Shunsuke's

Concise Guide to Better Fanfic Writing

Version 1.3

2: The Right Words

     "It's better to be thought a fool, than to open your mouth
      and prove it."
                              - old proverb

Having something to say and knowing how to say it are two entirely different things. (Witness the document you are reading. O_- ) Having a great story and plot means a lot, but if you can't communicate effectively with your reader, the response will be D&D (delete and discard), not C&C.
This section is not intended to be complete guide to the English language (or Japanese, in the spelling section); rather, I intend to cover the points which writers most commonly get wrong in their stories and postings.
2.1 Spelling

"Wunce I cudn't spel truk drivr, and now I are one." - joke poster

2.1.1 English Spelling

Please, PLEASE, for the love of God, use your spell checkers and dictionaries! If you have a commercial word processor, there will be a spell check program on the disks; if there is not, just search any decent software archive for a shareware or freeware spell checker. You spent hours writing the story, so why not take five minutes and correct your spelling? Correct spelling may not make you look smart, but bad spelling can certainly make you look stupid.
And check your homophones!!! It is YOUR words YOU'RE writing down!

2.1.2 Japanese Spelling (Romaji)

If you need to use, or insist on using, Japanese words, check the Romaji spellings you use. Inconsistent use of different spellings can confuse or annoy the reader, and may make the story unreadable.
Luckily, spelling with Romaji is quite easy, as each Japanese word is spelt exactly as it sounds; there are no silent letters, but you do have to be careful about elongated vowels and consonants.
I use the Hepburn system of spelling Japanese, so if you use a different method, I am not saying you are wrong. I simply find the Hepburn system the least ambiguous and most accurate. As long as you are consistent in applying one method of spelling, you are on the right track.
2.1.2.1 Japanese Syllabyry

Japanese syllables are of four basic types:

single vowel (a, i, u, e, o)
single consonant (n)
compounds ('i' sounds coupled with -ya, -yu, or -yo; eg. gi + ya = gya)
consonant vowel combination (all others)
These syllables form the basic sounds in all Japanese words. The table below contains all the possible combinations:
Hard and Soft Kana Basic Set Sounds Compounds ----------------- -------------- ----------- a i u e o ka ki ku ke ko ga gi gu ge go gya gyu gyo sa shi su se so za zi zu ze zo ja ju jo ta chi tsu te to da ji zu ze zo ja ju jo na ni nu ne no nya nyu nyo ha hi hu he ho ba bi bu be bo bya byu byo ma mi mu me mo ya yu yo ra ri ru re ro rya ryu ryo wa wo n pa pi pu pe po pya pyu pyo
The five vowel sounds can be understood like this:
a: 'ah', like English "father" i: 'ee', like English "see" u: 'oo', like English "too" e: 'eh', between English "get" and "gate" o: 'oh', like English "show"
When modified, some consonants take on different sounds:
k --> g s --> z t --> d h --> b, p

2.1.2.2 Sound Modification

Two ways of modifying the basic sounds exist in Japanese:

Dipthongs, a blend of two vowel sounds into one syllable (there are others beyond this list, but these are the most common).
aa: 'ah' + 'ah' --> longer 'ah' sound ai: 'ah' + 'ee' --> 'i' (like 'eye') ae: 'ah' + 'eh' --> 'i' ao: 'ah' + 'oh' --> 'ow' au: 'ah' + 'oo' --> 'ow' ii: 'ee' + 'ee' --> longer 'ee' sound ue: 'oo' + 'eh' --> 'uay' (like 'way') ei: 'eh' + 'ee' --> longer 'eh' sound ou: 'oh' + 'oo' --> longer 'oh' sound

Doubled consonants. When a consonant is doubled, the first Roman letter is doubled to symbolize the sound. The only consonants that are doubled are pp, tt, kk, and ss.
(When writing in hiragana, this is symbolized by using a smaller 'tsu' just before the syllable to be extended.) Examples:
Japanese English Pronounced -------- ------- ---------- kippu ticket hip pocket nattou bean paste cut time kekkon marriage bookcase jissai practice this set
Be sure you get these right! 'Yato' means 'opposition party', while 'yatto' means 'at last, at length'.
Note: under Hepburn, in the above syllabyry 'chi' is a 't' sound, so the 'c' is doubled; hence, it is "Ucchan" and not "Utchan", or it is "bocchan", not "botchan" (son).

