Writing

Australian Writers’ Centres

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Your local writers’ centre can be a useful resource. Not only can you find like minded people to talk to (if you live close enough to visit in person), but most centres also have a library, an assortment of workshops, regular talks by published writers and they can even provide advice on contracts, agents, and publishers.

Becoming a member means that you have something you can add to your writer’s resume too (which never goes astray).

Below, you will find links to a number of Australian centres, with a short blurb from the appropriate website.

ACT Writers Centre
The ACT Writers Centre has a Meeting Room available free for use by members and a computer, printer, fax and photocopier available for use by members. We have a growing library of books about writing and by writers. We also sell books by members on consignment. The noticeboards are full of information about publishing, competitions, writers’ rights, and writing courses.

Central West Writers’ Centre
The Central West Writers’ Centre provides development and promotion services for literary activity in rural Australia in the Central West of New South Wales.

NSW Writers’ Centre
The Centre offers literary resources and professional information to established and aspiring writers of all kinds. It provides a spacious venue for events such as book launches, readings, literary evenings and lectures as well as meeting spaces for writers’ groups and literary organisations.

NT Writers’ Centre
The Centre offers a range of activities and services for writers including workshops, literary events, manuscript appraisal, a regular newsletter, special projects and an annual writers’ festival.

Queensland Writers’ Centre
Provides writing tips and resources, advice on handling rejection and rates of pay, details for workshops, seminars, competitions and much more.

SA Writers’ Centre
The Centre acts as a resource centre for writers of all ages and experiences. They focus on writing activities and work with a wide range of organisations to promote and encourage writers and literature in society.

Tasmanian Writers’ Centre
The Tasmanian Writers’ Centre supports numerous initiatives that promote Tasmanian’s appreciation of literature. These include workshops, residencies and mentorships for Tasmanian writers, as well as providing professional advice to TWC members.

Victorian Writers’ Centre
The Victorian Writers’ Centre is dedicated to nurturing and promoting the diverse writing culture in Victoria. As the leading provider of information, resources and skills development, the VWC connects and supports writers and writing within the broader communities throughout Victoria.

Punctuation in Dialogue

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This is an area I know a lot of people have difficulties with. I’ve seen a lot of mistakes made where writers are not sure where to put a comma or full stop. Here is an example of the correct way to use them:

“I meet a wizard today,” Sam announced.

“Sam, you’re nuts!” Peter replied. “Wizards don’t exist.”

“They do,” Sam insisted, “because I meet one today.”

With the first piece of dialogue, some people make the mistake of placing a full stop after the word “today” (ie “I meet a wizard today.” Sam announced.), which is wrong. The dialogue tag is part of the overall sentence.

In the second set there are two complete sentences so a full stop is placed at the end of the dialogue tag. Also, when using a name or another word like – hey, oh, well, boy – you should always place a comma after that word. A good way to test this out is to read the sentence without the word, if it makes sense without it use a comma – if it doesn’t make sense then a comma is not required.

With the last line, the dialogue tag is placed in the middle of a complete sentence so you should place a comma after the first part – the word “do” in this case – and at the end of the dialogue tag as shown.

Oh, one more thing, ALWAYS start a new line for each person who speaks. ALWAYS!

Grammar: Things to Remember

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Numbers:

  • All numbers between 21 and 99 (except 30, 40, 50, etc) should be hyphenated. Examples: Twenty-three and two hundred and eighty-nine.
  • Numbers should be written in full at the start of a sentence.

One or Two Words:

anyone = any person
Hint: Try replacing the word anyone with any person. If it sounds right, it’s the correct word. If it does not sound right, use any one.

everyday = normal
Hint: Try replacing the word everyday with normal. If it sounds right, it’s the correct word. If it does not sound right, use every day.

everyone = every person
Hint: Try replacing the word everyone with every person. If it sounds right, it’s the correct word. If it does not sound right, use every one.

maybe = perhaps
Hint: Try replacing the word maybe with perhaps. If it sounds right, it’s the correct word. If it does not sound right, use may be.

