a voice that seems to have no direction, that wanders between the language I expect to encounter in a fantasy setting and that I hear every day, confuses me. I don’t know what I’m supposed to be seeing, hearing, feeling . . . I need to be grounded in the world the writer’s created. The diction is the basis for that grounding. It’s entirely possible to use simple sentences and words to achieve this, just as it’s possible to use complex ones. The secret is in the combinations. I am not a writer, but I know when I’m drawn into a story and when I’m left floundering.
Hook me. Pull me in. Let me breathe the air of your world. Don’t throw me back out with poorly chosen words.
Meaning, they were all in the same place (“all together”) and they were naked (“in the altogether”).
“Altogether” can mean “entirely or completely,” too: “That was altogether uncalled for.”
(And just now I looked at the word “together” and pondered why it looks the way it does. I do that, sometimes.)
“I’m glad to hear he’s not gone [all together, altogether].”
The first option doesn’t make sense, really. He’s not gone all in the same place? What? He’s not gone completely. He’s not gone altogether.
This is the kind of post that comes to me sometimes when I’m reading social media. Perhaps the person who wrote “all together” knows it should’ve been “altogether” but didn’t bother to edit, or to read before posting. It makes no difference to me, honestly — except when I’m being paid to edit, or when I’m looking for post fodder.
Which one would you choose?
There really is a difference in meaning in AmE. They’re not interchangeable, and a copy editor worth their salt will be able to tell the difference.
“Anymore” is an adverb. “I don’t like pizza anymore. I ate myself sick on it, and now I can’t even smell the stuff without turning green.”
“Any more” isn’t the same thing. “I don’t want any more pizza. I’m afraid I’ll eat myself sick on it.” Here, “more” is an adjective (it modifies “pizza”). If you simply said “I don’t want any more,” “more” would be a pronoun (it stands for the thing you want no more of).
It might help to think “adverb” and “anymore” because both are single words. If you mean the adverb, use “anymore.”
As for the answer to the title question, if this is a complete sentence, then “anymore” is the word you want. “I don’t love you anymore.” (I no longer love you.) If there’s more coming, you might want “any more” — but it depends on what’s coming, y’know? “I don’t love you any more than I love my other three partners.” Or something. You figure it out. Please.
Because, you see, either pronoun is absolutely correct in that usage.
Ed Greenwood (whom I’ve known, literally, for decades, and whose work I’ve edited) asked me to write a post about “all the folks who use ‘that’ for people, instead of ‘who.'” I have to presume, therefore, that Ed (I LOVE YOU, ED) eschews the usage of “that” for people. Continue reading “People who/that live in glass houses”
I have Elton John running through my head at the moment, since typing those three words. Sorry if I’ve earwormed anyone else.
There are two verbs that many people have trouble conjugating and using correctly. (Okay, there are many, many more than two. But I’m talking about only two today.) There’s shine the transitive verb, which conjugates shine/shined/shined, and there’s shine the intransitive verb, which conjugates shine/shone/shone. Continue reading “Shine a light”
My editing-Twitter colleague @SheckyX gave me the idea for this post earlier this week, when he responded to a tweet of mine. It was a link to an old post here, actually. He commented to me that aside from worries about putting prepositions at the end of sentences, writers might do well to consider other aspects of prepositional placement. For example, moving “on” makes a big difference between “she turned on him” and “she turned him on.” Continue reading “Best words, best order”