Saturday, November 22, 2014

Panaas -by Peter Julian

(Thought Random)

***
Enter that dream world and the mystery of the little girl with sad eyes, a jug of water on her dainty head. Earlier, she, on her knees, had dug the river sands with her little fingers and watched as the water rose, took the cup and bailed out the water. She threw the water on her side, repeating the act until the liquid was clear, sparkling and she could see the bottom of the pit. She scooped the water with a cup made of coconut shell and put it in the clay jar; she did this a number of times until the container was full.
****
              PANAAS 
                                                  
              Umarubayan ti lagip
             iti kasaor ti malem-sardam
             idiay Laoag, ditoy Menifee
             iti batog ti kidem a langit:
             karkarsanna idi ti pagsakduanna
             iti kadaratan, ket iti di mabayag
             ballasiwenna manen ti karayan,
             ti imnas a nagsusuon iti malabi
             ti nasam-it a danum
             ni ayat-- daytoy ti kaudian 
             nga  am-amangaw, alimbasag
             ken tarimbangon dagiti palimed
             ken naliday a dandaniw a mariing  
             iti ulila a parbangon

Iti Kirbay ni Anges

(Thought Random)










di mailemmeng nga laglagip

dadaanan nga maidaniw


tay maysa nga ubing nga babai


nga nagsusuon ti malabi

Pain

(Thought Random)

Why do strands of memory
Like wisps of wind on thin edges 

Of my mind now come caress  
A soulful, sad lament of time -

Why could lovely moments fair 
Sweet, intense and warm not be
When half a lifetime ushers in           
Now silken, gossamer reality?

Monday, September 1, 2014

September in the Rain

(Random Thought)


        I try to look hard through the falling rain framed by my window and I see a kaleidoscope of moments that brings me into this September.

         Ah yes, the years have brought me a string of Septembers, true,  some in sunshine, some in moonlight, some at high noon, some at dusk, but always, -seemingly always, or more often than not,  it would be in the rain.  Like now.  Well, there had been childlike fun. There had been pleasant surprises.  There had been deep regrets.  But there had also been glorious turns of events. And the feeling that permeates in me right now is one of curious expectation.

        Will they come back in another round of moments - my Septembers?Saying those words that both I uttered and did not which brought to others disappointment - or maybe joy?  Carrying out those acts that both I did and did not  that caused others heartache - or maybe delight? Or just being what might have been to others either pain - or maybe comfort? I really don't know! I really don't know! But even as I kind of foresee a repeat of the burning rain I have endured, I also hope I will be blessed with  more of the rapturous ones I did have a chance to enjoy!

        So, I come full circle, - the feeling that permeates in me right now is one of curious expectation!

                                                       -------------------------

Tuesday, May 27, 2014

A Sunset Serenade

(A Short Story)

       
The war was over.  Sighs of relief swept the land as the weary-souled soldiers lifted silent prayers of thanks.  No more bloodshed, no more sorrows or cruelties - what could be sweeter and more refreshing than to think of home and of loved ones whom, in the terror of war, one thought lost forever, or would never live to see again.

        The air that had been saturated with dust and smoke and fire was now cleared.  The sun was beginning to set and a cool fragrant breeze took over and playfully drifted over the tired faces of the soldiers, sweeping away the tremblings of the recent nightmare.  They tiredly slid to the ground whenever they could find a rock or a tree on which to lean while feasting their eyes on the beauty of nature.  Some were having their wounds treated by nurses. The others tried to while the moments away in soothing quiet.

        Among the women patiently tending the wounds of the soldiers was one who wouldn't escape anyone's notice.  The others could almost drop dead tired from over-exerted effort the way they almost couldn't cut bandages and plasters steadily. Linda, however, went on moving spritely from soldier to solder.  It seemed as if her figure could never be worn out by war, hunger, or even by death itself.  That winning smile apparently wouldn't leave her lips.  Although her hair was slightly disarranged, she was clean.  She moved with so much care that even her uniform looked as if it were newly pressed.  The very way she would modestly wipe the sweat off her forehead with the back of her hand simply set her different!   Very much different! Her eyes sparkling, her cheeks rosy, her lips full - she was the picture of a full-bloomed woman fresh with life.

