Helpful Stuff for the Writer in all of Us


How to Write a Short Synopsis
If you're like most authors,  summarizing your book in a couple of sentences is a daunting task.  However, you must do this in your query letter--both agents and editors alike are bombarded with so many queries that if they find themselves having to do much mental work to understand the gist of your book, they will simply pass on to the next one.
 Each and every story is composed of the same five basic elements.  If you can identify them in their purest, simplest forms, you will be well on your way to writing a good two-sentence synopsis of your book, regardless of its length or complexity.

The five elements are:  a (1) hero who finds himself stuck in a (2)  situation from which he wants to free himself by achieving a (3)  goal.  However, there is a (4) villain who wants to stop him from this, and if he's successful, will cause the hero to experience a (5)  disaster
Actually, what I've just written above IS the two sentence synopsis which will work for any story, no matter how complex the plot or characters may seem.
Before I go further, I want to stop for a moment and address the "Is this a formula?" question that will undoubtedly come up in many writers' minds.   Anyone with any experience in writing (or painting or composing music, etc.)  knows that formulas do not work when creating a new piece of art, that the most you can hope for is a cookie-cutter type result that will be mediocre, at best.  
However, what we are doing here is summarizing a piece of art that hasalready been created.  Because we know that each and every story must contain these five elements, if we can step back from our own story and identify them, it makes the job of summarizing the story much easier.
The only thing formulaic about this approach is the order in which the information is presented, and the structure of the sentences.  You can change this around later and make the synopsis appear as original and unique as you desire.
So, back to the method.  Another way to write this compressed synopsis is to move the goal into the second sentence into the form of a question, as follows:
Hero finds herself stuck in situation from which she wants to free herself.  Can she achieve goal, or will  villain stop her and cause her to experience disaster?
All you have to do is identify the elements and plug them in to create the most basic  two sentence synopsis for your own story.  (Note:  you don't have to put the second sentence in the form of a question--you could write,  She must achieve goal, or villain will stop her and cause her to experience disaster.    I posed  it as a question only because it emphasizes the main narrative question in the story--discovering the answer to that sticky issue is what keeps readers turning the pages until (hopefully) they reach the very end of your book.
The best way to demonstrate the process of creating a two-sentence synopsis is with a real example.  As virtually everyone knows the story of  The Wizard of Oz, let's use that.  The five elements are:
HERO  Dorothy, a Kansas farm girl
SITUATION Finds herself transported to faraway land called Oz.
GOAL  To find her way back to Kansas
VILLAIN  The witch
DISASTER  To be stuck in Oz forever
 Plugging the elements into the two-sentence structure, we have:
Dorothy, a farm girl,  finds herself transported to a faraway land called Oz.  Will the witch kill her before she can find her way back to Kansas?
Now, before you begin to think that this sounds too simplistic for your story, or if you don't believe your book contains one on more of these elements, or that they seem too melodramatic, etc.--you're wrong.   Your story has all five elements, or it would not be a story.    
Your story must have a hero, even if that hero happens to be a cat.   And your hero must be stuck in an untenable situation and develop a goal to escape that situation, or you have nothing but a character study, not a story.   The untenable situation could be something as mundane as boredom or as abstract as a blocked unconscious need to act out rebelliousness.  But that untenable situation is there, and the hero must have a goal to escape it.  Furthermore, if there is nothing to stop the hero from achieving her goal (i.e., a villain), then you have no conflict.   No conflict, no story.   
Granted, some of your story elements may require some thought to identify.  For example, your villain might be society as a whole, Mother Nature, or even your hero's self-doubt.  Similarly, your disaster could be little more than your hero having to live with an unbearable self-concept or overwhelming guilt.  It's also important to remember that the "disaster" is  seen through the eyes of the hero.  This is usually the worst possible scenario he or she can envision at the beginning of the story, but may in fact be the just outcome, or the outcome that does the hero the most good in the long run.
