Seasonal Felicitations: The Art of Writing a Christmas Letter

            Christmas is coming, folks! It's time to get some paper and pens because we are going to write letters. I am without question a traditionalist because I thoroughly enjoy both writing and receiving letters. Letter-writing was an important form of communication for many centuries. It is one part of past society that I do not wish to give up. A card is always nice, but there is something about a letter that makes it seem extra special to me. A letter is such a unique way to communicate with others, especially for the holidays. It forces a pause as you take the time to write. It is symbolic of what the receiver means to you because you took that time to write those words. This week, I am going to be sharing some tips and ideas for you to use as you write letters to your friends and family this season.

            Before you begin writing, there are a few things you should keep in mind to make your letter better. The first is to avoid trite expressions and cliches as much as possible. You mustn't just put words on a page for the sake of filling it. Using filler words defeats the purpose of writing a letter. This message should be, in some ways, similar to having a face-to-face conversation with the person. It should mean something for both of you. Rambling about everything that pops into your head or stringing together overused holiday phrases does nothing for you or the receiver. The letter should communicate whatever it is that you want the reader to know. The Christmas cheer you're sharing means more if you stay on point and don't stray into trivial topics that are not part of that point.

            It also helps if you shut off the mental editor. The length of the letter and the grammar does not matter. Remember, the message of your letter is more important than the length of it. If you cannot stop yourself from editing while you write, I suggest writing a draft before making the actual letter. In actuality, I would advise everyone to start with a draft. It makes it so much easier to decide what you want to say without the pressure of it being a final decision.

            Now it is time to start writing. Often, it can be very hard to get that first word onto the page. The following are some ideas that will hopefully get you started with your holiday letters. My first suggestion is to be reflective. Write about the past year. What has changed? Did something good happen over the past year? You can think about your relationship with the receiver. What do they mean to you? What would you say to them if you were with them right now? Is there something you wish they knew or would take away from the past year? As you answer these questions you might be able to see the beginnings of a letter forming. Christmastime is good for all those deeper thoughts as you face the end of another year. It can also make you more appreciative of people and circumstances.

            If you don't want to venture into overly emotional writing, you can take a more conversational approach. Treat this letter similarly to the way you would treat any other letter. Talk about whatever you want to tell the recipient the same way you would in a conversation with them. Of course, this letter is supposed to be for the holidays. You can always decorate it by having a conversation about the holidays and what you both have happening in your lives. Write about holiday plans or what you would like your holiday season to be like. Ask the receiver about their holidays and the traditions they will be keeping. You can mention memories of past holidays and what about them you hope will carry on into the approaching season.

            There are many more ideas out there that one can find on the internet. You can also look at different books, movies, and songs for inspiration. I found several hours worth of enjoyment looking at Victorian Era books about correspondence. Just be certain that you give credit where it is due when quoting so that it doesn't appear that they are your words. The possibilities are endless which is something that I have always liked about writing letters. I can say what I want without all the noise. I feel like I have better chances of being heard because it is simply my words on a page without any other added nonsense.

            I hope these tips and ideas get you started as you write letters this holiday season. It can be just as enjoyable to write these letters as it is to receive one. Besides, you can brighten people’s day by making sure there is something worth receiving in their mail. A letter can be a nice change of pace and a very pleasant surprise. Happy writing to all of you! For those of you who celebrate it, I hope you have a lovely Santa Lucia Day.

Seasonal Felicitations: The Art of Writing a Christmas Card

            It is once again that time of year. People all over are getting ready to send out their holiday cards and letters. For many folks, the thought of any type of card or letter sends their brain into a panic that results in writer's block. There is no need to worry though. Writing a holiday greeting can be enjoyable and is much simpler than you think. There are many tips and tricks you can use to help you know what to write. Over the next few weeks, I’ll be giving you some of the tips and ideas I use for filling the blank page with a nice and heartfelt message.

            First, let’s focus on cards. Sending a card to family, friends, or other acquaintances can be a thoughtful and personal way to wish others well no matter what season it is. It can be tempting to let the card do the talking and simply sign your name, but I promise you that writing something will make the card that much more special to the receiver. To start, I’ll give some basic parameters to help you as you think about what to write. Afterwards, I will include some ideas that I often use to help get the words flowing.

            To begin, the most important thing to take away from this is to not be trite! No one wants to hear "'tis the season" or "deck the halls." It has been said way too often and is an opening for some very bad puns. You can do better than that. The point is to make the card special for the receiver. For it to be special, it needs to carry your voice in the words. If you truly mean it when you say one of these classic phrases, by all means, use it. Just don’t let it be a way to cut corners in your writing.

            That leads me to my next tip. You don’t have to be a poet. No one expects you to write a long, fancy message in a card. If that is part of your personality and writing style, it will work well for you. Otherwise, it’s best to use plain English and only write a few lines. It takes the pressure off you if you stop trying to write a well-polished piece ready for publishing. It isn’t necessary and can make your card overly formal. The Victorians firmly believed that something handmade was more valuable whether it was clothing, decorations, or a remedy for illness. Your card should follow this same idea. Its value comes from you.

            My last tip is to be concise. Cards are small. They are meant to send a nice little note. It doesn’t have to contain a novel about the past year or what the receiver means to you. The recipient of your message is not an editor (unless, of course, they are) and is not judging your writing. No matter the length of your message, the person receiving it is going to be focused on the heart behind it. You took the time to write to them and that is what matters. Remember: quality, not quantity.