        A soldier lying on his stomach caught her attention.  He was pitifully unconscious and alone that she was moved at the sight but at the same time, she wondered why a foolish gladness swept through her.   He didn't seem badly wounded but a streak of dry blood that stained his right cheek showed that he had a nasty cut on his forehead.  Gently, she rolled him over so that he would lie on his back then made him a pillow out of a folded tent.  Carefully, she wiped the blood and dirt off his face while slowly, she gave out a choked gasp as she recognized familiar features that began to show.  Her heart was already beating wildly but she managed to stay calm, bit her lips so hard that blood almost oozed out from them.  Somehow, she finished the work. 

        At the next moment, she knelt beside the soldier, watching him with much concern.  Not even for a moment now would she take away her gaze from him as she held her breath waiting for him to open his eyes....longing from him to speak.  Meanwhile, confused thoughts raced wildly in her mind.  The last time she heard about him, he was joining the Air Force.  He  had told her so about it himself.  But now, why -

        Eventually, his eyes opened.  At first, they narrowed in disbelief.  She thought this was so funny she almost wanted to laugh but later on, they brightened up. His eyes showed a glint of recognition as he managed to get himself upright - and gather her close to his weak but longing embrace.

        "But Fred,"  she stammered.  "I thought you - "

        "No, sweetheart," the soldier  laughed softly, "I enlisted with the Marines instead.  With my special one having joined the WACS, there'd be not much chance of meeting her up there!"

        The sun was already halfway below the horizon radiating its rays across the skies.  The breeze was now much cooler  - and another of those perfect days was ending.

                                           ##################

Sunday, May 25, 2014

Have I just been dismissed?

(A Short Story)

 
        I walked into his clinic and he smiled,  warmly asked, "How're you doing Ma'am?",  so I answered, "I'm good, Doctor, and you?" His reply: " I'm good, how may I help you?"  Thus, the consultation began  with the normal pleasantries.  Next,  he beckons to me to sit right in front of him with this machine in between us and after adjusting his lenses to my eyes, a couple of clicks and switches at his machine,  he leans back and goes: -Yes, you do have cataracts, any questions you have for me?

         Earlier, I had gone to another doctor for inquiry.  He was a young Malaysian schooled in Singapore, very good-looking, very cordial,  volunteering the information I wanted and he came across as very caring for  my needs.  I liked him at first showdown. So there really wasn't much to ask this second, Chinese, European schooled one who was speaking with a British accent. The questions I asked, however, he answered but in a crisp, straightforward way - no more,no less. He was kinda coming in a bit snooty!


         Ma'am, he said, but with that hint of a smile at the left corner of his mouth, complemented with that curious but brilliant sparkle in his eyes - You can do anything you want after the operation.  Just no swimming, no water in your eyes for three weeks.  You can go dancing, go to the gym, read, write, go back to your computer.. just no swimming. How did he know I did all that? Then he repeated, Just no swimming! And did he know I didn't do that anyway?

   
        Then when the question came to costs, he stood up and said, This way please,  and led me to his secretary who. I supposed, was going to do this part of the job for him.  He now faced the long queue of seated patients that I am told he had daily - and he started calling for the next:  Chow Eng Lai!,Chow Eng Lai!  What? So was I just dismissed? Just like that? What the h-!!!

         As a university professor, my life  had always been at the middle of communicative interaction.  I had always felt I'd die without this communicative energy that sustained me and what did this guy just do? Did he just try to snuff this life out of me? I quelched the urge to go straight at him right in front of his adoring patients -  to strangle him to death before he did me but hey.. strangely now, I was surprised at the calm amusement that now, instead, slowly consumed me. I was actually smiling in disbelief. I was shaking my head, but with tolerance at his apparent lack of tact as a doctor.  I had always enjoyed the personal touch the other doctors in my life had accorded me.  But this one just denied me it and I was more  surprised that I looked at his demeanor as a wall that needed to be broken down.  On top of it, I was just as surprised that I kind of began to feel a sliver of liking for him as I continued to be most surprised at myself as I opted, notwithstanding, to have him do my eye surgery,  So my operation was scheduled the next Sunday afternoon at 2.


        Sunday, then, came and this doctor of mine did me one more check up before the operation,  - after which he stood up from this machine between us and said to me, Let's go, as he  nudged me on the arm with the back of his hand as he made his way out of the clinic.  So, okay...where was that 'Ma'am' thing now?  After all, I could see that he was certainly younger than me.  He led me to his operating room where his two nurses were waiting to prep me up. He left me with them and went back to call on his next patient who was waiting to consult with him.