Back to The Wizard of Oz.    While the two sentence synopsis we wrote is accurate, it is also painfully dull.   This because we started with the five story elements distilled into their absolute minimal forms (done intentionally by me for the purpose of this exercise).  To jazz it up, let's go through the list and expand each element:
HERO - Dorothy isn't just a farm girl, she's a lonely, wistful farm girl
SITUATION - Dorothy isn't merely transported to Oz, but is whisked away by a tornado and dropped there.  Also, Oz is far more than a faraway land, it's  a magical but frightening place, full of strange characters, little people call Munchkins and witches, both "good" and "bad."
GOAL - Dorothy's main goal is to get back to Kansas, but she soon learns that only the  great and powerful Wizard of Oz can help her do that, and he lives in Emerald City, a long and dangerous journey from her starting point (You'll note that in any story, the hero's main goal breaks down into a series of sub-goals).
VILLAIN - The witch is more than "just a witch"--she is the Wicked Witch of the West.
DISASTER - Dorothy's possible fate is actually worse than  being stuck in Oz forever--the Wicked Witch of the West is determined to kill her.
 So, let's plug these expanded elements into the original formula.
Dorothy, a lonely, wistful farm girl, is whisked away by a tornado and dropped into in a faraway land called Oz,  a magical but frightening place, filled with strange  and wonderful characters--little people called Munchkins, and witches that are both good and bad.   Can Dorothy make the long and dangerous journey to Emerald City to see the Wizard, the only one who can help her return to Kansas, or will the Wicked Witch of the West kill her first?
Note that we still have exactly the same structure as before which does make the synopsis read a bit clumsily.  But you have to admit it's a lot more colorful and engaging.  For better reading flow, the first sentence can be rearranged as follows:
When a tornado strikes her home in Kansas, a lonely, wistful farm girl named Dorothy finds herself transported to a faraway land called Oz, a magical but frightening place, filled with strange and wonderful characters--little people called Munchkins, and witches that are both good and bad.   Can Dorothy make the long and dangerous journey to Emerald City to see the Wizard, the only one who can help her return to Kansas, or will the Wicked Witch of the West kill her first?
Once you have this much, you can keep expanding, rearranging, and enriching the synopsis to make it as long and original-sounding as you like.  You can pull in more information--for example, that Dorothy's house fell on the Wicked Witch of the East (which sets up the motivation of why the Wicked which of the West loathes Dorothy, as the two witches were sisters), and you can break the main goal down into sub-goals (for example, that Dorothy is only told that she must "follow the Yellow Brick Road" to reach Emerald City, and that once she does manage to see the Wizard, he tells her she must bring him the Wicked Witch's broom in order to prove her worthiness, and so on)
In my query letters, I always include a two sentence synopsis similar to that above in terms of detail, then usually expand on it in another paragraph and introduce more subtle elements.  In this second paragraph, I always try to point out the villain's motivation to stop the hero (as above) and also the most important character conflict.  Although I did not do this above for The Wizard of Oz, the most important character conflict in that story might be between Dorothy and the wizard--after she does manage to return with the witch's broom, he gives her the runaround, and she must find the courage within herself to stand up to him and demand that he deliver on his promise.
 The two-sentence synopsis method takes a little practice, but once you get the hang of it, you will find the task of writing synopses--of any length--much easier.  In fact, now I often write this type of two-sentence synopsis as soon as my story idea has jelled, because the "top down" approach helps me stay focused as I begin the actual process of putting it into words.
One word of caution:  if you are having trouble generating interest in your book, resist the urge to "reposition" the story to make it more appealing to agents who represent other genres.  For example, if you had written The Wizard of Oz and could not get  any fantasy genre agents to read it, you could compose the following short synopsis:
Transported to a surreal landscape, a young girl kills the first person she meets, then teams up with three total strangers to kill again.
I'm joking, of course, but you get the idea.   Such repositioning misleads agents and wastes their time.
To see the two-sentence synopsis method applied to ten different well-known stories from literature and film, go to  Story Synopsis Quiz.  All ten of these synopses are written in exactly the same form as I have outlined here.  To practice, you might try writing up a few from your favorite books, plays and films.