Okay, I think you get the gist of it. Do the same thing for the following words:

nobody = no person (if it doesn’t sound right use no body)
everybody = every person (if it doesn’t sound right use every body)
sometimes = occasionally (if it doesn’t sound right use some times)

Confusing Words:

Affect = to change (Hint: Try using to transform instead of affect.)
Effect = outcome, consequence or appearance (Hint: Try using either outcome, consequence or appearance instead of effect.)

Allude = refer to indirectly
Elude = to avoid

Already = prior to a specified time
All ready = completely prepared
Hint: The word ready can replace all ready but not already.

Alright = is a nonstandard variant of all right and all use of the word should be avoided.

Bare = exposed
Bear = for every other use except when the meaning is exposed

Breathe (rhymes with seethe) = inhale and expel air from the lungs
Breath (rhymes with death) = the air inhaled or exhaled during breathing

Fewer = not as many, when there is more than one item (i.e. fewer animals)
Less = not as much, when there is one item (i.e. less time)

Lead (rhymes with seed) = to lead, being in charge
Lead (rhymes with bed) = a metallic element
Led (rhymes with bed) = past tense of to lead

Licence = UK/Aus use this word, relates to card/papers
License = US only use this word, relates to allow
Hint: Try using card or papers. If it sounds right use licence. If it doesn’t, use license.

Passed = past tense of to pass
Past = used at all other times
Hint: Try using went past. If it sounds right use passed. If it doesn’t, use past.
But: If the word has is before passed (might be a word or two before), try using gone past instead. If it sounds right use passed. If not, use past.

Grammar: The Parts of Speech

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If we examine the words in any sentence, we observe that they have different tasks or duties to perform in the expression of thought.

Savage beasts roamed through the forest.

In this sentence, beasts and forest are the names of objects; roamed asserts action, telling us what the beasts did; savage describes the beasts; through shows the relation in thought between forest and roamed; the limits the meaning of forest, showing that one particular forest is meant. Thus each of these words has its special office (or function) in the sentence.

In accordance with their use in the sentence, words are divided into eight classes called parts of speech,—namely, nouns, pronouns, adjectives, verbs, adverbs, prepositions, conjunctions, and interjections

  1. A noun is the name of a person, place, or thing. Examples: John, brother, Sydney, table, car, anger, song.

  2. A pronoun is a word used instead of a noun. It designates a person, place, or thing without naming it. Examples: I, he, she, that, who, myself, themselves, it, which.

    Nouns and pronouns are called substantives. The substantive to which a pronoun refers is called its antecedent. Some examples are:

    Frank introduced the boys to his father. [Frank is the antecedent of the pronoun his.]

    The book has lost its cover. [Book is the antecedent of the pronoun its.]

    James and Peter served their country in different ways. [Their has two antecedents, connected by and.]

  3. An adjective is a word which describes or limits a substantive.

    The noun box, for example, includes a great variety of objects. If we say wooden box, we exclude boxes of metal, of paper, etc. If we use a second adjective (small) and a third (square), we limit the size and the shape of the box.

    Most adjectives (like wooden, square, and small) describe as well as limit. Such words are called descriptive adjectives.

    We may, however, limit the noun box to a single specimen by means of the adjective this or that or the, which does not describe, but simply points out, or designates. Such words are called definitive adjectives.

  4. A verb is a word which can assert something (usually an action) concerning a person, place, or thing. For example:

    The Wind blows.
    Tom climbed a tree.
    The fire blazed.

    Some verbs express state or condition rather than action.

    The treaty still exists.
    Near the church stood an elm.

    Sometimes a group of words may be needed, instead of a single verb, to make an assertion. This is called a verb-phrase.

    You will see.
    The tree has fallen.
    Our driver has been discharged.

  5. An adverb is a word which modifies a verb, an adjective, or another adverb.

    Example: “The river fell rapidly,” the adverb rapidly modifies the verb fell by showing how the falling took place.

    Most adverbs answer the question “How?” “When?” “Where?” or “To what degree or extent?”

    Adverbs modify verbs in much the same way in which adjectives modify nouns.

    Example:
    Adjective: A bright fire burned.
    Adverb: The fire burned brightly.