        As expected in an operating room, all appeared immaculately antiseptic and blue: the nurses were in blue, I was put in blue, myself - gown, head gear, etc. the doctor would be in blue, as well, I imagined.   And as I was now being anesthetized, background music was switched on... that was Andrea Bocelli's rich voice gently permeating the air with his Besame Mucho!  I had always loved Bocelli, and I was now loving all these other songs that followed, Amapola, Cuando Me Enamoro, Quizas, and more.  All kinds of gadgets, - sorry for the term, - all kinds of gadgets were being turned on now - one of which was this computer voice that told the doctor how his patient was responding... and then stillness... except that Bocelli continued to  control  the air.  


        Shortly after that, he came in - my doctor! What was his name again? Lim Chee Wah? Or was that Tham Hui Shan? Hello, Linda, he said, you okay?  Okay, so now, we're on first name basis? He sat down to my right, gently fixed my face to an angle till it was  probably good for him,  switched on lights that made me close my eyes and then he went on with his procedures.  With a plaster-like contraption he carefully put on the right side of  my face, he made an opening on it just enough for my right eye and that was all I felt. From there, he gently coached me, from time to time, with - Look at the light, please, Linda, look at the light, thank you! Aside from this, all that was there now for me was the voice of Andrea Bocelli. And then, it was over. He switched off the light, There you go, Linda, he said, You're done!. He got up from his seat, switched off Bocelli next, and the following moment,  he was out of the room!  Have I now been dismissed?


          He was smiling  the next day at my post op visit.  Could it have been that email  I sent him the night before? I had told him in so many words, that because I couldn't talk to him more than I would have wanted to each time I visited at his clinic, I had to tell him on email this - that even if he was such a snob, I wondered why I appreciated his well-known expertise, but that, anyway, I was thanking him for making half of my world look fascinatingly much brighter and clearer now like never before. He didn't say anything about the email, though.  He was just smiling. And he went on with the procedural check up of my operated eye. Then as he said, You're healing well, good job! - he stood up and playfully brushed my upper arm with the papers he had in his hands. Really!  Then he walked passed me. By his clinic door, once more, he was calling for his next patient. Dismissed again!  And I was still putting up with my monster of a doctor?


        But that night, there was something at my email which read - Dear Linda, - !  Hey, now - pleasant surprise?  It was from my inconceivable doctor! The mail continued -  I admit I might have actually become the snob that you have called me, and I truly appreciate your calling my attention to this.  Strange how I never really realized that, but believe me, I  had always thought I was being efficient in going about my task as a doctor!  And now, you're just about succeeding to change that and, incredibly, I'm liking it, thank you!. May I ask that you don't call me Doctor Lee, please?  I just use that name to make it easier for the locals.  My name is actually Fred, please call me Fred? Won't you please hate me less and we be friends, instead?  Please! May I hope you come again to me for your left eye? Won't you please -


        He's not stopping, he's not stopping!  Now what are all these mixed thoughts and feelings that's starting to pile up for me to entertain? Actually just embers now being fanned into a blaze?  Dear God, now I am being swept away by this maelstrom  of emotions! Do I get back to my computer to answer the mail and go Dear Fred,?  But I am so tempted to  take my turn to leave all these as - okay, as ... Dismissed!  But then again, I - but then again he - ..........


                                               ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^



















Saturday, April 19, 2014

Meditation on Easter

(Thought-in-Music)

The Resurrection.....

        Jesus rose from the dead.  With it He conquered death,  defeated Satan,  sin,  and the world,  and gave new life to mankind.   The joy of the risen Christ is greater than pain.   The hope that comes from His resurrection is the victory over our own fear of dying.

 After the sabbath, as the first day of the week was dawning, Mary Magdalene came with the other Mary to inspect the tomb. (Mt. 28:l)    

The angel came to the stone, rolled it back and sat on it.  (Mt. 28:2)   

Then the angel spoke, addressing the women:  Do not be frightened.  I know you are looking for Jesus the crucified, but He is not here.  He has been raised exactly as he promised.  (Mt. 28:5-6)   

He has been raised from the dead and now goes ahead of you to Galilee. (Mt. 28:7)  

On the evening of the first day of the week, even though the disciples had locked the doors of the place where they were... Jesus came and stood before them.  Peace be with you, He said. (Jn. 20:19)  

In their panic and fright they thought they were seeing a ghost.  (Lk. 24;370  

He said to them, Why are you disturbed:  Look at My hands and My feet; it is really I.  (Lk. 24:38-39) 

At the sight of the Lord, the disciples rejoiced.  (Jn. 20;21)  

Peace be with you, Jesus said again.  As the Father has sent Me, so I send you.  (Jn. 20-21)  

 I am the resurrection and the life; whoever believes in Me, though he should die, will come to life.  (Jn. 11:25-26)


         Let me pray in thanksgiving and in praise,  giving glory to the risen Lord.   Let me offer to the Triumphant Prince of Peace,  all those in despair,  those who have lost hope,  lost faith;  that in the Resurrection of Jesus will be their own future.   He is The Way and The Truth and The Life.    