            OK, now that you have some guidelines to follow as you write, it is time to start generating ideas. With cards, it can be much easier because the message tends to only be a few sentences. It is just enough space to get your meaning across without being overly verbose. I will give you some ideas that I use to start writing in my cards. I know that some of these tricks are unusual, but they’ve always worked for me and, hopefully, they will for you as well.

            The first idea is to turn to the greats. Start with a good quote or just read what literary geniuses have written to see if it inspires some writing gold of your own. It can especially be helpful if you know of someone your recipient particularly likes. A quote from that person, book, movie, or song can be a good personal touch to the card’s note. There is a myriad of quotes out there. The best way to find the perfect one if you don’t have a person or work in mind is to choose a theme. What exactly do you like about that person or want to tell them this holiday season? As an example, let’s say I want to tell my family and friends how much they mean to me in the cards I’m sending. After doing various searches online, I decide I want to quote the poet Christina Rossetti. I’ve loved her work ever since I read her poem “Remember” not long after my grandma passed away. I find a collection of her works available on poets.org[1]. Sifting through her works, I decide to use the final stanza of her poem “Christmastide.”[2] Using that I can write in the cards something along the lines of this: “’Love shall be our token, / Love be yours and love be mine, / Love to God and all men, / Love for plea and gift and sign.’ I send my love to you this Christmas and thank you for the gift of yours.”

            If quotes just aren’t doing it for you, there is another trick you can try. As someone who loves languages, I’ve been known to diversify the location of my cards. I can’t claim credit for this idea though. Many years of cards I couldn’t read because my brother wrote them in multiple foreign languages served as inspiration. In all honesty, it can be a useful idea. Languages often have words with nuances that your native language can’t convey. It can also be a personal touch if there is a certain country or culture the receiver enjoys. For instance, I might write “Buon Natale!” in a card to my family because we are Italian and that is how you say “Merry Christmas” in Italian. I have an interest in Norway, so folks aren’t surprised to receive Norwegian messages from me. Hey, I have to practice on somebody! I know ancestry has gained new prominence in society as of late. Try writing a greeting in your ancestors’ native languages. One word of advice I would give is don't depend on Google Translate. It is better to find it either in a dictionary or on a language learning website. You have better chances of it coming out grammatically correct.

            One final idea I have for card-writing is both simple and hard. Write from the heart. Yes, I know it sounds cliché. Whether you think so or not, your best writing happens when you write what comes to mind without giving it too much thought. You can always write a draft first and put an edited version in the card. Sometimes our first thoughts can be our truest because they are unfiltered. If you are taking the time to write in a card, you want it to convey your feelings and true thoughts. You want the person receiving it to know that they are appreciated and valued. They are worth the effort of a card so your message should represent what is in your heart.

            I hope these tips and ideas will help you get started on what proves to be a successful card-writing season. I also would be happy to hear what you do to write in your cards. Do you have certain tricks or tips for getting past that dreaded blank space? I’m always open to new ideas. Next week, we’ll talk more about my favorite holiday writing: holiday letters. Until then, I hope you enjoy Advent and the rest of the holiday season.

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[1] Academy of American Poets, https://poets.org/, retrieved November 29, 2019.

[2] Christina Rossetti, “Christmastide,” Academy of American Poets, https://poets.org/poem/christmastide, retrieved November 29, 2019.

November's Feature Book: The Europeans

            Last month, I finished reading my first Henry James novel, The Bostonians. I enjoyed it so much that I decided to find another of his works to read. Therefore, this month is all about James' short novel, The Europeans. Once again, I couldn't get enough of the novel. Twelve chapters almost didn't seem like enough to truly do the characters justice. Even so, the characters are detailed and interesting. The plotline is a unique one of comparison between two European siblings and their New Englander cousins. The differences are striking and slightly ironic, which makes the story that much better.

            Descriptions and characters are what drive this novel. Action and settings are minimal. The descriptions of the place and its influence on the people are a major aspect. Colors, sunsets, and tree lines all play a part in expressing the characters' feelings and actions at any one moment. The best aspect is the characters themselves. They are who I intend to focus on. A small family circle is presented to the reader to study. First, there are the Europeans, Eugenia – also known as Madame Munster – and her brother Felix Young. Eugenia is a baroness who is complicated, critical, and scheming. Her brother is her opposite as an eternally joyful artist whose goal in life is to find the silver lining. These siblings stand out against the backdrop of their cousins, the Wentworths and the Actons.

            I wanted so badly to like Eugenia. Much like Robert Acton, I seemed to have been drawn in by the woman’s mysterious persona. Through the novel, I wavered between thinking she was a good woman in a bad situation or an immoral woman using good people. For the sake of both her and her relatives, I wanted it to be the former. However, Eugenia makes more than a few bad choices in the novel. The one that bothers me the most is her lying to Robert. It seemed as if she loved him. In the end, I don't think she truly was. If she were in love, Eugenia wouldn't have treated Robert so poorly or gotten overly involved with her other cousin Clifford Wentworth.

            Unlike Eugenia, her brother Felix is a delight. I realize that many would soon tire of Felix's optimism and sunny disposition, but I rather like it. Despite all the protests Felix made about his being a Bohemian, I think his roots ran much deeper. His uncle, Mr. Wentworth, must have seen something too considering he came very close to asking for his nephew's advice. In an often hateful world, Felix managed to hold on to a measure of innocence. He could still see the beauty in life and thoroughly enjoyed it. Felix didn't have much as a traveling artist and actor, but he seemed more content with life than anyone else in the book.