2.2 Grammar

"I like to verb words. Verbing weirds language." - Calvin, "Calvin and Hobbes"

Due to the length that it would take to define and discuss each part of speech, I will only touch on the basics of grammar where people make the most common errors in writing.

Nouns are the topic, subject, and object of sentences. They are not verbs.
Wrong: "He medalled in his sport."
Right: "He won a medal in his sport."

Pronouns are nouns referring to an specific individual. Never use an apostrophe with a personal possessive pronoun, such as his, hers, its, whose, or theirs.

Verbs are words that describe actions in the past present and future. Always ensure your verb tenses agree, not just in one sentence, but throughout an entire scene of a story. Unless time changes in the story, all verb tenses must be consistent.

Active and passive voice refer to the description of an action. Unless absolutely unavoidable, always use the active voice.
Active: "He saw the accident."
Passive: "The accident was seen by him."

The subject and verb of a sentence must agree in both number and person. This is also true of adjectives.
Wrong: "The biggest of two boys"
Right: "The bigger of two boys"
Right: "The biggest of three boys"

Adverbs are words that modify verbs; and are the most flexible part of speech. These are all valid sentences:
Quickly he jumped sideways.
He quickly jumped sideways.
He jumped quickly sideways.
He jumped sideways quickly.

Infinitives are forms of a verb that describe an action in no particular time. ("To be" is the infinitive of "is".) Avoid splitting infinitives unless it is absolutely necessary, since it usually produces awkward sentences. For example:
Wrong: "I was going to almost forget the book."
Right: "I was almost going to forget the book."

2.3 Punctuation

"?" "!" - the complete correspondence of two letters between two 19th century writers
Here's a few basic rules of punctuation that are regularly ignored and violated. With only a few minutes of checking your story for these, you can make it a much better work to read; if it's hard to read, it won't be.
For each possible situation, I have given some obvious examples followed by less obvious ones which are often used incorrectly.
2.3.1 Apostrophes (')

Singular Possessive:
Bob's, the dog's (a single instance/being), whose
Plural Possessive:
whose, the dogs' (a group), its
Contractions of is/was with other words, as non-possessives:
it's, who's

Whose is this box?
Who's the owner of this box?
A note on contractions:
Never use contractions outside of quotations in writing. Always expand the words. (This is where the biggest problem of apostrophes and spelling occurs.) Say the words aloud: if it is "you are", then it is "you're", NOT "your"; say "it is", not "it's".
A person can assume a contraction from separate words, but may not correctly understand the words from a contraction. You are not saving a person any time, since evaluating a wrong contraction takes more time; people can read more than twice the speed they speak.

2.3.2 Semicolons (;)

A semicolon is not a comma; it is a separator used to join two sentences that contain a similar thought. ^_^ (Read the previous sentence again for the semicolon's correct usage.)

2.3.3 Commas (,)

A comma is used in specific ways:

as a list separator, following all but the last item in the list (this, that, and the other thing)
as a pseudo parentheses, as in this statement, to contain a thought within another statement
between independent clauses (I went to the store, even though it rained.)
There are others uses for commas, but these are the ones most often violated.

2.3.4 Quotation marks (" ')

Double quotes (" ") contain the speaker's words; if that speaker is quoting another person, then single quotes (' ') are used within the double quotes to contain the statements quoted by the speaker. Outside of double quotes, single quotes are used to highlight sayings, add emphasis, or to imply something.
With only the rarest exceptions, follow these basic rules on quotations:

Only one person ever speaks in a paragraph, even if it is only a one word sentence.
Only the speaker should perform the actions in the paragraphs they speak in. If you must have another person perform an action, state their name as they are doing so, and always refer back to the paragraph's speaker.
2.4 Mechanics

"Not so much for how it looks, but how it feeeeels." - Mike the TV, ReBoot

Mechanics is the actual physical appearance of the writing. In physical form, it is as much about font and style as it is about paper and neatness. Here, however, we are dealing with the visual appeal of your text. Remember, you are writing for the reader's pleasure as much as your own.
2.4.1 Visible Appearance

Given the physical limitations of computer screens, ensure your writing will fit the dimentions of any computer. Maintain a line length of 60-75 characters per line, with either soft or hard returns after each line. Nothing makes a story more difficult to read that having to trace the text across the screen with your eyes.
Place the story title at the top centre to make it easy for your reader to find the start, especially if a large amount of headers appear at the top as some mail systems do (ie, HoTMaiL). If some of the story text is above the title, the reader may delete that part thinking it is not part of the story. If you feel you must put part of the story before the title, place a line of 60-75 characters in length above where the story starts.
Separate all paragraphs with at least one line of white space. Line indentations are not always enough to tell the reader where the next paragraph begins, and if the reader reformats the document to fit his own text reader, the reader's software might reformat the story as one long paragraph.