A Writer's Sketchbook


Once upon a time I took an art class in the hope of giving my stick figures some life. 
Despite the best efforts of my talented teacher, my stick figures remained rather flat, but what I remember most about those classes was her sketchbook. Pages and pages of eyes, noses, and lips. A macabre collection of features cut out of magazines and redrawn in her sure pencil hand.  I decided that if artists must practise then so should writers. 
This is my writer’s version of that sketchbook. I use pictures from magazines or the internet or photographs. First I write exactly what I see, and then I try to make it more descriptive. 

The result: I watched him watching me with top heavy eyes. Thick brows and lazy lids pushing down on hazel irises, rimmed in black. His lashes were too feminine for a man. There were no lines, no shadows, and no remorse.


The result: Carl examined his nose in the mirror. His face felt all tingly, but besides the red skin he looked the same. Still all wrinkly and full of pores, the pores, at least seemed cleaner. He just wished there was something he could do about the bloody bump. No amount of cream could fix that. He looked a back at the mirror, 65 years old and dating like a teenager.

The result: It has been months, but still I can’t stop staring. He is so perfect. He is so tiny, his ear a perfect miniature of his father’s. His hair is dark and fine, unimaginably soft. I run my finger along the small whorls in the peachy shell and tickle his chin. I only wish his father could have seen him. 


In writing we try to be as precise as possible. Easier said than done, right? But it is important because we want to show the reader the picture in our minds. 
I often think that this is what goes wrong when books are turned into movies. The author perhaps left details to chance and the movie folk felt free to interpret. Or they just decided to ignore the details. There’s not much we can do about that, but if we are specific and precise there can no misinterpretation and no miscommunication. Consider this example:
Be specific by Mauree Applegate
Don’t say you saw a bird: you saw a swallow,
Or a great horned owl, a hawk, or oriole.
Don’t just tell me that he flew;
That’s what any bird can do;
Say he darted, circled, swooped or lifted in the blue.
Don’t say the sky behind the bird was pretty;
It was watermelon pink streaked through with gold;
Gold bubbled like a fountain
From a pepperminted mountain
And shone like Persian rugs when they are old.
Don’t tell me that the air was sweet with fragrance;
Say it smelled of minted grass and lilac bloom;
Don’t say your heart was swinging;
Name the tune that it was singing,
And how the moonlight’s neon filled the room.
Don’t say the evening creatures all were playing;
Mention tree toad’s twanging, screeching fiddle notes,
Picture cricket’s constant strumming
To the mass mosquitoes humming
While the frogs are singing bass deep in their throats.
Don’t use a word that’s good for all the senses
There’s a word for every feeling one can feel.
If you want your lines to be terrific;
Then do make your words specific,
For words can paint a picture that’s real
Lovely, isn’t it? 


Writing Wednesday Thread 
Novel Writing: How to Engage Readers from the Start- summarized version

Nowadays readers neither have the time nor the patience to slog through pages and pages of uninteresting narrative while the story builds. I realize that some genres enjoy a slower beginning then a story that begins with thrilling action. But trust me when I say that most readers will not bear with a story that begins slowly. Readers want action. Readers want to connect with the lead character and learn that character’s motivations for remaining in the story from the beginning, not several chapters into the story. 

If you’ve written a story that rambles on for several chapters with no real action and without revealing the lead's motivations and given, or at least hinted at, the story goal, readers will likely toss your book across the room and warn their friends not to read your slow-moving novel. 

Readers need to feel as if something is about to happen at every turn of the page. Writers must give their readers not only a strong emotional experience; writers must also give readers a reason to keep reading the story. 

So what’s the trick to engaging readers from page one? Engage the reader by hooking them with the use of a Narrative Hook at the absolute beginning of the story. Create a lead character that readers relate to then show the lead character’s motivations for remaining in the story. Move quickly on to the story goal, the Dramatic Question, which must be clearly presented. Once the story goal is established keep readers’ attention through an ebb and flow of action/reaction scenes that always move the story forward to the resolution and the end. 

And please, if you must finish the story with an epilogue, write only a short epilogue. Epilogues of thousands of words are rarely if ever tolerated these days. 
Happy Writing Wednesday




Marketing a book feels like an endless journey. There is never enough hours in the day to fulfill everything you have wanted to accomplish. Now I know why it’s called “Social Media.” It’s pretty much as social as you can get without changing out of your bath robe. All the hours of reading about authors books, their cats, dogs, favorite foods and so on. I mean it is endless! How does anyone even have time to take a bath let alone write a manuscript? How can we have the next bestseller when we are all so busy whittling away the hours enjoying a little “conversation.” 

Don’t get me wrong. I love the interaction, the sharing of stories and knowledge. There is a wealth of information out there in the World Wide Web. Well, at least sometimes there is. One thing I know for sure is I will never be lonely at home by myself again!!! Facebook has solved that fundamental problem. 