    Adjective and adverbs are both modifiers. Adjectives modify substantives; adverbs modify verbs, adjectives, or other adverbs.

  6. A preposition is a word placed before a substantive to show its relation to some other word in the sentence.

    The substantive which follows a preposition is called its object.

    A preposition is said to govern its object.

    In “The surface of the water glistened,” of makes it clear that surface belongs with water. In “Philip is on the river,” on shows Philip’s position with respect to the river.

    A preposition often has more than one object.

    Over hill and dale he ran.
    He was filled with shame and despair.

  7. A conjunction connects words or groups of words.

    A conjunction differs from a preposition in having no object, and in indicating a less definite relation between the words which it connects.

    In “Time and tide wait for no man,” “The parcel was small but heavy,” “He wore a kind of doublet or jacket,” the conjunctions and, but, or, connect single words time with tide, small with heavy, doublet with jacket.

  8. An interjection is a cry or other exclamatory sound expressing surprise, anger, pleasure, or some other emotion or feeling.

    Interjections usually have no grammatical connection with the groups of words in which they stand; hence their name, which means “thrown in.”

    Examples: Oh! I forgot. Ah, how I miss you! Bravo! Alas!

Source: An Advanced English Grammar with Exercises by George Lyman Kittredge and Frank Edgar Farley, 1913. Now in the public domain.

Difference between “passed” and “past”

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Recently, I came across some old critiques other people had written about my work. It was much like walking down memory lane, but for one thing…

I noticed a trend that I don’t think I picked up on at the time. Now, I am worried that I still don’t “get it”. What trend? Well, what is the difference between “passed” and “past”?

I know “passed” relates to movement and “past” relates to time. No issues there. However, when we start talking about adverbs and prepositions, the confusion sets in. Is it?

A lot of ambulances have gone passed, or,

A lot of ambulances have gone past.

Well, “gone” is a movement word and so is “passed”. There are two movement verbs in the one sentence, when you only need one, so the correct one is “past”.

Thanks to Grammar Monster I think I’ve got it straight in my head now. And it’s all because of the following top tip:

Substitute with Went Past

When referring to movement (i.e., not passing tests or handing stuff over), only use passed when it is the past tense of the verb to pass. To test whether passed is correct, substitute it with went past. If your sentence still makes sense, then passed is the correct version.

  • He passed the shop.
  • He went past the shop. (Still makes sense – passed is correct)
  • He skipped passed the shop.
  • He skipped went past the shop. (Not correct – passed is wrong)

Substitute with Gone Past

On occasion, it may be necessary to use gone past to test whether passed is correct. This is because passed is also the past passive participle of to pass.

  • He has passed the dockyard.
  • He has gone past the dockyard. (Still makes sense – passed is correct)

15 Grammar Goofs that Make You Look Silly

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Everyone makes mistakes. It’s life! But when you’re an aspiring writer then you should take the time to learn the basics in grammar. Using the wrong word in a sentence can change its meaning. More importantly, it can also make you look silly to the reader.

Here are some basics you should know:

15 Grammar Goofs That Make You Look Silly
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Editing Course: Communication Skills

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All parties working on a project need to work as a team. They must also respect each other’s point of view. If everyone is working in different directions then the project will not succeed.

Point of View

Everyone has a point of view. Often everyone thinks their point of view is the right one. This is only natural because we all see things/situations differently. However, it doesn’t mean we are always right and it can be that part of or all of the other points of view are also correct.

The key is to be objective. It’s OK to have a different point of view which you are willing to put aside because the majority thinks another way. However, never compromise your ethics.

Compromise

As the editor, you must learn to compromise. And, remember, you are not the author and should not be attempting to change the author’s style.

Remember quality and profit from the last post? Ask yourself will compromising make either of these things suffer.

Key Communication Skills

Active Listening means to respond and question. All parties need to be able to question without fear of reprisal.

Consideration must always be given to the author’s goal. The publisher/editor/copyeditor/proofreader should not become so intent on grammar and correctness that this is forgotten. This means the other parties (publisher and editors) must never become narrow-minded. And, if you are wrong…admit it!

