Category Archives: flow

Should students focus on spelling, word order and capitalization when composing?

Posted on January 26, 2026 | Leave a comment

A reader asks:  Why do students not need to focus on spelling, word order, or capitalization when composing on electronic devices?

There are several reasons, but the most important reason is the same reason students don’t need to focus on those things when they are writing in long hand.  Continuing the flow of your ideas is what is most important while composing.

If a writer stops to check citation style or any other detail  while composing, the writer loses the flow of his or her ideas.  It’s better to keep writing while you know what you are going to say next and focus on details or fix mistakes later.

Another reason is that composing is a much harder task than editing.  Composing involves many higher level thinking skills—applying information, analyzing in a clear order, evaluating choices while you write, and bringing together ideas.  These skills are more difficult than fixing a spelling mistake.  So it is better to work on harder composing skills without interrupting your flow with editing details.

Still another reason is that electronic equipment fixes many mistakes when a writer reaches the end of a sentence.  The “fix” might not be correct or what you want, but again, you can make needed changes when you have finished composing.  Many writers compose during their most alert hours, during quiet hours when their minds work best.  They save their editing for times when flow is less important.

Polishing writing is important.  It is during revising that so-so writing becomes great.  Revising means analyzing whether everything you need to say is said, whether your information is in the correct order, whether you need to delete or insert material, whether you have named your sources.  Revising is not as hard as composing, but it is easier than editing for English conventions.  Some writers revise as they compose and others might wait until the end of a composing session.

Eventually, students do need to focus on spelling, word order, and capitalization, but not while they are composing.

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Posted in composing on electronic equipment, editing, English Writing Instruction, flow, revising first drafts, writing tips

How to start a narrative

Posted on May 14, 2024 | Leave a comment

How to start a good story today is much like how to start a good essay, though it’s different too.  Many good stories today begin without any background information.  They begin in the middle of the action and weave in whatever background information is necessary later.  For example,

“Duck, you fool.  They’ll see us.”  This beginning starts in the middle of action.  Better yet, it starts with dialog.  Do you want to know who the speaker and his companion are?  Do you want to know why they are hiding?  Do you want to know who is hunting them?  Will you continue reading?

The three-year-old waited under the dirty laundry in the closet just as Mom and he had practiced.  The noise had stopped, but he didn’t trust the silence either.  “Wait for me,” Mom had said.  So he waited.  Is this a game of hide and seek?  Or has something sinister happened to Mom?  Why did Mom have the child practice hiding?  Why did she tell him to wait for her?  Will you keep reading?

Compare those beginnings with this kind.

It was early morning when she boarded the school bus.  She took her assigned seat and looked around.  Yes, it was Monday, all right.  Everyone was sleeping or trying to.  This beginning lacks the energy of the previous two beginnings.  Do you want to know why she boarded the school bus?  Probably not because you already know.  She’s going to school.   Do you want to know why everyone is sleeping?  Probably not because it’s Monday and that’s the way it is on Mondays.  Will you keep reading?

Mrs. Miller put on her hat and spring coat and waited for the taxi.  It came on time.  She nodded to the driver.  “Twelve Maiden Lane.” She sat back, alone in the passenger section, and thought what she always thought, that this is the way Queen Elizabeth was pampered wherever she went.  Do we know why Mrs. Miller is taking a taxi?  Do we care?  How about her thought, comparing herself to Queen Elizabeth?  That’s a little more interesting.  Why does she think that?  Will you keep reading?

Should you start a narrative with a question?  Lots of students do, but such a beginning rarely draws in readers, especially if the reader knows the answer.  But sometimes it can work.

Oh, please, doctor, please tell me what it is?  Is it pneumonia?  Meningitis?  Is my baby going to be okay?  Why are you just standing there, doctor?  Please tell me.  This opening has several questions, each one more emotionally charged than the previous one.  It works because the thoughts are a form of action.  Why is the child sick?  Why is the parent so frantic?  Why is the doctor mute?  We don’t know what happened before.  We arrive in the crisis moment.  Will you keep reading?