2.4.2 Abbreviations

Avoid using abbreviations at all times except for these specific cases:

titles before proper names (i.e., Dr. Tofu)
titles and degrees after proper names (i.e. Jr.)
standard words for dates and times (i.e., AM/PM)
commonly known organization names (i.e., CIA)
commonly known technical names (i.e., DNA)
common Latin expressions (i.e., vs., et al., etc.)

2.4.3 Capitalization

Some basic rules apply to capitalization that are easy to memorize and keep track of.

Names designating relationships are only capitalized when addressing a person. (eg., Uncle Bob, Bob's your uncle)
North, south, east and west are only capitalized when part of a name (eg., North America)
Deities and significant religious items are capitalized. (eg. Dead Sea Scrolls, Shinto)
In Japanese, all language names must be capitalized except English; it can be either Eigo or eigo.

2.4.4 Titles

These are the basic rules for titles of works cited or mentioned.

"Short works (stories and essays)"
"Song titles"
"Magazine articles"

Magazine Titles
Records and albums
Reference books and novels
Titles of short works are in quotations, longer works are underlined. Songs and publications (i.e., magazines and newspapers) are also underlined.

2.5 Diction

"The fewer words, the better said." - old proverb
Diction is the writer's choice of words and how to use them. It is as much a reflection of the person as anything said with the words. With a better choice of words, a writer can say more with less, and say it better.
2.5.1 Level of language

Use words your audience will understand. Slang, colloquialisms, and regional dialogue can confuse the reader. (I will wager not one non-Canadian reader can say what a chesterfield is. ^_^ ) Also, remember the era we are in; 'groovy' just does not work anymore.
Don't say 'skinny', say 'slim' if it is a compliment.
(Just so you know, a chesterfield is a sofa/couch. It is a uniquely Canadian word, so I would never use it in a story.)

2.5.2 Figurative language

Use similes and metaphors only where they are appropriate; you can confuse a reader who does not understand your interpretation of a phrase.
Poor: "Craters bloomed like flowers as bombs fell."
Good: "His bloodshot eyes looked like roadmaps."

2.5.3 Concreteness and Abstraction

Do not generalize, be specific; it helps the reader to better understand your meaning.
Poor: "She was a beautiful girl."
Good: "Her eyes and smile made me laugh."
Where possible avoid generalizations and give the reader specific things to focus on; it will make your writing more memorable, and key details will be easier to recall.

2.5.4 Euphemisms

When a euphemism leads to confusion or deception, leave it out. Unless your reader knows exactly what you mean by a turn of phrase, use simple words.

2.5.5 Wrong Words

Avoid wrong words in your writing. This does not refer to spelling errors, but instead to their meaning.

effect is a result, affect is a cause
infer is to conclude, imply is to suggest

2.5.6 Idioms

Certain common sayings, while not slang, are particular to a language. "Feeling out of sorts" may not translate or travel well, yet there may be a similar saying in another region or language. Make your writing more open to your audience.

Japanese: "The nail that sticks up must be hammered down."
European: "When in Rome, do as the Romans do."
Both convey the same meaning, yet have different origins and inflections (the Japanese saying is one of subjugation, the English saying is more voluntary, reflecting different aspects of each culture).

2.5.7 Wordiness and Jargon

Avoid excessive words that have no meaning or can be said more simply.

Wrong: "at the present time"
Right: "now"

Wrong: "all of a sudden"
Right: "suddenly"

Do not talk above your audience; if you try to prove yourself to them, you will prove you are boring. Just look at this document. ^_^
Avoid repetition, redundancy, and double negatives. If you write well, things can be properly implied that will reduce wordiness. Also avoid cliches, they are boring and wordy.
Beware of "noun disease", the piling-on of excessive nouns on a verb. Both the following sentences say the same, but which is clearer?
The more nouns you use in stating a fact which you are trying to convey will inevitably reduce the impact of the sentence. Too many nouns make a sentence ineffective.