In sharp contrast to the European siblings are their cousins. First is Eugenia and Felix's uncle, Mr. Wentworth. He was pious and well-respected. He struggled with the knowledge of how his niece and nephew lived and wondered often about the moral aspects. While not a character in the forefront, I believe Mr. Wentworth is an interesting character to study. He had a front-row seat to this comparison of Old World versus New World. Mr. Wentworth wanted earnestly to understand and make a wise decision, but the ideals of the Old World baffled him. I don't find that overly surprising. How would you react to a mere notion of family members suddenly becoming a living reality? All his ideas and imaginings were put to the test. It can be jolting when reality proves one's imaginings to be false. Mr. Wentworth had become used to the way things were. A shake-up of these proportions was a shock. How he reacted is the interesting part. Mr. Wentworth was open to hearing out his niece and nephew. Mr. Wentworth naturally wanted what was best for his newfound family members even if he was uncertain what that would be.

Mr. Wentworth’s three children also give readers plenty to consider. Clifford was Mr. Wentworth's only son and his more troublesome child. Clifford traded the sin of drunkenness for the sin of getting mixed up with married Madame Munster. I won't say that he fell in love because I don't think it is true. Even if Clifford were in love, his behavior said he was too naïve to realize it. There are also Mr. Wentworth's two daughters, Charlotte and Gertrude. Charlotte was very similar to her father. She wavered between dismay and disapproval concerning her cousins. Gertrude, on the other hand, was fascinated by Eugenia and completely dazzled by Felix. She alone amongst her family came to life with the arrival of their visitors.

Finally, there are the Actons, Robert and Lizzie. Robert was the most cosmopolitan of the family. Naturally, he thought he could see straight through Eugenia to her true motives. Madame Munster was a master at weaving a web and Robert was quickly caught in it. Lizzie was impertinent and overly confident. She knew what she thought and, more importantly, what she wanted. Her goal was to marry Clifford and live a successful life as a New England lady. In some ways, I found her annoying. But, I have to respect her drive and strong personality.

           In the end, The Europeans was a lovely short novel that made me smile. The New Englanders tried so hard to hold the traditions passed down from them and uphold a high moral standard, but the Old World had let what was fade into the past. They were somehow more progressive than the New World. I wonder how much of that is true even now. Do we hold to traditions much more tightly than our ancestors? Do we even know why we do the things that we do? I love traditions, but I believe they are useless if we don’t have a reason or meaning behind them. Many of us will be keeping the tradition of having dinner with our families tomorrow for Thanksgiving. Giving our family our time, reflecting on our blessings, and remembering those who came before us are all very good reasons for keeping a tradition. I hope everyone has a blessed and happy Thanksgiving!

Character Development: What I've Learned So Far

            Two weeks ago, I talked about NaNoWriMo and fiction writing. Specifically, I focused on creating better characters for a truly good novel. I have been hard at work ever since developing characters that make the plotline ideas in my head better. As I have worked with these characters, I have learned a few things about fiction and character development.

            Even though I love fiction, my writing skills pertain more to essays and other nonfiction. I have learned many lessons about fiction writing as of late. Using NaNoWriMo's prep materials to develop my characters has been exciting. My characters are coming to life. Oddly enough, I'm learning things about them that I never realized before. It seems fictional characters do have a mind of their own. The work of character development has also been daunting. I believe I have never put as much effort into a story idea as I have in the last two weeks. It has been stretching my imagination and making me think about things that I wouldn't normally take the time to consider.

            NaNoWriMo has questionnaires for writers to fill out about their characters that have been a figurative lifesaver for me. My characters now have physical descriptions, likes, dislikes, mannerisms, dreams, and fears. They are still far from perfect. I have noticed some incongruencies in my descriptions, but it's a start. These questions have made me think more deeply about my characters, my settings, and my plot. They have been helping me picture how each part of a novel is connected to make one cohesive and engaging story.

Supposedly, my personality is rare because I score highest in creative and analytical behaviors. It was a complicated explanation. The summary is that my brain is at war with itself. I can be very creative, but only if the analytical side of my brain shuts off long enough for me to explore my ideas. Writing and editing have put both qualities to the test. The creative side of me is loving the character development; the analytical side of me is enjoying the character analysis.

Developing my characters has tested my imagination and pushed me to be more creative. I've had to dwell a great deal on published books that I enjoy for inspiration. I have been thinking about which characters I like best; and, more importantly, why I like them so much. One aspect of reading that I particularly like is being able to explore the world through a viewpoint that is nothing like mine. I don't want my characters to be exactly like me, and I am trying to put a conscious effort into giving them traits that I don't possess. I want the challenge of thinking outside my default box. That is exactly why I've created a supporting character that is lively, whimsical, and very outgoing. She is my opposite, but she is quickly becoming one of my favorites. I don't think I'm supposed to say that though. Can an author play favorites with his characters? I am anyway, and that’s just the way it is.

The questions that NaNoWriMo poses have also given my analytical side much to consider. I can't just say that a character likes books. The questions make me think about the reasons behind the fact. Maybe a character likes to read both because he is an academic and finds solace in his studies. He is insecure and struggles with developing strong relationships. That could be why he is a quiet and serious type. Others might see him as standoffish or conceited because they don't understand his insecurities. I could delve deeper and think about the reasons for his insecurity. See how one characteristic can build to more characteristics as one thinks more deeply about it? I think that was the result that surprised me the most.            

  
          I still have a long way to go in my writing and much more to learn. I believe this will be beneficial for developing my writing skills and helping me be a more understanding editor. Writing can be a lonely business. I’m curious to hear what fellow aspiring writers have to say. Do you enjoy developing characters? What do you like best about your characters? Or, even better, what do you dislike? Nobody ever said an author must like all their characters. It is one of the exciting parts of writing. It's almost as unpredictable as life.