In the past, writers began stories with exposition, that is, with background information.  Today that approach is out of style.  We want to jump right into the action.

If you tend to start narratives by giving background information, try this to start with action.  Move along until you find the inciting moment—the moment when the action begins.  Delete everything that comes before the inciting moment.  If it is necessary information, weave it in through dialog or thoughts—but not flashbacks.  Flashbacks interrupt the forward flow of your story.  Your narratives will be more dramatic and better read.

 

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Posted in backstory, dialog in writing, flow, Introductions, narrative writing

Write first, revise second, third, fourth, and edit last

Posted on March 27, 2023 | Leave a comment

Revising and editing are distinct actions.

Revising means changing text in significant ways, such as adding or deleting words, sentences, paragraphs or even whole scenes.  Revising means changing weak verbs to stronger, specific verbs.  Revising means changing sentence order or sentence beginnings or combining sentences or separating too many ideas in one sentence.  Revising means making big changes and should be done before editing.

Editing means polishing text in subtle ways, such as changing punctuation, spelling, and choice of synonyms and antonyms.  Editing means deleting most -ly adverbs, many adjectives, and obvious information.  Editing means making small changes, sometimes stylistic changes, and should be done after revising.

Which are revising and which are editing?

revising editing
Deleting backstory from the beginning of text ✔
Using simple Anglo-Saxon vocabulary instead of longer, more complicated words ✔
Replacing abstract nouns with concrete verbs ✔
Deleting vague, qualifying words (e.g. some, never) ✔
Deleting “that” except when needed for clarity ✔
Combining sentences to delete unnecessary words ✔
Adding information for clarity ✔
Using “said” instead of “told,” “related,” “cried,” and other words saying how a person spoke ✔
Replacing forms of the verb “to be” with specific verbs, action verbs if possible ✔ ✔
Rewriting sentence beginnings for variety ✔
Replacing most compound sentences or compound predicates with complicated simple sentences ✔
Deleting overused words like “so,” “then,” “just” and “like” ✔
Rewriting conclusions to add meatier ideas ✔
In dialog between two people, not identifying who is speaking for each line of dialog ✔
Writing direct dialog rather than indirect dialog. ✔
Calculating words per sentence to keep within 15 to 20 words on average. ✔
Looking for the kind of grammar mistakes you often make, such as run-ons, and fixing them. ✔
Showing, not telling. ✔

A mistake student writers make is to edit as they write, losing the flow of their thoughts.  It’s better to keep going, even though you know you spelled a word wrong and are tempted to look it up.  Writing is harder than editing which is why writers are tempted to edit as they go.  This is particularly true of perfectionists.

Editing before revising is a waste of time.  Good revising will delete many early edits.  Write first, revise second and third and forth, and edit last.

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Posted in "to be", action verbs, adverbs, backstory, citing evidence, conclusions, dialog in writing, editing, English Writing Instruction, flow, naming characters, needless words, number of words per sentence, omitting unnecessary information, perfectionism, revising first drafts, show don't tell, spelling, word choice, writing tips

Coherence, the most important element in writing

Posted on December 13, 2020 | Leave a comment

Writing well requires following certain steps in sequence:

  • Narrowing your topic
  • Organizing your information, including writing an overarching topic sentence or thesis and subtopic sentences or plot lines
  • Writing a first draft
  • Revising, revising, revising
  • Editing

Once your first draft is complete, revising becomes most important.  So many tasks comprise revising—checking for complete sentences, tightening wordiness, analyzing ideas for logic, honing vocabulary, fixing grammar errors, adding figures of speech and style.  Students wonder where to begin.

Begin with coherence, the most important element of writing.  Coherence means making sure all your sentences make sense and flow from one to another.  Coherence means making sure your readers understand what you mean—easily, at first read, without an interpreter.