From:  An Hour With Jesus








Friday, April 4, 2014

Which or That?

(Thought-Random)

From:  Get it Write


Writing Tip: October 31, 2003
Which or That?
 
While both which and that can be used in other constructions, the confusion usually arises when they are being used as relative pronouns to introduce adjective (or relative) clauses. In the examples below, we have bracketed the adjective clauses. (Remember that a clause is simply a group of words containing a subject and a verb):
1. Our house [that has a red door and green shutters] needs painting.
2. Our house, [which has a red door and green shutters], needs painting.
3. The classrooms [that were painted over the summer] are bright and cheerful.
4. The classrooms, [which were painted over the summer], are bright and cheerful.
In all four cases, the adjective clause tells us something about either the house or the classrooms, but the choice of which or that changes the way we should read each sentence.
In the first sentence, the use of that suggests that we own more than one house and therefore must explain to you that we are talking about a particular house of ours--the one with a red door and green shutters. We cannot leave out that adjective clause because it is essential to your understanding of the sentence; that is, you wouldn't know which one of our houses needs the paint job without that adjective clause.
The second sentence tells you that we own only one house and we are simply telling you--in case you want to know--that it happens to have a red door and green shutters. We could leave out the information in that adjective clause and the sentence would still make sense.
The third sentence, because it uses that to launch its adjective clause, tells us that only SOME of the classrooms were painted over the summer. If we omitted the clause "that were painted over the summer," we would be left with "The classrooms are bright and cheerful," a statement that would not be accurate since it would imply that ALL the classrooms are bright and cheerful. In this sentence, therefore, the adjective clause is essential to the meaning of the sentence.
We call the adjective clauses in sentences one and three restrictive because they restrict--or limit--the meaning of the nouns they modify. In the case of sentence three, they tell us that we are talking ONLY about the classrooms that were painted over the summer--not the others.
The which clause in the fourth sentence is what we call a nonessential--or nonrestrictive--clause. Since that sentence intends to tell us that ALL the classrooms were painted, the information in the adjective clause is not essential. The sentence would be clear even if the clause were omitted.
The rule of thumb, then, is that which clauses are nonrestrictive (nonessential) while that clauses are restrictive (essential). Nonrestrictive clauses and phrases are set off from the rest of a sentence by a pair of commas (as in our examples above) or by a single comma if they come at the end of the sentence. (Example: "I took a vacation day on my birthday, which happened to fall on a Monday this year.")
Merriam-Webster's Collegiate Dictionary (10th edition), regarded by most writers as the authority on such matters, tells us that it is now common for which to be used with either kind of clause, while that must be used only for restrictive clauses. In fact, though, careful writers continue to make the distinction we describe above. Attorneys are taught to use which for nonrestrictive clauses and that for restrictive clauses so as not to cause a misreading in legal documents. It seems just as important that we work to avoid misreadings in all writing, not only in situations when a legal ruling might be at stake.
TEST YOURSELF: Which pronoun--which or that--belongs in each blank below?
1. Carlos gave Maria a study guide for material ________ was going to be on the test.
2. Carlos gave Maria notes from chapters 3 through 7 _________ were going to be on the test.
3. Mark and Sarah took their children on every vacation _________ they took to the coast.
4. The teachers gave awards to all paintings ________ showed originality.
ANSWERS
1.Carlos gave Maria a study guide for material *that* was going to be on the test. [To say simply "Carlos gave Maria a study guide for material" would not be complete information. We need the adjective clause to tell us which material, in particular. Since the information is, therefore, essential, we use that and no comma.]
2.Carlos gave Maria notes from chapters 3 through 7, *which* were going to be on the test. [The fact that chapters 3 through 7 were going to be on the test is not essential to our understanding exactly which notes Carlos gave Maria, so we use a comma and which.]
3.Mark and Sarah took their children on every vacation *that* they took to the coast. [If we said simply "Mark and Sarah took their children on every vacation," we would be inaccurate. The information in the adjective clause is essential to our understanding that the children went on certain vacations and not others. Therefore, we use that and no comma.]
4.The teachers gave awards to all paintings that showed originality. [To say simply "The teachers gave awards to all paintings" would be inaccurate. The information in the adjective clause is, therefore, essential to the meaning of the sentence, so we use that and no comma.]