November, Fictional Writing, and Book Characters

            November has come once more. For many writers and readers, November is a time to celebrate because it is National Novel Writing Month, or as we affectionately call it, NaNoWriMo[1]. I am not participating, but I seriously considered it. That is not saying much though because I've seriously considered it every year since I first learned about it back in high school. It takes time for me to get brave enough to do something. Maybe next year will be the year - but I am getting off-topic. NaNoWriMo is directing my thoughts towards writing, especially fiction writing. What exactly makes a novel so good the reader can’t put it down? Every reader will have a different answer, but I think we can agree that the characters play a large part in whether a novel is enjoyable.

A few weeks ago, I finished reading Henry James’ book The Bostonians[2]. I’ve known about Henry James, but have never ventured far into his works. After reading The Bostonians, I realized that I have been depriving myself. That is why I immediately found another on that lovely website Project Gutenberg[3]. The part that most draws me into his novels is his characters. They are detailed, complicated, and real. Henry James’ characters are exactly the type a writer should study when learning how to create intriguing characters for their novels.

Let’s consider Olive Chancellor. Ah, poor Olive. I spent most of the book The Bostonians unsure whether to hate her or feel sorry for her. I wanted so badly to understand and help her. However, the more I tried to make sense of her reasoning, the more unsure I became of what Olive would say or do next. She has such a passion for women's rights that she comes to the point of being overwhelming. Her forceful personality is expressed by her mannerisms because Olive is shy, awkward, and Puritan. She is so concerned about what others think but tells herself she doesn't care. Her morals are of utmost importance even though they often clash and create dilemmas for her. Olive is easily offended, especially by those who she thinks disagree with her. Forgiveness does not exist in Olive's vocabulary and she can be very suspicious of others. Therefore; Olive is lonely, miserable, and extremely vulnerable. Any threat to her plan for life causes her visible terror. She spends a great deal of time staring out windows, pacing, crying, and wringing her hands. In the end, one finds Olive to be disagreeable company but feels sympathetic towards her because she is alone. Olive is judged and condemned by both the world and herself.

            The person I described in the previous paragraph could easily be a factual person. Olive Chancellor comes to life because the author has given her a unique personality, peculiar habits, and driving passions. She has her strengths and weaknesses; she makes good and bad choices. Olive's reasoning is irrational and her behavior is odd. The intricacies are what make her a compelling character. The things that make up a person in our mind are the things that make up the best characters. The common advice that aspiring authors and editors should read good writing goes far beyond Henry James. Olive Chancellor is only one example that can teach many lessons about creating unique characters for a novel. I've been more focused on characters lately because I believe it is one of the weaker points in my fictional writing. In my mind, the characters are such a pivotal part of the novel, both as the subjects and the movers of the plot. I'm learning, courtesy of Henry James, that details are what make characters real.

            In my writing, my characters are somewhat detailed by default of having existed for so many years. They are still vague in critical areas and I have been trying to take a cue from Henry James in better developing them. My main characters are the toughest for me. They are a little lost right now concerning a driving passion and their personalities have some inconsistencies. Luckily, NaNoWriMo has plenty of advice for working out solid characters. I'm hoping it will make my story better. There is no way my novel is ever seeing the light of day unless I feel at least halfway satisfied with it.

            I believe that besides good writing, a good source of criteria for good characters is the reader. I'd like to hear your opinion. Do you have a favorite character? What makes characters stand out to you? Do you like seeing the story from the perspective of the characters? All these things, when they come together, can help create a critical aspect of a truly good novel.

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[1] NaNoWriMo, Accessed November 2, 2019, https://nanowrimo.org/.

[2] Henry James, The Bostonians (New York City, New York: Barnes & Noble Books, 2005).

[3] Project Gutenberg, http://www.gutenberg.org/.

How to Use Hyphens and Dashes

             If reading is like driving a car, then punctuation marks are like traffic signs. My English teacher in elementary school used that analogy many times. It has stayed with me over the years. Although, I will admit to switching that imaginary car out for a horse. Two "traffic signs" that create a great deal of confusion for both writers and readers are hyphens and dashes. Authors will often either give up trying to correctly place them or overuse them to avoid breaking grammar rules. What is a writer to do? I had some struggles of my own which led to some research. I wanted to know how to use these punctuation marks and how to remember them. My findings resulted in not only some handy reminders but also some new knowledge about the different uses for each punctuation.

            The first point that a writer needs to understand is that a hyphen and dash are not the same. These marks complete very different jobs. The hyphen is meant to connect words or parts of words. For instance, it connects a word that is made up of more than one word such as brother-in-law. It can also be useful for signaling that a word has been separated between two lines on a page, but digital communication has made that relatively unnecessary today. Hyphens do many more jobs such as creating compound adjectives, connecting written out numbers, clarifying written out ages, connecting ranges, and adding prefixes and suffixes. The best description I came across is from the always helpful Grammar Book which describes hyphens as the glue of grammar[1]. The hyphen's goal is to clarify. At times, something makes much more sense when spoken than when written. Hyphens indicate in writing what would normally be implied by how it’s spoken.