How do you do that?  Some ways include:

  • Make sure every sentence in the body paragraphs supports the thesis. If you use an anecdote, make sure it is an example of the ideas in the thesis.  If you use a simile or metaphor, make sure it fits with the topic.  If the topic is igneous rock, for example, the simile “as hot as the steam from a steam boat” is off topic, whereas “as hot as a lava lake” is on topic.
  • If you use numbers (three kinds of rocks, five members of my family, one favorite memory), check that you have named all the numbers and no more.
  • Use logical transitions. “Because” means something causes something else.  Make sure you have named a cause and an effect if you use “because.”  “Finally” means the last one in a series or the last point.  If you have only two or three points, you shouldn’t use “finally.” You should use “secondly,” or “next,” or “third.”
  • If you use a pronoun, make sure you have named the noun the pronoun refers back to. And make sure you have named that noun before you use the pronoun (not “When she fell, Mary broke her arm,” but “When Mary fell, she broke her arm.”  If you use “this,” make sure your reader can know in a word or phrase what “this” refers to.  If “this” is vague or complicated, add a noun after “this” (this situation, this erosion, this loss of interest).  If you have two women talking, make sure if you use “she,” the reader knows which one you are referring to.  Otherwise, use her name or title or position.
  • Check that your sentences are complete thoughts–not fragments or run-ons.  Make sure your complex sentences contain no more than two dependent clauses so readers needn’t hold multiple ideas in their minds at once.  Check that your sentences vary in length, with most more than ten and fewer than 20 words.
  • Change your weak, vapid verbs to active, dynamic verbs.  Eliminate the verb “to be” and passive voice verbs.

If what you write lacks coherence, no matter how specific the vocabulary, no matter how beautiful the description, no matter how lofty your aim, your writing will flop.  Your writing must make sense to a reader without you standing at her elbow explaining, “Well, what I mean is. . .”

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Posted in "to be", active verbs, because, clarity, coherence, complex sentence, English Writing Instruction, flow, good writing v. bad writing, metaphors, number of words per sentence, organizing information, passive verbs, pronouns, readability, revising first drafts, run-ons, similes, thesis, Transitions, word choice

Do you use metaphors? How about similes?

Posted on April 8, 2018 | Leave a comment

I don’t use metaphors or similes when I write fiction.  I’ve been aware of this for a couple of years, and so made a resolution to incorporate more metaphors and similes into my writing, especially my fiction writing.  But I have had little success.

Now I know why.

When I insert a metaphor or simile into narration, it reminds readers that an author is writing what they are reading.  A metaphor or simile draws readers away from the story line to consider a comparison.  A metaphor or simile interrupts the flow of writing and takes readers out of the story to consider the meaning of or the aptness of the figure of speech.

And I don’t want that.What I want, as an author, is for my readers to become “one” with my story, to find my story so real, so compelling, that they “live” in the story, unaware of the real world around them.  Metaphors and similes force the reader to leave the story—momentarily, true—and enter the real world to think about the figure of speech.  The flow is broken.

Two exceptions exist. One is that it is okay to include a metaphor or simile in either the spoken words of a character or in his or her thoughts.  Once your smile to me was wine, a character could think as she looks across the table to her long-time husband.  Or a mother beset with children’s demands, a ringing phone, and a dog’s whine could say, “My life is like a soap opera.”  In these situations—thinking and speaking—metaphors and similes still interrupt the flow of the story if the reader needs to think about the comparisons.  But they can seem organic if a character uses them.

Another exception is when the figure of speech is a cliché that is readily understood and needs no consideration.  When a character says, “That water is as cold as ice,” or when another character thinks, I smell a rat, we needn’t think about the comparison because we have heard it many times before and readily understand it.

Of course some writers do use metaphors and similes successfully, especially when a story is told in the first person.  If you have read any of Raymond Chandler’s stories about his famous detective, Philip Marlowe, you have encountered hundreds of figures of speech because the character of Marlow thinks in similes and metaphors.  Those stories are told in first person point of view, so the figures of speech form part of the personality of the narrator.

How about you?  Do you use similes and metaphors?  Do you agree with me that these figures of speech interrupt the flow of narration?

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Posted in Figures of speech, flow, metaphors, similes