I disagree on using an apostrophe with numbers (“the 90s” is unambiguous, and perfectly logical and grammatical). But the rest of this chart is useful, assuming you already know what part of speech something is.

For a non-chart version that is, in my opinion, simpler, try my explanation at: http://csidemedia.com/wellpresentedms.

Originally shared by Writers Write

The struggle is real.

Originally shared by Dinosaur Comics

you may think you’re tired of speculative fiction, but THIS speculative fiction is written by a talking dinosaur

Speaking for myself, I could do with more happy scenes in fiction. But just showing people being happy without context isn’t going to make for an interesting story. Light and shade, authenticity, and creating a sense of what’s at stake are key to making happiness work.

On the third watch, I think I’ve figured out why I like Zootopia so much.

I mean, yes, the visual beauty, the inspiring message, the clever dialog, the catchy song. But lots of kids’ movies have those; it’s almost the price of entry. What makes Zootopia stand out, not only among movies but among written stories, is how carefully the writers have tucked in all the corners and made use of reincorporation.

From the opening school play (which achieves exposition while being entertaining, also hard to do), through the subsequent bully encounter, the carrot pen/voice recorder, the blueberries, the DMV guy, the song, the tiny vole… no detail is too small to tie to another moment in the film. (On this third watch, I noticed that Assistant Mayor Bellwether has a post-it by her phone with the name “Doug,” which links up later on.) The whole thing feels tightly woven together. Nothing is too small to be important, which also neatly reinforces the message of the film.

This is why, when I work through the second draft of Illustrated Gnome News, I’ll be replacing a couple of new minor characters with similar characters who’ve appeared in previous books. But I’ll also look for other opportunities to do this tight weaving, especially in my short fiction, where it’s particularly effective.

Another great old classic magazine.

Not to be confused with Astounding Stories, or their New Zealand equivalents, These Stories Are All Right, Eh and I Don’t Actually Mind These Stories.

(Totally true and not even a little bit made up: when the US show That’s Incredible! was playing during the 80s, there was an NZ version. It was called That’s Fairly Interesting.)

Via Deborah Teramis Christian.

Originally shared by Alex Grossman

h/t David Brin

This stuff may seem basic, but it amazes me how often authors are narrating in simple past tense and refer to earlier events without shifting to past perfect.

It amazes me, and it also disorients me and throws me out of the story.

Originally shared by Karen Conlin

Usually I share these Cambridge blog posts to the ESL collection, but this time I’m making an exception. Writers of all levels, from those just now starting out to those who’ve been writing for years, can use this basic information. (Refresher courses never hurt, y’know.)

Sharing to read later. Their articles are usually good, and I use food in my books already.

Originally shared by Standout Books

Your story doesn’t have to be about food to use it well.

That thing where you’re 55,000 words into your novel and you discover that you need a new plot thread, which will have to start much earlier in order not to feel too sudden, and that means you’ll have to bring back at least two characters from an earlier book.

It’s not a bad thing.

We give things names so we can talk about them. Most of the writing phenomena on this page are common mistakes, but I’m glad to say that I’ve written Mrs Brown, more than once, and I’ll do it again.

Sometimes when I don’t believe something in a story it’s not from inadequate foreshadowing; it’s from inadequate research. But overall, this is useful.

Originally shared by Samantha Dunaway Bryant

Some good advice on what steps to take with common bits of feedback you might receive in critique.