            Dashes serve another purpose in writing. There are both em dashes and en dashes. If you really want to complicate matters, you can also break down em dashes further into two em dashes and three em dashes. We are going to keep things simple though. The en dash is easily confused with a hyphen. It is slightly longer than a hyphen and its purpose is sometimes similar. The en dash mainly brings distant relatives together. By this, I mean the en dashes connect ranges such as page numbers (1–2), dates (November–December), and actual ranges (Sacramento–Honolulu flight)[2]. En dashes also complete the special task of prefixing proper nouns. A hyphen would normally do when prefixing a word, but proper nouns are a special case[3].

            The em dash is much more assertive and very versatile. It takes the place of commas, semicolons, colons, and parentheses in a sentence to create different emphases and pauses. It is a longer line than either the en dash or hyphen. When creating emphasis, the em dash sets the emphasized part off from the rest of the sentence. It can also create pauses that can be a little longer than other punctuation. A final function the em dash has is indicating broken speech such as if one speaker interrupts another[4].

            Now that you know the differences amongst all these punctuation marks, you are most likely wondering how they are going to help you in your writing. Hyphens and dashes can help replace some of the more common punctuation marks and give your content a clearer voice. The trick is to not overdo it. Some writers get a little ambitious and hyphenate everything like this supposed-one-word-but-not word. That can be overwhelming to your reader. It can also be confusing to see an overabundance of dashes, as anyone who has read Emily Dickinson’s poetry knows all too well. On the other hand, an absence of hyphens and dashes can create confusion because the reader may not be able to understand what the author is meaning. In short, moderation is key. If it will add value, use it. Otherwise, it might be better to skip it.

           The hyphen, en dash, and em dash all serve unique purposes that help writers create clear and accurate content. They can demonstrate parts of speech that are not so easy to represent on paper with words alone. As a rule of thumb, remember that hyphens act like glue, en dashes want to bring everyone closer together, and em dashes want to stand out. Of course, if you ever are in doubt, look it up! It's always better to spend time researching than correcting errors.

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[1] “Hyphens,” Grammar Book, Retrieved October 28, 2019, https://www.grammarbook.com/punctuation/hyphens.asp.

[2] “Hyphens, En Dashes, and Em Dashes,” Chicago Manual of Style Online, Retrieved October 28, 2019, https://www.chicagomanualofstyle.org/qanda/data/faq/topics/HyphensEnDashesEmDashes/faq0002.html

[3] Ibid.

[4] Ibid.

October's Feature Book: Peter Pan

       Fairy tales and legends are a glorious part of being a child. They teach lessons, spark imaginations, and add a little color to life. One childhood story that is beloved by many is Peter Pan. J. M. Barrie wrote Peter Pan, also known as Peter and Wendy, in 1911. Many adaptions have followed as well as an expansion of Peter Pan's character. Going into this, I had very limited knowledge of Peter Pan. I knew the general idea and I had seen parts of the animated Disney movie, but I had never read the book before. What I found, greatly surprised me.

       The first aspect that surprised me is the sad, depressed undertones of the story. Even though children admire Peter Pan, he is a tragic character. Peter Pan is alone without even memories to accompany him. He has no lasting family or friends. The world passes by him as he stays stuck in childhood. Then, there are the poor Darlings and Nana who are mistreated by the children. I know that the book has the viewpoint of a child who is not overly concerned about such things, but I still feel the pain of the Darlings.

       Another aspect that took me off guard is the amount of violence in the book. There are a lot of people arguing that children are exposed to too much violence these days. Have they read fairytales? Do they know some of the Victorian traditions? Trust me, violence has always been an issue. It did not appear only in recent times. Even though I am very aware of this now, it still takes me by surprise sometimes when I come across it in my literary wanderings. The scary part to me is that Peter Pan, with all its blood, fighting, and killing is completely tame compared to some past legends.

       The final aspect that shocked me the most was how completely unwhimsical fairies are. Tinkerbell is anything but a delightful fey creature! Fairies have short lives but make up for it with a big attitude and a definite evil streak. Tinkerbell's antics to get rid of Wendy throughout the book are a perfect example of this. Nobody ever warned me that Tinkerbell is guilty of attempted murder! In the case of fairies, I'm glad that Disney worked its magic.

       Like other fairy tales and children's stories, Peter Pan has a message to teach its readers. This book left me with several thoughts and impressions. The first and, I believe, most obvious is that everyone must grow up at some time. Peter Pan is determined to not grow up, but he misses so much. Generally, we talk about how much of a hurry we are in as children to grow up and how we wish we could go back. Even as idyllic as childhood is, there are good things about adulthood that are missed when we refuse to grow up.

       A line of poetry from William Wordsworth that has always stuck with me for some reason is "The child is father of the man." I firmly believe in the idea of an "inner child." Who we are as children has a direct influence on who we are as adults. Each period of life has its moment, but the influences of the child can be seen in the adult. Therefore, we should be more focused on experiencing the time we have with childlike joy rather than mourning what has passed. Looking back only creates a tragic and vicious cycle.

       Another takeaway from Peter Pan is the importance of imagination. The imaginations of all the children in the story are vivid and fantastical. Each child has a whole world within their imagination that colors the way they see reality. The adults, on the other hand, remember their imaginations but no longer experience them in the same way. I find that a little sad. I understand that adults have to live in reality. But I wonder if holding on to a little of that imagination might change our perceptions of reality positively. Children live in a world with few limitations. I think adults could benefit from fewer self – imposed boundaries.

       A final thought I saw demonstrated throughout this book is that there is nothing like a mother's love. Mrs. Darling is completely wrapped up in her children and adores each one. When her children disappear, it breaks her mother's heart as nothing else could. Even though her children left her, she still loves them and longs for their return. The children, too, instinctively know that their mother's love will never let them go. They trust that she will be waiting for them with open arms. Even the pirates admit that a mother is of utmost importance as demonstrated by their horror once they discover that the Lost Boys and Peter Pan have Wendy for a mother. I believe it is important to honor mothers and give them due appreciation for the love they show their children.