Now to learn how to balance my time better. Rome wasn’t built in a day and I am constantly struggling to find this balance I speak of with such optimism. For me I have to make a conscious decision to make the changes that I need to become more successful. I need to give myself a calendar and break it all down. How much time do I spend marketing (playing) and how much time writing. It needs to be done and I know it is possible. Are you with me in following a time calendar? Can we stick to it? I do know if we set our minds to it, anything is possible. So why don’t we give it a try and see how it goes.  Break out the licorice and let’s start writing again. :-)


Writing Wednesday Thread Redundant Word Combos

Ok, so maybe Combos are good things when ordering a quick meal, but in fiction writing redundant combos are frowned upon. 

I’ve listed a few redundant combinations that wise writers avoid. 

actual facts
completely eliminate
closed fist
drop down
earlier in time
kneel down
nape of the neck
off of
return back
plunge down
pouring down
revert back
retreat back
reply back
tall in stature

There are many more. See more at "200 Common Redundancies" http://grammar.about.com/od/words/a/redundancies.htm

Have a great Writing Wednesday

Stephanie Boles

Write to communicate. We offer the best writing courses in South Africa.



To make sure you have a strong enough plot to carry the weight of the story from beginning to end, you need to make sure you have these three vital elements.
1. Show a character facing an imminent crisis
2. Throw as much conflict and as many obstacles in his way
3. Make sure there are consequences for his actions or inaction
Crisis
Always start with the main character and the situation he finds himself in at the start of the story. Strong characters drive a story plot. Flawed, interesting, heroic, struggling, sweating, beautiful - it doesn’t matter. Make this character dynamic, a character who is at the point of dramatic change or someone who will face consequences if he doesn’t change.
Conflict, conflict, conflict
Give him something he wants—something he wants badly—and move him as far away from this thing as possible for as long as possible. There are people trying to stop him. There are circumstances trying to stop him. There is something within himself trying to stop him. The conflict must be with him every step of the way.
Consequences
And, lastly, there must be massive consequence if he doesn’t resolve the crisis he is in. This is probably the most important element. Why? Because it keeps the character motivated to keep going, to keep trying—no matter how many times he gets knocked down. It also keeps the reader hooked, invested in your character and the story. Will he win? Lose? These questions will keep them turning the pages.

Examples
1. A depressed detective investigates a brutal crime in which his estranged lawyer wife may be involved. The victim was the public prosecutor. There is pressure on him to find the killer, and a need to clear his ex-wife, to resolve the conflicts of his marriage and his own emotional predicament. There’s a lot happening here, right? We want to find out how he gets out of this mess.
2. A successful architect discovers her husband has been having a long-term affair—with her younger sister. She feels immobilised, but knows she needs to regain her self-worth and her career, while looking after her children. When a work colleague starts helping her, she falls for him. She has to reassemble her family and rebuild her nest. There’s a personal consequence she can’t ignore. There’s a chance at happiness she has to take.




Writing Wednesday Thread

Do you filter?

Readers want to experience the story through the point-of-view (POV) character's eyes. When writer’s filter, also called filtering, they force readers to step out of the story and observe from a distance. 

Some filter phrases to look for:

Filtered: Mary saw the red sunrise.
Without filter phrase: The sun rose and brightened the winter day.

Filtered: Kimberly could hear a wolf howl. 
Without filter phrase: The wolf howled, shrill and long. Kimberly backed into the house and closed the door. 

When you filter, you tell the reader what the character experiences. Without filtering, the reader lives the story along with the character. It's all a part of 'Show Don't Tell' the story. 

Example: Jared could feel the ground shake. He saw his glass of tea fall from the fender of his Chevy pickup. “Well, if that ain’t something,” he said as he watched a herd of wild mustangs gallop past him. 

Corrected: The thunderous sound of hooves stole Jared's attention away from the saddle he had cast over the tailgate of his Chevy pickup to clean. He turned his head and squinted into the sunset. Dust billowed like storm clouds. The ground shook. His glass of sweet tea vibrated along the fender then tumbled over the edge. He reached for it, but the glass toppled down the length of him. He retrieved the glass and set it aside with a grunt. Peeling his sticky shirt away from his chest, he heard them. A hundred wild mares! A horse screamed. He pivoted. Hooves and muzzles met his gaze. He slammed himself against the side of the pickup. A herd of mustangs galloped past him. He leaned around the back of his pickup and stared at the departing herd. “Well, if that ain’t something,” he said, fishing a handkerchief from the back pocket of his Wranglers and sneezing into it. @Stephanie Boles

In the example I tell the reader what happens. In the correction the reader experiences the thrill of the wild mustangs with Jared. Well, at least, I hope they do!

