Horton Wants to Hear a Who
February 19, 2008 by A Slice of Orange in category Archives tagged as Member At LargeMonica Stoner, member at large
I’m reminded of phrases from my favorite writers. Any Rand, in Atlas Shrugged, Francisco talking to Dagny Taggart’s brother: “Words have an exact meaning.†Henry Higgins ranting in My Fair Lady “By rights they should be taken out and hung, for the cold blooded murder of the English tongue.†As a writer, it grates every time.
You hear it on newscasts and read it in newspapers: “The person, that works for the company.†If it’s a person, then it’s a who. The rules read as follows: (taken from http://www.grammarbook.com/grammar/whoVwhVt.asp)
Who refers to people. That and which refer to groups or things.
That introduces essential clauses while which introduces nonessential clauses.
If this, that, these, or those has already introduced an essential clause, you may use which to introduce the next clause, whether it is essential or nonessential.
The website gave some examples. In the interest of active writing, I would suggest going one step further. For: “She belongs to an organization that specializes in saving endangered species.†why not write: “She belongs to an organization specializing in saving endangered species.â€? Reduces the word count by one but punches up the sentence. Our minds automatically hesitate on certain words, including “that.†When editing, I first go through to remove “that†plus any version of the “to be.â€
So instead of saying “The group that is going to the museum.†try “The group going to the museum.†And so on. Of course once you start, your automatic editor will intrude when you’re reading for pleasure, and take some of the fun out of your stolen hours.
While I’m on an editing soapbox, let’s look at the word “laconic.†By definition, “laconic†means terse, of few words. The word has nothing to do with eyebrows, facial expressions, or any other body part. Unfortunately, some popular authors started the trend of such phrases as “he raised a laconic eyebrow.†Have any of you ever heard an eyebrow talk, tersely or otherwise? Because I certainly haven’t, nor would I want to. Eyebrows are supposed to stay quietly on my face, somewhere above my eyes.
Words have an exact meaning
For that matter, a phrase I’ve heard all too often recently is “mandatory spay/neuter,†referencing the removal of sexual organs from dogs or cats. Neuter is non gender specific, but is used for the sterilization of male dogs, most likely because the accurate word, “castrate,†is too painful for males to hear. Since this PC phrasing has been used to mitigate the importance of these surgeries, and to encourage more people to support the goals of animal rights advocates, it is doubly important to use the correct word. Spay. Castrate. Sterilize. If you want to speak collectively, neuter is appropriate. For impact, I’ve been known to use “Forced Sterilization.†If you want to sound a bit more knowledgeable, or just have fun, try Gonadectomy, a personal favorite of mine.
Words have an exact meaning and as writers we need to protect those meanings.
0 0 Read moreWriter on the Verge
February 18, 2008 by A Slice of Orange in category Archives
One by one, as property values rose and rents increased, the stores closed. The bookshops are gone now. The marketplace for rare first editions and antiquarian books has moved to the Internet and eBay.
This weekend I spent two days attending the annual Los Angeles Antiquarian Book Fair, where those same dealers who used to own bookshops on Melrose come together with likeminded dealers from all over the world to buy, sell and trade their treasures.
There were hundreds of book sellers represented and thousands of books on display. Naturally, I saw many exquisitely bound editions of William Shakespeare and Walt Whitman and Jane Austen. One dealer sells books so ancient they look like petrified forest mushrooms on the shelf. Another sells clever, three-dimensional, accordion-style books designed by a Parisian artist. Still another dealer sells only mysteries and his display shelf featured first edition copies of Raymond Chandler and Earl Stanley Garner and a nicely preserved, full set of Agatha Christie’s mysteries.
I loved poking around the individual dealers’ booths, examining the books and discovering new treasures, but it was a bittersweet time for me. I miss the stores, miss the smell of old books, miss the wise counsel of the book dealer.
Sadly, the only thing more rare than the beautiful books I saw this weekend are the bookstores that used to sell them, so allow me to end my post with a public service announcement: SUPPORT YOUR LOCAL INDEPENDENT BOOKSELLER. We’ve lost so many, but there are still some great stores out there. Don’t forget them. You might pay a bit more for a book but the personal service is gratifying and the rapport you build with the seller is priceless. And hey, it’s a write-off!
Phyllis Whitney………..
February 17, 2008 by A Slice of Orange in category Archives
So thanks, Phyllis, for the great books, for the nudge toward writing you gave me, and so many others–and I hope right now, you’re on the best research trip ever, about to write a book for Heavenly Publication.
Maureen Child is the author of more than 100 books and novellas. At the moment, she’s rereading a couple of her favorite Phyllis Whitney books………….
5 0 Read moreWriter’s Word
February 16, 2008 by A Slice of Orange in category Archives tagged as Jenny Hansen, March 2008, Writer's Wordby Jenny Hansen
Do you have critique partners? Editors? Agents? Family and friends that look over your Work in Progress?
I’m betting that you trade manuscripts with these people and that, for those of you who don’t know how to use Track Changes, you buy a lot of paper. And ink cartridges. And red pens (or whatever friendlier color you use to write in the margin and remind your critique partner to use an active verb).
Consider this article my Valentine’s gift to ease the bottom line on your purchases at Office Depot – we’re going to talk about how to use one of my favorite features in Word.