       There is plenty more I could say about this book, but I think it best to keep my literary analysis reined in. Peter Pan is an entertaining children's book about the boy who never grew up. Childhood is a precious time, but it only lasts for a short phase. Growing up is a part of life and can be beautiful. That doesn't mean that we must lose some of the best elements of childhood such as imagination, pure joy, and deference for our mothers. Besides, I like the idea of a world where fairies are borne from a child’s laugh.

Zombie Rules: The Myths of English Class Part 3

We've finally reached the third and last week about zombie rules. We have covered a lot of ground over the last several weeks. So far, we have discussed why it is perfectly grammatical to use starting conjunctions, ending prepositions, split infinitives, and a passive voice. This week, we will be discussing two more zombie rules that are not quite as black and white. These rules are about contractions and using the word "that."

Everyone at some point has been told not to use contractions in their writing. If we’re talking about "ain't" I would probably agree. But contractions are not grammatically wrong. As I have mentioned before, I enjoy dabbling in other languages. Contractions are a universal construction in language. They are necessary for more than just a shortcut in speech. Contractions aid the smooth flow of sentences and influence the tone of a written piece. Read these next two sentences and compare how they sound. We don't need it anymore. We do not need it anymore. Now, both are correct and would be acceptable to use. The difference comes in how they sound. The sound of "don't need" versus "do not need" is vast. The former has the flow of natural speech and has a personal tone. The latter example has a jarring sound and adds stiffness to the sentence not to mention that it can place a greater emphasis on the “not.”

Don't misunderstand me here. I am not saying that contractions should always be used. As with any grammatical construction, there are certain appropriate uses for it. I only mean to point out that they can create a smoother flow in a sentence and can give a different tone. Contractions don't always informalize sentences either. For example, there are contractions like "'tis" and "shan't" which add a peculiarly classy or literary sound to a sentence. 

Therefore, it is all about what one is trying to say. Contractions are meant to be your friend; a tool to help you better communicate your thoughts. In formal English, the occasional contraction is acceptable if it doesn't disrupt the tone of your document. Informal English benefits exponentially from contractions because of how they give a conversational sound to written English. Moderation is important, but don't be afraid to use contractions in your writing.

The final zombie rule we must cover is using "that" in place of a "who." In English class, students are taught that a "who" is a person and a "that" is an object, animal, or idea. However, how many times have you referred to someone as a "that" lately? You know, the coffeehouse person that hands you your coffee every morning. In that example, the "that" refers to the person who works at the coffeehouse. Is there a difference?

It turns out the answer is both yes and no. The idea that "who" is for people and "that" is for everything else is an oversimplification of a long-standing grammar rule. Truthfully, "who" is reserved for people (most of the time), "which" is reserved for inanimate objects, and "that" is for both people and inanimate objects. Keeping this in mind, the argument over "who" versus "that" becomes more about writing style and preference.

Once we enter the world of writing style, the differences become more apparent. Using "that" for a person is not a problem in most instances, but it can sometimes have a decidedly negative connotation[1]. A writer needs to know exactly what he wants to convey and ascertain that his words do so. On the other hand, "who" can sometimes refer to others beyond people[2]. "Who" is often used to refer to animals, especially dogs and cats[3]. People think of their pets as companions and that is reflected in speech. The best rule of thumb is to use "who" for people and either "that" or "which" for everything else. However, you don't have to worry about slipping because "that" is perfectly acceptable.

We have reached the end of our zombie rule discussion. I hope everyone has learned a lot about writing and the beauty of English. Researching for these posts has certainly taught me much about grammar that I was not necessarily aware of. In the future, use the flexibility of English to communicate better with people and share your ideas with the world. These flexibilities make it easier for an author's voice and personality to come through in his writing. So, go write to your heart’s content and don’t let zombie rules crush your confidence as a writer!

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[1] Mignon Fogarty, 2006, “Who versus That,” Quick and Dirty Tips, Retrieved October 11, 2019, https://www.quickanddirtytips.com/education/grammar/who-versus-that?page=1.

[2] Ibid.

[3] Ibid.

Zombie Rules: The Myths of English Class Part 2

Last week, we explored the world of zombie rules. I think this topic is interesting because people have such varied opinions about it. These rules can be a sore spot because of pet peeves and perceived grammar rules. They can also be fun and liberating for writers to discuss once they learn that these rules are dead (or never existed). I am hoping you fall into the second category because today we are going to be talking about two more zombie rules.

We've already discussed rules concerning the beginning and end of sentences. Today's rules are focused on the inner construction and voice of the sentence. The first zombie rule is about splitting infinitives. This can be a tricky rule because some people find it to be especially irritating in writing. Spoken English is another matter but, I suppose people think less about words if they can't see them. If you're like me, you become easily distracted by unique words or unusual phrases. My inner grammar researcher can't resist. But I'm getting off-topic here.

An infinitive is a basic structure of "to" and a verb. If you are involved with language learning at all, you know that courses will often teach the infinitives of verbs followed by how they conjugate in different situations. This zombie rule states that "to" cannot be separated from its verb, e.g., He is beginning to heal fully. In this example, "to heal" is the infinitive and "fully" is the adverb. The infinitive is whole with the adverb on the end. It could read like this: He is beginning to fully heal. Now the infinitive has been split by the adverb. Do you notice something different when you read it? Try rereading both sentences and see what stands out to you. The placement of the adverb slightly changes the meaning of the sentence by putting emphasis either on the verb or the adverb.