Notice that I did say "he heard them". That's okay. You need not remove every filter in your writing. Just don't overuse filters. Fiction writing is an art that we all must learn. Keep learning and writing. 



Writing Good Dialog

Good dialogue can be tricky. It needs to move the story forward and reveal important character information without seeming artificial. It needs to seem realistic without actually being realistic.
Confused? Let’s break it down. Here are some things good dialogue should do:
It should follow some simple grammatical rules. Dialogue should be enclosed within quotation marks. Each new line of dialogue is indented, and a new paragraph should be started every time a new person is speaking.
It should be concise. Long, wordy passages of dialogue might seem like a good way to get information across, but they can be tedious for the reader.
It should communicate character information. Good dialogue lets the reader know something about the person speaking it.
It should be broken up with action. People don’t typically stop everything when they talk. They fidget. They keep washing the dishes. They pace. Don’t forget that your characters aren’t static.
And here are a few dialogue don’ts:
Don’t get too crazy with dialogue tags. Usually, a few well-placed “he saids” or “she replieds” will do the trick. If your dialogue is well-written, it should be clear who is speaking, even without the tags.
Don’t go overboard with backstory. You should never use dialogue to tell the readers things your characters already know.
Don’t use too much dialogue. Your readers don’t need to know everything your characters say, word-for-word. Dialogue should be chosen carefully.
Don’t try to be too realistic. Our actual speech wouldn’t make great dialogue. We say “um” and “uh” a lot. We trail off in the middle of sentences. We change subjects without warning. Good dialogue should approximate real speech, not mimic it.
To give you an example of what dialogue should look like here’s the opening of a short story I wrote, titled Me:
“What do we do now?”
Shadows from the single candle flickered on Heather’s face. It masked the basement smell with green apple. She rolled her eyes at me.
“Nothing, Kristy. Just wait.”
I sighed. I was sick of waiting. My arms, and my butt, were starting to hurt. I drummed my fingers impatiently on the plastic pointer thingy.
“Stop it,” Heather hissed. “You’ll make them mad.”
“Make who mad?”
“The spirits, stupid.”
Right. The spirits. Like I really believed the spirits were going to talk to us on a piece of Parker Brothers cardboard.
The words exchanged between Kristy and Heather let us know something about their respective moods and character traits. In just that brief opening, we already know something about them.
So how can you improve your dialogue?
Read. Pay attention to what your favorite authors do well, and what they don’t.
Listen. Pay attention to what natural speech sounds like, and be sure to use those natural rhythms in your writing.
Read aloud. Read your own dialogue out loud, to yourself or to a friend, to test yourself.





Sometimes there’s a hero who is darker than an anti-hero. This character is amoral or morally challenged. 
Nine ways to make readers care
1. Make their ends noble even if their means are evil
2. Ensure there is a line even they won’t cross
3. Give them someone or something they care about
4. Show us how they lost their moral compass
5. Make everyone else worse than they are
6. Give them a sense of humour
7. Make them lose
8. Falsely accuse them of worse crimes

9. Make everyone hate them




5 Step to Writing a Synopsis
Step 1:  Start With A Hook.   This should be a paragraph or two similar to the blurb on the back of a book.   Mood and tone is important here, use special adjectives.
Step 2:  Introduction of Characters.   Introduce the main characters in your book.  Tell their MOTIVATION, CONFLICT, and GOALS.  Stay away from detailed physical descriptions unless this information is pertinent to your story.
Step 3:  Construct the Body of Your Synopsis.  Here, using paragraphs, write the high points of your story in chronological order.  Keep these paragraphs tight, don't give every little detail.   Remember, each scene should include, ACTION, REACTION, and a DECISION.
Example:  Sam kisses Mary goodnight.   (ACTION)  He makes her forget she does not want to get involved in a relationship.  (REACTION)  He's dangerous to her hard-earned peace of mind.  (DECISION)
Step 4:  Use Three or Four Paragraphs to Write the CRISIS and RESOLUTION of Your Story.  Keep this simple, but make sure you show your main characters' reactions.  Don't keep the editor/agent guessing.  Your synopsis must include the resolution to your story.
Step 5:  Rewrite your synopsis until each sentence is polished to the point of perfection.  Use strong adjectives and verbs, and always write in the present tense.  Make every word count.

Can you be a writer and not a blogger?