Copyright 2000 and 2003 Get It Write

 

Wednesday, March 19, 2014

My Grandma Ko

(Thought-Random)


         Anika had fever today.  She had it since yesterday so she skipped school and stayed home with me throughout these two days. Like the energy-full creation that this little angel is, even with a 103 registering at the thermometer, she screams over little insignificant things she finds delight in but creeps back to bed when the fever really overcomes the  excess vitality that wraps her up. Just right now, she lets me sit by her bedside.  She tells me I make her feel better that way... and she, in turn, makes me feel the better hearing this. Now, she lets me read her  a story.  I tell her it isn't bedtime yet.  She says, yes, but she's in bed, so a story must I read to her. I say what about a story without the book. And she says, I even like that better. So I say this is a funny story about your mom when she was just about 4 years old. Let's hear it! - that's from her.

       I try to recall that one day her dad comes home from work and with much affection for his little girl who comes meeting him at the doorway,  he lifts her with his two hands all the way up towering over his head then down to his chest for a full hug.  Doing this, he also says with a lot of emphasis, "Anak ko, Bingbing"!

        Anika listens with unconcealed curiosity then asks what I meant by "Anak ko"! My answer - in our vernacular that means 'my child'.  And I go on volunteering linguistic information. "Anak" means 'child;, and "ko" means 'my' but in that language, 'my child' is said that way - "anak ko".  She nods her head in understanding but with that tentative look in her eyes then picks it up from there - so, what's the funny part in there? Well, I go on,  moments later after dinner, she sees her dad on his easy chair reading the newspaper, and this time she climbs up on his lap, puts her arms around his neck and tells him, "Anak ko, Papa"! And I laugh! But she doesn't. The next moment sees her getting up, moving towards me, putting her arms around me with a "Love you, my grandma ko!"! Isn't she sweet?

    

Sunday, March 9, 2014

"Must of had" or "Must have had" ? ---


(Thought-Random)

                                                                                                                                                                                            My friend, Bernie, brought this up to me as a pet peeve,  so well - let me just pick it up in here.
   

        Right on will I say that between one and the other, the latter is the correct one.   We say: 'I must have had too much wine.'  Or maybe, 'I must have had temporary amnesia!'   But I do hear people interchange these two utterances, it's true: -  'must have had'  and 'must of had'.   I am not just sure if they also write it as 'must of had' - still, this is not grammatical.... it wouldn't make sense.

       If we were to argue for the grammaticality or the correctness of  'I must have had too much wine',  this we have to 'oversimplifyingly' point out...even if,  by chance, we have to wake up demons of old, boring, grammar classes.   The predicate or the second half of the sentence,  (the first half being made up of the subject 'I'),  is made up of the verb 'had' preceded by the so-called helping verbs 'must have'.   As it is, we have an instance of  two helping verbs.  The first, 'must', puts forward the probable happening of the verb 'have'  whereas the second auxiliary verb,  'have',  indicates the perfection or the state of being finished or of being already done of the main verb 'have'.   Which is why,  if I may go on,  rather than thinking of the verb as in the past tense, because it is not time identified, .... it is actually in the past perfect  tense - it is focused on a completed action.

        So that now,  if we were to put together the lexical items, 'must of had',  the item 'of' would have no business being there.   For one,  'of'  being a preposition,  it comes before a noun phrase as when we say, 'of Bernie',  'of the sunset',  'of my insatiable curiosity'.   We don't say  'of jumped', or  'of dancing'.   And we wouldn't say, 'of had'.   But we do have an explanation for that.   I talked to my granddaughter, Tanya, at the University of Southern California,  and she says:   "I think the proper way is to say 'must have had',  but when you slur it, the first two words kinda sound like 'must of'.   That's why it seemingly goes "must of have" and  it's caught on so much we're not sure which one is right."  And I think so, too.