2.5.8 Word Usage

"I said, 'I'm the most illegible bachelor it town,' and she said, 'Yeah, that's why I can never figure those silly letters you send me.'" - Billy Bragg, "Walk Away Renee"
Many people believe they know the definition of word when they don't and end up giving the wrong impact or meaning to what they are trying to say. These lists are not exhaustive, but before you ever consider using one of these words or phrases again, look it up and ensure (not assure) you know exactly what it means.
2.5.8.1 Troublesome words

This is words commonly used that are cumbersome and detract from the emphasis and meaning of what the speaker is trying to say. Avoiding them (or finding better replacements) will improve your writing.

Wrong: "For the above reasons..."
Right: "For the given reasons..."

above/below reasons affect/effect aggravate agree to/with/on alternate/alternative alternately/alternatively although/though amount/number anxious as far as...is/are concerned as to bad/badly, good/goodly basis, on the basis of beside/besides between/among blame (as a verb) bust/busted (as a verb) can/may can't hardly centre around compare to/with culminate decimate differ from/with either/neither ever (after seldom/rarely) former/latter hanged/hung in/into infer/imply likely/liable/apt in terms of irregardless (no such word) is when/where kind of/sort of lie/lay literally/figuratively loan/lend lose/loose mad momentarily partially/partly raise/rise sensual/sensuous (for you hentais ^_^) set forth substitute suspicion/suspect/suspicious true facts verbal/oral very -wise (creating nonexistant words)

2.5.8.2 Homophones

Beware of homophones. Many people use the wrong word in certain situations without noticing it. This is not a complete list, but at least know these ones.
aisle isle I'll a lot allot alter altar at all atoll bail bale bear bare birth berth bizarre bazaar border boarder born borne by by- bi- buy bye callus callous canon cannon canvas canvass core corps course coarse die dye draft draught dying dyeing discreet discrete foul fowl furor fuhrer hail hale hanger hangar heal heel he'll hear here higher hire hoar whore hoard horde whored hole whole holy holey wholly idol idle idyll incite insight its it's knew gnu know no noh (Japanese theater) laps lapse led lead lie lye mist missed might mite not naught knot paid (give) payed (received) past passed patience patients pedal peddle petal phase faze plain plane prey pray presence presents principle principal roll role rot wrought rye wry shear sheer sight site cite slew slough some sum soul sole stationary stationery their there they're threw through two to too wait weight waste waist way weigh wave waive whose who's your you're yore

2.5.8.3 Frequently Misspelled Words

There are many words in the English language that people spell wrong because of silent letters, wrong assumptions, or the word's obscurity. If you plan to use any of these, make sure you know the word beforehand. Again, this list is not complete, but it is a good place to start.
absorption accumulate acknowledgment acknowledgement acquaintance advertise aesthetic esthetic adviser affection affidavit aging a lot/allot alternately always amour analyze analyse analogy anaesthetic anonymous arctic arithmetic auxiliary bizarre botany buoyant bureau cameraderie cartilage catalogue chagrin changeable clamour clamor clothed coincide colossal committee comprise conquerer conscious consensus consider controlled convenient curiosity cylinder decorative decrepit defensive desperate dilemma diptheria dispatch despatch dissipate drunkenness eclectic ecstasy efficient eligible embarassment emphasize emulate endeavour endeavor envelop (verb) envelope (noun) epilogue exhilarating exuberant fallacy fervour fervor focusses focuses foreign foresee fulfill fundamentally furor gaiety gaol (Old English: jail) gauge grievous harass heinous hesitancy judgment judgement lineage liquefy lose/loose manoeuvre maneuvre medieval minuscule mischievous monologue mustache moustache necessary numerous offense offence paralyze paralyse perseverance plow plough positioning practicality practise practice predecessor pursue pyjamas pajamas quandary quizzically rarefied religious repel sceptic skeptic separate simultaneous skillful skilful smoulder smolder soliloquy storey story subconsciously subsequent subtly succinct symbolic synonymous tranquillity tranquility undoubtedly unmistakable vilify weary willful wilful wistfulness woollen woolen

Click below to select a section of the guide:

The Front Page Of The Guide
Preface: An Introduction To The Guide
Table Of Contents
1: The Tools Of The Trade
2: The Right Words
3: A Brief Japanese Glossary
4: Storyteller or Reporter?
Appendix 1: Quick and Dirty Fanfic Writing Advice
Appendix 2: Recommended Books and Resources
Appendix 3: The Writer's Ten Commandments
In Closing
Click here for The Guide in plain ASCII text

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