Why do so many have a problem with split infinitives? This pet peeve can be traced back to the well-meaning grammarians of the 1700s. Much like last week with the ending prepositions, grammarians from this period desired to make English more like its root language, Latin [1]. In Latin, it is wrong to split infinitives. It would be more accurate to say impossible because Latin infinitives are not formed like English ones [2]. Latin rules cannot always apply to English because English has developed into a separate language. It has its own formations and rules that need to be followed. The best solution then is to go ahead and split that infinitive if it emphasizes accurately and sounds natural.

The second rule is one that has long pervaded the writing territory. People have become increasingly busy. We've somehow managed to become more efficient and have less time. Our language reflects this change in society. English is an evolving language and an active language deserves an active voice, right? Generations of English writers have been admonished for using the passive voice. I am here to tell you that passive voice is necessary and should be used.

A sentence can either be in the active or passive voice. In the active voice, a sentence follows this construction: a subject doing something, an active verb, and an object receiving the action. For example: I write articles. It is simple, straightforward, and emphasizes the doer of the action. On the other hand, the passive voice uses this construction: a subject receiving the action, a passive verb formed by a "to be" verb plus a past participle, and sometimes an object doing the action. For example: The articles are written by me. The sentence is a little longer now and it places emphasis on the object of the action. The problem that grammarians and writers have with the passive voice is its more complex structure and its allowance for vagueness.

Avoiding the passive voice is a zombie rule because it is not a true grammar rule. It is actually a writer's preference and writing style. Using a passive voice can be beneficial. The passive voice is essential when the doer is unknown. You don't always know who stole the neighbor's car. In that case, the passive voice makes it possible to tell someone that the car was stolen without having to come up with a perpetrator.

A passive voice can also be useful for certain types of writing. More technical writings such as scientific or medical manuscripts need a passive voice to explain processes and formulas. In other writings, emphasis on the receiver is important to make a point. If I want to emphasize the type of writing I do, I would use a passive voice, e.g., The articles were written by me. The noticeable part is "the articles." I want people to know that those articles are my style rather than biographies. That being said, it is important to note that the passive voice should not be abused. By this, I mean purposely using a passive voice to hide information and be vague. A classic example is a politician who says, "Mistakes were made." It sounds like an admission of guilt but is refusing to take responsibility.

Writers have a great deal of flexibility in English. To get your point across, it is perfectly acceptable to use both split infinitives and a passive voice. Although, you might want to introduce one at a time. There's no point in provoking so-called grammar enthusiasts. Clarity, consistency, and accuracy are the triple crown of writing. If breaking a zombie rule or two helps you achieve these goals, then I say start smashing.

[1] Erin Brenner, 2013, "Killing the Zombies: Split Infinitives, ‘Hopefully,' and Singular ‘They'," Visual Thesaurus, Accessed October 4, 2019, https://www.visualthesaurus.com/cm/wc/killing-the-zombies-split-infinitives-hopefully-and-singular-they/.

[2] Ibid.

Zombie Rules: The Myths of English Class Part 1

Last week, I wrote about using the singular they. Some editors and grammarians believe that avoiding singular they is a zombie rule. Zombie rules have nothing to do with actual zombies, but rather outdated grammar rules. A more accurate way of describing them is as non-rules. The term was coined by a professor, Arnold Zwicky, in 2005 for grammar "rules" that authors, editors, and elementary schools insist on following even though these rules don't exist and have no grammatical basis [1]. The term took off as demonstrated by John McIntyre's article that described an entire list of them [2]. Over the next few weeks, I'm going to be describing some of these zombie rules and why writers should allow them to permanently die out.

The first two zombie rules I am going to discuss are very common amongst authors, overzealous editors, and elementary school classes. People consistently break both rules in speech which gives evidence that they don’t apply to the natural flow of words. Our brains appear to know a little more about grammar than we do when we allow them to take over. The first rule is to never start a sentence with a conjunction. The second insists on never ending a sentence with a preposition.

For many years, elementary students have been told that they cannot begin a sentence with a conjunction. That is not necessarily the case. A conjunction's job is to connect clauses, phrases, or words within a sentence. There are three types of conjunctions: correlating, subordinating, and coordinating. Writers use both correlating and subordinating conjunctions at the beginning of a sentence without trouble. The coordinating conjunctions are the problem. These conjunctions include the common and, but, and or. Spoken English reflects the usage of beginning conjunctions such as these.

Grammar rules and style guides have never warned against using conjunctions at the beginning of a sentence [3]. This "rule" was most likely created by teachers and carried on as a grammar rule when truly it is teachers' preference [4]. However, there is one stumbling block with beginning conjunctions that writers must watch out for.

When one uses a conjunction, it is important to ensure that the sentence is not a fragment [5]. With simple cases, one only needs to trust their instincts and what sounds the most natural. As I said previously, the brain knows much more grammar than we do. With harder cases, it can help to take the time to identify each part of the sentence to make sure everything is present that should be. 

Once one stops trying to avoid conjunctions, they find that conjunctions can be very useful. Sometimes, nothing works like a period to create a certain effect. One could use a comma and make the two sentences one. But a period adds a greater pause and gives more emphasis to the sentence that follows [6]. That emphasis produces greater clarity and magnifies the author's voice. These two benefits are key to every writer.