        But I guess,  I'd also want to point out that phonetic concern which makes for the situation.   We actually don't say 'must have had'  in single words all the way.  In speech,  we actually contract it into 'must've had' - what Tanya indicates as 'slur'. And notice that the schwa sound, the 'uh' sound,  in the contracted 've' from 'have' is also the very same sound in  'of' in 'must of'.  Because  'of'  isn't really pronounced with an 'f' sound;  it is pronounced with a 'v' sound.  Which is why Tanya says the utterance  'must have'  "kinda sounds like 'must of".   And  the truth then is, they do sound the same.   But sorry, this does not make our 'must of had' correct.

        Therefore,  if only for grammaticality's sake,  we use 'must have had' or 'must've had'  rather than 'must of had'!   Right, Bernie?

                                                     --------------------------------------------




      Thanks, Bernie Floresca!
      Thanks, Tanya Parker!

Saturday, March 8, 2014

How to Improve Your Writing Skills

(Thought-Random)

Lifted from Wiki How to do Anything
Edited by Erica, Ben Rubenstein, Andy Zhang, Jen and 57 others

Do you dream of changing the world with your words? Do you aspire to be the next Annie Proulx, or the next David Foster Wallace? Or maybe you just want to be able to better express your thoughts and ideas more clearly. Becoming a great writer—or even a good writer—takes practice and knowledge, but with enough hard work perhaps someday somebody will aspire to be the next you

Method 1 of 4: Better Writing Basics

  1. Improve Your Writing Skills Step 1 Version 2.jpg
    1
    Be active instead of passive. One of the most common manifestations of bad writing is overuse of the passive voice. The passive voice makes the object of an action into the subject of the sentence with verb forms like "X had been attacked by Y" instead of simply "Y attacked X." Learn to avoid these constructions as much as you can.[1]
    • "The novel had been written by Frank while he was in college" is passive. "Frank wrote the novel while he was in college" is active.
    • Using the passive voice isn't always bad. Sometimes there is no clear way to make a statement active, or sometimes you want the lighter touch a passive construction allows. But learn to follow this rule before you start making exceptions.
  2. Improve Your Writing Skills Step 2 Version 2.jpg
    2
    Use strong words. Good writing is precise, evocative and spiced with the unexpected. Finding the right verb or adjective can turn an uninspired sentence into one people will remember and quote for years to come. Look for words that are as specific as possible. Try not to repeat the same word over and over unless you are trying to build a rhythm with it.
    • One exception to this is the words used to describe dialogue. Bad writing is filled with "he commented" and "she responded." A well-placed "sputtered" can work wonders, but most of the time a simple "said" will do. It may feel awkward to use the word "said" over and over, but changing it up unnecessarily makes it harder for your readers to get into the back-and-forth flow of the conversation. When writing dialogue, you want readers to hear your characters' voices, not your own.
    • Strong doesn't mean obscure, or more complicated. Don't say "utilize" when you could say "use." "He sprinted" is not necessarily better than "he ran." If you have a really good opportunity to use "ameliorate," go for it—unless "ease" is just as good there.
  3. Improve Your Writing Skills Step 3 Version 2.jpg
    3
    Cut the chaff. Good writing is simple, clear and direct. You don't get points for saying in 50 words what could be said in 20. Good writing is about using the right words, not filling up the page. It might feel good at first to pack a lot of ideas and details into a single sentence, but chances are that sentence is just going to be hard to read. If a phrase doesn't add anything valuable, just cut it.
    • Adverbs are the classic crutch of mediocre writing. A well-placed adverb can be delightful, but much of the time the adverbs we use are already implied by the verb or adjective—or would be if we had chosen a more evocative word. Don't write "screamed fearfully";"scream" already suggests fear. If you notice that your writing is filled with "-ly" words, it might be time to take a deep breath and give your writing more focus.
    • Sometimes cutting the chaff is best done at the editing stage. You don't have to obsess about finding the most concise way to phrase every sentence; get your ideas down on paper however you can and then go through to edit out unnecessary verbiage.
    • Your writing doesn't just exist in a vacuum—it's experienced in conjunction with the reader's imagination. You don't need to describe every detail if a few good ones can spur the reader's mind to fill in the rest. Lay down well-placed dots and let the reader connect them.
  4. Improve Your Writing Skills Step 4 Version 2.jpg
    4
    Show don't tell. Instead of just sitting your readers down for a long exposition explaining a character's background or a plot-point's significance, try to let the readers discover the same ideas through the words, feelings and actions of your characters. Especially in fiction, putting this classic piece of writerly advice into practice is one of the most powerful lessons a writer can learn.[2]
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    5
    Avoid clichés. Clichés are phrases, ideas or situations which are patently unoriginal. They may have been powerful at one point, but now they have been overused to the point of having little value unless reimagined in some creative way. It's hard to say exactly what makes a cliché, other than that, as with pornography, you'll know it when you see it.
    • "It was a dark and stormy night" is a classic example of a clichéd phrase—even now a clichéd concept. Compare these similar weather-related opening lines:[3]
      • “It was a bright cold day in April, and the clocks were striking thirteen.”—1984, by George Orwell. It's not dark, nor stormy, nor night. But you can tell right from the start something's not quite right in 1984.
      • “The sky above the port was the color of television, tuned to a dead channel.”—Neuromancer, by William Gibson, in the same book that gave us the word "cyberspace." This not only gives you the weather report, it does so in such a way that you are immediately placed into his dystopian world.
      • “It was the day my grandmother exploded.”— The Crow Road, by Iain Banks.
      • "“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way—in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.”—A Tale of Two Cities, by Charles Dickens. Weather, emotion, damnation, and despair—Dickens covered it all with an opening line that leaves the reader ready for anything.
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    Break the rules. The best writers don't just follow the rules—they know when and how to break them. Everything from traditional grammar to the writing advice above is up for grabs if you know a transgression will improve your piece. The key is that you have to write well enough the rest of the time that it's clear you are breaking the rule knowingly and on purpose.
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    Edit, edit, edit. Don't believe your English teachers: there is no such thing as a "perfect" masterpiece in writing. Every author could have found something to change in even their greatest works if they had given it another once over. Editing is one of the most essential parts of writing. Once you finish a piece of writing, let it sit for a day and then read it over with fresh eyes, catching typos or scrapping whole paragraphs—anything to make your piece better. Then when you are done, give it another read, and another.