Why don’t you start a blog? 
A question to strike fear into the hearts of struggling writers everywhere. My immediate reaction: Cringe. Collapse. Clutch heart. Die. But before I do that (the collapsing thing) I usually reply with a tight smile, “Why should I?”
“Because you are a writer. It will be easy for you.” Repeat: Cringe. Collapse. Clutch heart. Die.
Writing isn’t easy for me. It is very hard, but blogging is even harder. Your publisher, should you make use of a traditional one, will expect it of you, and if you are planning to self-publish you should be doing it already.
You can make money off a blog, but don’t think it’s a get rich quick scheme. Ask anyone who blogs. You’ll make their day. When I say it is hard I don’t mean the setting up part. The blog sites have made it so easy even I could figure it out. Well, most of it.
Most bloggers have their own preferences and tips, but it’s up to you to decide what you want to do. (Read Amanda Patterson's helpful advice on Blogging for Writers) Here are some things to consider before you take the plunge.
Eight Blogging Tips for Writers
1. Content is king: Blogging is hard work. Generating original content takes time. You can get away with reposting someone else’s content once in a while, but you need your own stuff. Obviously, you need to credit ‘the share’. 
2. Consistency: Besides generating original content you need to be consistent. Work out a schedule that works for you and decide if you want post every day, once a week, or once a month. Stick to this schedule. State your intention in writing so that followers know when to expect your new work. 
3. Theme: Blogs grow with you, but try to keep your writing blog about writing. Yes, talk about your life as a writer and the changes that you have had to make after the baby was born for example, but a second by second retelling of your baby’s first Christmas might not be what followers signed up for. It is a personal space, but remember to be professional. 
4. Keep it organic: Your following will grow, slowly at first, but let it. Buying ‘likes’ might give you a push, but in the end you want a loyal fan base. 
5. Your blog is your base: Use social media to drive traffic to your blog. These are the numbers/hits that you’ll quote to publishers and advertisers.
6. Planning: Plan your posts in advance. I try to write ahead. I post every Wednesday. So I have gone through the calendar and made a list of the dates. Sometimes a date falls on a special day like Christmas or Mother’s day. These help to generate ideas for blogs. A list of your favourite Christmas books works in December or you could write a list of the 10 worst literary mothers or the ten best for Mother's Day. It’s like a route map. 
7. Allocate time: Take one day a week, or even an hour a day, to do your social media planning. You can pre-load your content on most blog sites and on Facebook. This helps because some weeks are busier than others. Don’t let it take time away from your ‘real’ work. Remember you are a writer, not a blogger. Unless you only want to blog. 
8. Check in every day: Social media users like the immediacy of the medium. Reply to questions as soon as you can. 
Blogging and writing do seem to go hand in hand and there are definite benefits for writers.

Do you think every writer should have a blog?


Writing Wednesday Thread 
Into or In to?

The word “into” is a one word preposition. But so is “in”, right? Yes, “in” can be a preposition. It can also be an adverb, a noun, or an adjective. Let’s not forget about little “to”! It can be an adverb or a preposition. It can also be part of an infinitive; a verb with an infinitive. Examples: decided to, asked to, agreed to, intend to, need to, wanted to, and many more.

So, how does a writer know which of these to use in sentences?

If “in” or “to” are part of the verb (phrasal verb/infinitive) we generally separate them.
• The dance mom walked in to see the ballet dance.
• The Irish stepdancer broke in to an energetic dance.
• She gave in to the banker’s demands.

With “into”, think direction or transformation.
• The fairy godmother turned the pumpkin into a coach.
• He walked into the house.
• The squirrels climbed into their nest.

Wrong: The cat pranced up the road and turned into the park. (Did the cat transform into a park?)
Correct: The cat pranced up the road and turned in to the park.

On the other hand: The boy dove in to the pool is correct. So is: The boy dove into the pool. Let’s look at another. We see that put in and put into can also be used interchangeably. Put the suitcase in to the car. Put the suitcase into the car.

When in doubt which form to use, consult a dictionary.
Have a great writing Wednesday.