The second zombie rule is to avoid prepositions at the end of a sentence. The job of a preposition is to demonstrate the relationship between a noun or a pronoun and some other word in the sentence. As the one who is showing how words relate to each other, prepositions can become a part of phrasal verbs [7]. Phrasal verbs are phrases that behave like verbs, and prepositions often end up at the end of sentences that have either these phrases or interrogatives because the order makes the most sense [8].

The idea that prepositions cannot end a sentence has never been a grammar rule for English. This idea was popularized by the famed poet John Dryden and many style guides that followed him [9]. Both Dryden and an earlier culprit, grammarian Joshua Poole, wanted to keep English close to its roots [10]. In Latin, ending a sentence with a preposition is, in fact, wrong [11]. I can appreciate wanting to keep close ties between English and Latin. But Dryden, Poole, and countless others were forgetting something very important. English is not Latin. English may have its roots in Latin, but it is not the same thing. What works in one language may not in the other. For the sake of clarity, English sometimes needs a preposition at the end of the sentence. 

If it is true that conjunctions and prepositions can be used, what are authors to do? The best rule to follow is to use the conjunction or preposition unless it might cause problems. If readers are going to be riled by a "misplaced" word, they are not going to absorb your actual point and may even question your expertise. For the sake of one's message, moving the word or replacing it might be the better option.

These zombie rules may have been around for decades, but that doesn't mean they should be accepted or followed. You can make writing clearer and more natural by adding in some beginning conjunctions and ending prepositions. You'll be one less author contributing to the continued life of these "rules." Just be careful you don't create a mob by doing it. Some battles aren't worth fighting.

[1] Merrie-Ellen Wilcox, 2016, "Spooks, zombie rules, and the singular ‘they'" [blog], West Coast Editorial Associates, accessed September 27, 2019, http://westcoasteditors.com/spooks-zombie-rules-and-the-singular-they/.

[2] Ibid.

[3] Neal Whitman, 2014, "Can I Start a Sentence with a Conjunction?", Grammar Girl Quick and Dirty Tips for Better Writing, Accessed September 27, 2019, https://www.quickanddirtytips.com/education/grammar/can-i-start-a-sentence-with-a-conjunction.

[4] Ibid.

[5] Ibid.

[6] Ibid.

[7] Mignon Fogarty, 2011, "Ending a Sentence with a Preposition," Grammar Girl Quick and Dirty Tips for Better Writing, Accessed September 27, 2019, https://www.quickanddirtytips.com/education/grammar/ending-a-sentence-with-a-preposition.

[8] Ibid.

[9] "Prepositions, Ending a Sentence With," Merriam-Webster, June 25, 2019, https://www.merriam-webster.com/words-at-play/prepositions-ending-a-sentence-with.

[10] Ibid.

[11] Ibid.

The Rise of Singular "They"

            If you are as much of a word nerd as I am or spend any amount of time on grammar-related social media, you've probably heard about the recent dictionary changes. As we all know and witness daily, English is an evolving language. Part of that growth includes adding new words into the dictionaries as part of common English usage. Change is never something we handle well. Therefore, new words are not always greeted with much enthusiasm. A recent addition in Merriam – Webster has especially created a stir. That word is the singular they.

            The singular they is one of those topics in English grammar that can quickly divide a room. The most common objection to they as a singular pronoun is that it’s supposed to be plural. That is true and they is still retaining its plural sense. But English has precedence for breaking its rules and developing exceptions. On the other hand, many applaud the recognition of singular they as progress that makes the English language less clunky and easier to use. No longer do authors have to use phrasing such as “his or her” or reword sentences to avoid the construction altogether. With these opposing sides, it can make one wonder who exactly is right. Well, the answer might not be what one would think.

           Singular they has been used in spoken and written English for centuries. If you pay close attention to what you are saying, you will most likely find that you use they in this sense daily. According to Patricia O’Conner and Stewart Kellerman of Grammarphobia, they has been a part of English in the singular usage since the 1300s and became a permanent part of the language by the end of the century[1]. With its entry into English, no one saw a reason to object to its singular meaning. In fact, widespread distaste for the singular they did not appear until the 1700s when grammarians began to insist on they being used strictly in its original sense as a plural pronoun[2].

            These grammarians may have successfully stigmatized singular they, but they did not stop anyone from using it. Too much time had passed, and it had firmly taken root in speech and writing. Thus, the battling amongst grammarians and authors began and has continued into modern times. Merriam – Webster accepting singular they is a mighty success for this beleaguered pronoun but is honestly nothing new. It only means that dictionaries are finally catching up with reality.

            For those who still find it hard to accept singular they, I would like to point out that a similar change has already happened for you. I am not referring to you being used in the plural sense though. Unbeknownst to many, you was not a singular pronoun originally. It wasn’t even a subject pronoun. While everyone was busy fighting over how to use they, that sly pronoun you overtook first ye as the plural subject and later both singular forms thou and thee.[3]

           Because of the changes brought on by you, English is one of those few languages that has no distinction between singular and plural or formal and informal speech. If anyone was going to complain about language changes, I think they (catch that there) should be going after that upstart you. Even though English has taken on some drastic changes, it has survived and thrived. Personally, I think English is going to weather this latest change just fine.

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[1] Patricia T. O’Conner and Stewart Kellerman, “Fifty shades of ‘they’,” Grammarphobia (blog), May 22, 2017, https://www.grammarphobia.com/blog/2017/05/they-4.html.

[2] Ibid.

[3] Elizabeth O’Brien, “The Story of the Pronoun You,” Grammar Revolution, Accessed September 20, 2019, https://www.english-grammar-revolution.com/history-of-you.html.