Method 2 of 4: Consume the Written Word Voraciously

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    Pick up a good book or ten. Read and understand the works of great and influential writers to learn what is possible with the written word. By immersing yourself in writers who have given us the world's the most compelling stories and ideas, you will expand your vocabulary, build knowledge and feed your imagination.[4]
    • Look for different ways of organizing a piece of writing or presenting a narrative.
    • Try comparing different author's approaches to the same subject to see how they are alike and how they differ. For example, Tolstoy's Death of Ivan Ilych, and Hemingway's The Snows of Kilimanjaro.
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    Map the allusions that run through our culture. You might not realize it, but books, movies and other media are filled with references and homages to great literature. By reading some classics, you will build a body of cultural knowledge that will better inform your own writing.
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    Make sure you understand why a classic work is considered great. It's possible to read a novel like The Catcher in the Rye and not "get it" or see its value immediately. If this happens, try reading an essay or two about the piece to learn why it was so influential and effective. You may discover layers of meaning that you missed. Understanding what makes great writing great is one of the best ways to grow your own skills.
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    Attend the theatre. Yes, watching a play is passive—like television or the movies—and there's not a bit of reading involved. But it will fire your imagination in ways you might not expect.
    • More than a movie ever can be, a theatrical performance is like words come to life, with only the director's interpretation and the actor's delivery as filters between the author's pen and your ears.
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    Read magazines, newspapers, and everything else. Literature isn't the only place to get ideas—the real world is filled with fascinating people, places and events that will inspire your writerly mind.
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    Know when to put down your influences. It happens all the time: you finish an awesome novel, and it leaves you fired up to get cracking on your own writing. But when you sit down at your desk, your words come out sounding unoriginal, like an imitation of the author you were just reading. For all you can learn from great writers, you need to be able to develop your own voice. Learn to cleanse your palate of influences with a free writing exercise, a review of your past works, or even just a meditative jog.

Method 3 of 4: Write Voluminously

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    Buy a notebook. Not just any notebook, but a good sturdy one you can take with you anywhere. Ideas happen anywhere, and you want to be able to capture those oft-fleeting ideas before they escape you like that dream you had the other night about...um...it was...uh...well it was really good at the time!
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    Write down any ideas that come to you. Titles, subtitles, topics, characters, situations, phrases, metaphors—anything that will spark your imagination later when you're ready.
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    Fill up your notebook and keep going. When you finish a notebook, put a label on it with the date range and any general notes, so you can refer back to it when you need a creative kick in the pants.
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    Join a writing workshop. One of the best ways to improve your writing and stay motivated is to talk with others and get feedback on your work. Find a local or online writing group. In these groups members usually read each other's writing and discuss what they liked, didn't like and how a piece might be improved. You may find that offering feedback, as well as receiving it, helps you learn valuable lessons to build your skills.
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    Write every day. Keep a diary, mail a pen pal, or just set aside an hour or so for free writing. Just pick a topic and start writing. The topic itself doesn't matter—the idea is to write. And write. And write some more. Writing is a skill that takes practice, and a muscle that you can strengthen and nourish with the right training.