Non-Verbal Language will tell other parties what you think even if you don’t say it. This is true on the phone too. The other person cannot see you, but they can hear the smile on your face or the roll of your eyes, and they respond to these things. They also feel the distance if they can hear you doing other things. They may feel hurried if you speak fast. Where possible, learn to adjust your tone, pace and vocal range to the person you are talking to.

Communicating the Editors Role to the Author

As an editor, the best thing you can do is define your role to the author at your first meeting. This will help develop a good editor/author relationship.

Some things you should do are: explain your role in the company; advise that your suggestions are just that suggestions and the author has the final say; explain the manuscript must comply with the publisher’s in-house style; talk about the importance of readership and what they want and expect; and, briefly explain the publishing process. Be sure to mention that once the manuscript goes to print, no more corrections can be made.

Editing Course: Developing Good Working Relationship

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Before I get started on the course notes, I’d like to mention that the last two months has been hectic. I’ve been too busy to post or to do my courses. I’ve taken up the editing course again this week, but will defer the writing course until after the editing course is complete. That way, both courses will get my full attention, which will ultimately be better for me.

Unit 6: The Importance of Understanding

Relationships with anyone are delicate. They need to be worked on. The important factor for success for a partnership between two people, especially in a work relationship, is understanding the ultimate goal. All parties need to know they aim for quality and profit.

Quality: the end product needs to meet standards expected by the author and publisher.

Profit: there is no point publishing something if there’s no profit. Publishers need profit to survive.

The Editor/Author Relationship

Many works are edited three or more times. Yet it is not uncommon for an error to be found even after numerous edits. It’s also not uncommon for someone else to find an error after the work is published.

The editor must work ‘with’ the author and not ‘against’ the author. The number of edits is not a reflection on the author and does not indicate poor quality.

To obtain a more objective viewpoint, the author must be able to take a break after the first draft is finished. When they return to the work they will see things much more clearly.

The editor has a more objective eye because they are not as close to the work, they have not invested hours and hours of time working of the manuscript. And they are not emotionally connected with the work. Because of this, the editor easily spots the faults.

Where the author immerses themselves into the work, the editor must remain detached and objective. This does not mean, however, being cold and unfeeling.

The author and editor must understand what will be accepted and wanted by the audience. Because if disappointed, the audience may never purchase anything by that author again.

The Editor/Proofreader Relationship

The proofreader’s role is to help the editor bring the project to a stage of completion. The key to success here is communication.

Proofreaders need to stay up-to-date with language and style changes, new printing procedures and changes in industry standards.

And editor needs to be able to trust the proofreader in this regard and will expect an acceptable degree of accuracy.

A proofreader must detach themselves from the content and read character by character, line by line. They do not look for plot/story faults and will never be held responsible for not spotting these faults.

The Editor/Publisher Relationship

The level of responsibility will be determined by the publisher. It can be a difficult job as you may end up the ‘middle man’ between the publisher and the author. Remember, you are accountable to the publisher and that’s where your loyalty should be. You’ll need to be aware of deadlines, profit margins, sales etc but you will also need to be conscious of the author’s professional position.

Editing Course: Be Aware of What You Edit

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As an editor it is part of your job to watch out for things like offensive language and discriminatory wording — but only when it is out of context.

Most of the time, the author does not intend harm or it may be a case of misinterpretation, but the editor must be objective and consider the ramifications of inappropriate use and bring it to the author’s attention.

There are many grey areas that make this difficult such as cultural differences, freedom of speech and inconsistent laws, but the key here is keeping it within context. Ultimately, it is the author’s decision if the wording is changed or not.

Professional Integrity

It’s important to maintain objectivity and independent judgement in thinking when working as an editor, copyeditor or proofreader.

This means being able to think for yourself and being able to discuss potential problems with your clients, and remain professional when doing so.

Objectivity means being impartial, intellectually honest and free of conflicts of interest. An editor must be able to put their personal views aside and approach their work on an individual basis. It may mean that you do NOT take on a particular job because you feel so strongly about the topic. Whatever the case, you must always stand back, keep a clear head, do not pass judgement on what you are reading and stay professional.