Microsoft Word’s Track Changes feature can be activated a few ways:
– Go to the Tools menu and choose Track Changes
– Hit Ctrl+Shift+E (remember, you don’t type the plus signs)
– Double click on TRK in the status bar at the bottom of your Word window.
Note: Your status bar is the area that starts with “Page 1†and “Sec 1.†On the right side of this status bar there is an area that says REC and TRK – these are grayed out unless they are activated. You may double-click on the TRK to activate the Track Changes feature (the REC is to record a macro, which is not covered here). You may double-click on the TRK again to toggle the feature back off. The darkened TRK in the status bar is the easiest way to tell at a glance that Track Changes is on.
When you turn on Track Changes, the following Reviewing toolbar will appear:
If you would like to turn this toolbar on and off separately from using Track Changes, simply go to the View menu and choose Toolbarsà Reviewing, or right-click on any existing toolbar and then choose Reviewing from the shortcut menu. Since the Insert Comment and Reviewer Pane buttons are also accessible here, as well as a button to turn on Track Changes, this is an extremely great toolbar to keep on your screen.
Note: For those of you who are now using Word 2007, you do not have menus anymore –you have the Ribbon. You may add buttons and features to the Ribbon with the right-click method described above. Additionally, all the old shortcuts like Ctrl+Shift+E will work.
While the Track Changes feature is on, everything you do to a document is being recorded. The Reviewing toolbar has a great button on the far left that allows you to choose things like Original, Final or Final Showing Markup. This button is invaluable if you want to print out the manuscript without all the changes showing.
If you have set up your User Information in the correct tab in Options (located under the Tools menu) your initials will even appear next to the changes you make. If your critique partner decides to print up the document with the changes he or she will be able to tell your manuscript changes from that of your other critique partner who might be wild about head-hopping and adverbs.
My favorite part about the Track Changes feature is that the person receiving the critique can activate it on his or her own computer and choose to Accept or Reject Changes. Every change offered by a critique partner, editor or agent does not have to be accepted, as you know. At the end of the day, this is YOUR book.
Be sure to turn your Reviewing toolbar on and play with it – pass your mouse across all the buttons so that the yellow tool tip will tell you what each button means. As always, you can email me at
jennyhansensmail@aol.com if you have more questions about the content in this blog.In the meantime, Happy Writing! I hope Cupid was nice to you and your manuscript this month.
By day, Jen manages the sales and marketing for a national training firm (after 12 years as a corporate software trainer, it’s nice to be able to sit down while she works). By night, she writes women’s fiction, chick lit and short stories as Jenny Hansen.
She has been a member of OCC since 2001 and has served as the Orange Rose Contest Coordinator, as well as on OCC’s Board of Directors in a variety of capacities.
Eye on Hollywood
February 13, 2008 by A Slice of Orange in category Archives tagged as Bobbie Cimo, Eye on HollywoodMeeting A Real Movie Star
by Bobbie Cimo
In the early years of my career, I was one of the few fortunately ones–if not one of the only ones–who got the perk of getting out of the office to work remotes. Sometimes that could mean being at the Pasadena Auditorium for two weeks at a time while we built the stage for the Emmy’s. Or being inside the Beverly Hilton Hotel’s ballroom covering the first dozen or so AFI’s (America Film Institute’s Life Achievement Awards), honoring such heavy-weight legends as John Huston, Frank Capra, Orson Wells, or Fred Astaire . . . just to name a few. Keep in mind this was a time when laptop computers hadn’t even been invented yet. Which meant if I wanted to have my cake and eat it, I had to cover my regular job first before working as an assistant on the fun stuff outside of the building. I use the term “assistant” loosely here, as it sometimes meant anything from crunching numbers to seeing how far over budget we were, to making sure Bette Davis got her parking ticket validated, to arranging for Gregory Hines’ shoes to be shined before air time, or even playing watchdog over Shirley MacLaine’s purse for her.
But always, on the day of the big event–whatever it was–I got to play dress-up and be part of the gala. But like any good party you go to, you’re bound to see the same faces year after year– Wait, this is Hollywood. Scratch that last remark about the same faces . . . not with the help of good plastic surgeon, you won‘t. But what I’m trying to say is that it’s hard to remember who I saw and just when and at what event.
Except for the time I met Cary Grant at the AFI honoring Alfred Hitchcock.
I was standing on a two step-up tier of the main ballroom, when Cary Grant passed me. He was impeccability dressed in an expensive tuxedo, gorgeously tan and looking every bit of the movie star that he was. As for myself, I was dressed in a white, off one-shoulder Grecian gown. I thought I looked like Venus. Looking back at it now, I’m sure I didn’t.
When Cary spoke to me, I suddenly went deaf–that happens a lot when I go into shock. When he cupped his hand over mine, I remember thinking, his hands are softer than mine . . . they probably weren’t, but his touch seemed like velvet. He acted and looked just like he did on the screen. Absolutely perfect.
All too soon our conversation was over and he left. And I remained frozen, clutching onto to the staircase railing. Hector, our cameramen, obviously recognizing a woman in distress, asked me how I was doing. I told him the truth–I couldn’t move. My knees had locked. Hector found it amusing . . .I didn’t.
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