Method 4 of 4: Crafting a Story

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    Pick a topic and lay out a general arc for your story. It doesn't have to be complex, just a way to get your head around the direction of the plot. For example, that classic Hollywood story line: boy meets girl, boy gets girl, boy loses girl, boy gets girl back again. (The chase scenes are added later.)
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    Write an outline. It can be tempting to just start writing and try to figure out twists and turns of your plot as you go along. Don't do it! Even a simple outline will help you see the big picture and save you hours of rewriting. Start with a basic arc and expand section by section. Flesh out your story, populating it with at least the main characters, locations, time period, and mood.
    • Note that in an outline like this, you discover that of the 4 sections, the last one will take up the bulk of the story. When you have part of an outline that will take more than a few words to describe, create a sub-outline to break that section into manageable parts.
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    Write the first draft. You're now ready to start your "sloppy copy," otherwise known as your first draft! Using your outline, flesh out the characters and the narrative.
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    Keep some space in your story online to add characters, and what makes them who they are. Give each of them a little story of their own, and even if you don't add that info into your story, it will give a sense of how your character might act in a given situation.
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    Don't be afraid to hop around. If you suddenly have a brilliant idea about how to resolve a situation near the end, but you're still on Chapter 1, write it down! Never let an idea go to waste.
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    Let your story guide you. Let your story have its say, and you may find yourself heading in unexpected, but very interesting directions. You're still the director, but stay open to inspiration.
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    Finish your first draft. Don't get caught up in fine tuning things yet, just let the story play out on paper. If you realize 2/3 of the way through the story that a character is really the Ambassador to Dubai, make a note, and finish the story with her as the Ambassador. Don't go back and start re-writing her part till you're done with the first draft.
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    Write it again. First draft, remember? Now you get to write it from the beginning, this time knowing all the details of your story that will make your characters much more real and believable. Now you know why he's on that airplane, and why she is dressed like a punk.
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    Write it through to the end. By the time you are done with the second draft, you will have all the information about your story, your characters, the main plot, and the subplots defined.
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    Read and share your story. Now that you've finished the second draft, it's time to read it—dispassionately, if possible, so that you can at least try to be objective. Share it with a couple trusted friends whose opinions you respect.
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    Write the final draft. Armed with notes from your reading the story, plus notes of your friends or publishers, go through your story one more time, finalizing as you go. Tie up loose ends, resolve conflicts, eliminate any characters that do not add to the story.

Who vs. Whom

(Thought-Random)

Who vs. Whom

by: Brian A. Klems
Q: I don’t understand the difference between who and whom. Can you please explain to me, in simple terms, how to differentiate between the two?—Anonymous

The confusion between who and whom is one of the most common problems writers face. It can be tricky to find the correct use, and sometimes you may feel like locating the person who invented both words and smacking him upside his head. But there is a difference.

Who is used as the subject of a verb or complement of a linking verb. It’s a nominative pronoun. It was Carl who broke all the pencils in the house. When writing a sentence, first find the verb(s)—was and broke. Then, find the subject for each verb: Carl and who. Since who is a subject, it’s correct. Who needs a crayon to write this down?

Whom is used as the object of the verb or the object of a preposition. It’s an objective pronoun. You asked whom to the dance? In this case, the subject and verb are “You asked.” The pronoun following the verb is the object of the verb, therefore whom is correct. He’s already going to the prom with whom? This pronoun is the object of the preposition with, so whom is the right pick. Be careful, though. Make sure the prepositional pronoun in question isn’t also a subject—if it is, then you use who. For example, I cheered for who played hardest. While the pronoun follows a preposition (for), it’s also the subject of the second verb (played). When placed as a subject, always use who.

One way to remember is to check to see which pronoun can replace the questionable word. It’s a little trick I learned back in elementary school: If it can be replaced with “he,” you use who; if “him” fits better, use whom. Sometimes you may need to split the sentence to see it. For example, It was Carl—he broke all the pencils in the house. Who should be used here. You asked him to the dance? Whom is the correct choice.

And when in doubt on the “who whom” debacle, recast the sentence to avoid the issue altogether.