Confidentiality means that you must never disclose information about the editing project to a third person. Never discuss manuscripts, never share company details, never gossip about your clients. If you do, your client can take legal action against you.

Cultural Awareness means understanding that groups of people have patterns of behaviour and beliefs that may impact on the way they do, say and write things. Words and meanings can be totally different with the groups. What does not offend one group, may highly offend another group. The editor should arrange a client pre-brief (in person or by phone) before editing material to discuss what the author’s intentions are as this will often be beneficial to the editor.

Some Terms You Should Know

Defamation is ‘the communication of a statement that makes a claim, expressly stated or implied to be factual, that may give an individual, business, product, group, government, or nation a negative image’. Source Wikipedia.

Slander is the spoken form of ‘defamation’.

Libel is the written form of ‘defamation’.

Discrimination is the unfavourable or unfair treatment of a person based on their sex, age, religion, physical appearance, sexual orientation or race.

Blasphemy is ‘irreverence toward holy personages, religious artifacts, customs, and beliefs’. Source: Wikipedia.

Editing Course: Moral Rights and Plagiarism

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The following notes are extracts from the Copyright Agency Limited (CAL) website.

Copyright Agency Limited
Level 15, 233 Castlereagh Street
Sydney NSW 2000
Phone: 02 9394 7600
Fax: 02 9394 7601
Email: info@copyright.com.au
Website: www.copyright.com.au

What are moral rights?

Moral rights are provided to the creator of works under copyright laws to protect their reputation and their work.

In Australia, moral rights provide creators with three rights:

1. The right of attribution of authorship.
2. The right not to have authorship of their work falsely attributed.
3. The right of integrity of authorship.

This protects the creator from their work being used in a derogatory way that may lead to their reputation suffering.

Moral rights last for the same term as copyright — 70 years after the death of the creator.

Why are moral rights different?

Copyright protects the ‘economic rights’ of a work. In other words, it is aimed at the financial side of things.

Moral rights protect the reputation and integrity of the creator.

Moral rights cannot be held by a company, so the person who wrote the piece retains the moral rights.

What types of works do moral rights apply to?

Moral rights apply to a wide range of works including books, articles, textbooks, poems, songs, plays, film scripts, drawings, paintings, sculptures, musical works, computer programs and films.

What would be considered an infringement?

There are numerous ways that moral rights can be infringed:

  • not attributing a work to its rightful creator
  • falsely attributing a work to someone else
  • producing a falsely attributed work
  • treating a work in a derogatory way (including altering the work)
  • dealing commercially with a work that has been treated in a derogatory fashion

However, the creator can give written consent for their work to be used in another way than how it was created.

Other considerations to be taken into account are the nature of the work, the purpose for which it was created, if the work was created while in employment and if there are more than one author. Some of these may not constitute a breach in moral rights if the use of the work is considered ‘reasonable’.

The law also takes into account ‘relevant industry practice’. For example, an advertising team brainstorm an idea for a single advertisement. It would be difficult to attribute moral rights to every person or a single person, so no attribution would be permitted.

Can moral rights be sold?

No. Unlike copyright, moral rights cannot be transferred or sold.

What is plagiarism?

Plagiarism is when someone tries to present someone else’s work as their own.

An editor and/or publisher must keep an eye open for two things:

1. Work that is a direct copy of another person’s work but has their client’s name on it.
2. Work that paraphrases or summarises someone else’s work but does not credit the original author.

Citing a work means referring to the creator of the work. This can be done in the text or at the end of the text.

Example:

The secret to creativity is knowing how to hide your sources.

— Albert Einstein (1879 – 1955)

What is NOT plagiarism?

  • new and original ideas
  • writing that comes from your own experiences, thoughts and observations
  • writing that is written in your own words and your own voice
  • work written from your own conclusions from studies
  • compiled and stated facts

What is a copying licence?

Copying licences allow organisations to access information but fulfil their legal copyright requirements. The organisation pays an annual fee to CAL and this allows them to use copyright material as long as it is important to their business.

Go to the CAL website to find out more on copyright licences.