Over 300 Ways To Say Said
abjured
accused
acknowledged
added
addressed
admitted
admonished
advised
advocated
affirmed
agreed
alleged
allowed
alluded
announced
answered
apologized
appealed
appeased
approved
argued
articulated
asked
assented
asserted
asseverated
assumed
assured
attested
averted
avouched
avowed
 babbled
 baited
 bantered
 bargained
 barked
 bawled
 began
 begged
 believed
 belittled
 bellowed
 berated
 beseeched
 besought
 bleated
 blew up
 blubbered
 blurted
 blustered
 boomed
 bragged
 breathed
 broke in
 brought forth
cackled
cajoled
calculated
called
caroled
cautioned
challenged
chanted
charged
chatted
chattered
cheered
chided
chipped in
chirped
choked
chortled
cited
claimed
clamored
coaxed
comforted
commanded
commented
communicated
complained
conceded
concluded
concurred
confessed
confided
confirmed
confuted
consented
consoled
contended
condescended
consulted
contested
continued
contradicted
contributed
cooed
counseled
countered
coughed
crabbed
cracked
craved
cried
criticized
croaked
cried
criticized
croaked
crooned
cross-examined
debated
decided
declared
decreed
defended
delivered
demanded
demurred
denied
denounced
described
determined
dictated
directed
disclaimed
disclosed
discussed
disrupted
divulged
drawled
droned
echoed
elaborated
emphasized
enjoined
enjoyed
entreated
enumerated
enunciated
equivocated
estimated
exaggerated
exclaimed
exhorted
expatiated
explained
exploded
expounded
expostulated
expressed
extended
extolled
faltered
fibbed
foretold
fumed
fussed
gagged
gabbed
gasped
granted
greeted
grinned
groaned
growled
grumbled
grunted
guaranteed
guessed
guffawed
gulped
gurgled
gushed
haggled
harped
hastened to add
hastened to say
hedged
held
hemmed and hawed
hesitated
hinted
hissed
hollered
hooted
howled
imitated
imparted
imported
implied
implored
indicated
inferred
informed
inquired
insinuated
insisted
instructed
insulted
interjected
interposed
interpreted
interrogated
interrupted
intimated
intimidated
intoned
introduced
itemized
 jabbered
 jeered
 jested
 joked
 joshed
 judged
lamented
laughed
lectured
lied
lisped
listed
made known
magnified
maintained
marveled
mentioned
mimicked
moaned
mocked
mourned
mouthed
mumbled
murmured
mused
muttered
nagged
narrated
nodded
noted
notified
raged
railed
rambled
rapped
rattled off 
read
rebuffed
recalled
recited
reckoned
recommended
reconciled
recorded
recounted
recriminated
referred
refused
reiterated
 pondered
 pouted
 praised
 prayed
 preached
 predicted
prevaricated
 proceeded
 proclaimed
 prodded
 professed
 promised
Breathed, mumbled,
murmured, persuaded,
purred, sighed, slurred,
stammered, squeaked,
whispered
Admonished, argued,
asserted, barked,
bellowed, chastised,
commanded,
complained, confessed,
countered, crabbed,
cried, demanded,
disagreed, exclaimed,
glowered, growled,
grumbled, hissed,
howled, huffed, mocked,
nagged, oozed, ordered,
ranted, raved, retorted,
roared, screamed,
scolded, screeched,
shrieked, snapped,
snipped, snarled,
sneered, spat, spouted,
squawked, trumpeted,
yelled
Bawled, begged, bleated,
called, cried, exclaimed,
fretted, fussed, gasped,
groveled, gurgled,
hollered, muttered,
peeped, pleaded, pouted,
prayed, shrieked,
sobbed, sputtered,
squeaked, wailed,
whispered, whimpered,
whined, yowled
Asked, answered,
agreed, disagreed,
explained, implored,
inquired, interrogated,
posed, pressed, pried,
proposed, queried,
questioned, replied,
requested, responded,
retorted, suggested
Blabbed, blurted,
chirped, cheered,
chuckled, croaked,
crooned, crowed,
gabbed, giggled,
gossiped, grinned,
gushed, jabbered, jested,
 joked, laughed,
marveled, prattled on,
quipped, rambled,
recited, sang, smiled,
squawked, teased,
winked, whooped
Added, admitted,
advised, affirmed,
agreed, announced,
asserted, assumed,
avowed, bragged,
beckoned, called,
caterwauled, claimed,
clarified, clucked,
coaxed, commented,
continued, declared,
drawled, droned,
explained, expounded,
expressed, groaned,
insisted, interrupted,
lied, mentioned, moaned,
mouthed, mused,
objected, pestered,
preached, predicted,
proclaimed, pronounced,
protested, reasoned,
related, remarked,
repeated, reported,
stated, suggested,
taunted, thought aloud,
told, urged, uttered,
vocalized, voiced,

vowed, warned




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