Goofy Grammar That I Never Knew

i.e.  vs.  e.g.

I admit it. I had no idea there was a discernible difference between i.e. and e.g. I for one am guilty of having used them interchangeably.  But now, thanks to Mignon Fogarty, the Grammar Girl, I know when to use which one!

I.e. and e.g. are both abbreviations for Latin terms. I.e. stand for id est and means "that is." E.g. stands for exempli gratia, which means roughly "for example."  But, since most of us don't speak Latin, there is an easier way to know the difference.

     i.e. starts with i = in other words
     e.g. starts with e = example

Assure vs. Ensure vs. Insure

Assure, ensure and insure have the same underlying meaning, but they each have a slightly different use.

Assure is the only one of the three words that means "to reassure someone or promise."

Ensure chiefly means "to make certain or to guarantee."

Insure can be interchangeable with ensure  in some cases, but it's easier to keep the words straight by reserving insure for references to insurance.

Backward vs. Backwards

When backward and backwards are used to describe verbs, both are correct and interchangeable.

According to Fogarty, "The s is more common in Britain than in the United States, so you should consider what the convention is in your country and use backwards in Britain and backward in the United States."

The main exception to this is: Never use the s when you use backward as an adjective.

Farther vs. Further

Farther = to talk about physical distance (farther has the word far in it, so it's easy to remember)

Further = to talk about metaphorical or figurative distance.

The Grammar Girl says that sometimes the distinction between physical and metaphorical distance isn't always clear. In which case, she asserts, it's okay to use farther and further interchangeably.

Okay, here's a question: with the ways that grammar rules tend to change and morph (does anyone actually spend time re-writing a sentence to avoid using a preposition at the end?) which rules do you consider hard and fast and which ones are ignorable?

For more down and dirty tips about grammar and punctuation and the like, check out Grammar Girl's Quick and Dirty Tips for Better Writing by Mignon Fogarty.

Steampunk by the Rules

Sharing my current research obsession, and celebrating the last day of Tor's Steampunk Week.

Steampunk is a vast and varied genre (see my post from Wednesday) with limitless possibilities for themes, settings, and characters. According to Beth Daniels, author of Writing Steampunk, there are, however, a few rules. Even within these rules, there's some wiggle-room. 

Rule #1
As most steampunk stories are remakes, updates, reconfigurings inspired by the first science fiction stories ever written, they need to be, in essence, Victorian.  No matter the setting, dimension, era, etc., the feel is one with the Victorian world.

Rule #2
The story involves steam-driving machines, clockwork mechanics doing things that similar devices were incapable of actually doing in the time period.

Rule #3
The storyline uses elements of magic or that appears to be magic.

Rule #4
Because steampunk is alternative history, if set on Earth of involving the citizens of Earth, historical figures can appear or be mentioned.

Rule #5
Paranormal creatures and the fae can become featured performers in your piece.

Rule #6
Science is very much a part of the Victorian era, and thus beings created by science are welcomed in steampunk tales--including robots, cyborgs, people with mechanical limbs, creatures built from spare biological parts, etc.

Rule #7
Mystery, suspense, danger and frequently a ticking clock feature can be part of a steampunk story. Not only was the science fiction genre created in the closing years of the 19th century, the era also gave birth to the mystery novel and and detective story.

Rule #8
Time travel--the trick is to make the process believable and steampunkishly creative for your audience.

Rule #9
Beings created via magic are another trope used in steampunk, including golems, zombies, etc.

Rule #10
Practitioners of magic--though these don't necessarily need to be wizards or witches, they can be humans with a fount or stolen conjuring book, or any other magic-wielder.

THE MOST IMPORTANT RULE--
THE STORY MUST REFLECT THE WORLD OF EARLY SCIENCE FICTION  IN SOME WAY AND MUST INCLUDE A BEING EITHER MECHANICALLY, BIOLOGICALLY OR MAGICALLY CONSTRUCTED OR WITH A PARANORMAL FAE OR SPIRIT NATURE OR A PERSON TURNED INTO A MONSTER VIA A MYSTERIOUS DISEASE.

Gettin' My Goggles On

Steampunk. It's a term I'd heard before, but never really understood. I mean, goggles and dirigibles?  What the heck?  Then I saw a contest/call for submissions with the great people at Pill Hill Press and someting clicked for me. Pill Hill Press has been good to me and every time I tried something new, something I didn't think I could do, I've succeeded.  So I thought, why not?

Well, with that in mind, a great deal of research ensued. I had to figure out what, exactly, steampunk was and what kinds of stories are included and if the vague idea I had brewing in my head was going to even fit in the genre.

Then, as if directed by fate, I found out that this week is Steampunk Week at Tor books!

So I decided to share a bit of what I've learned about steampunk.

First, what is steampunk?  Steampunk is a sub-genre of speculative fiction, basically a "what if" genre in which geniuses are able to produce mechanical wonders such as robots and floating battle ships that run on steam power and sometimes clockwork. The genre is modled after CyberPunk and usually has some kind of anti-establishment theme, and is often set in the Victorian era or the Old West.

There are several sub-sub-genres of steampunk.

1. BoilerPunk--The blue-collar answer to aristocratic steampunk, incorporating the experiences and hardships of the workers actually shoveling coal to bring steam to the upper-classes.

2. ClockPunk--Clockwork technologies replace and supercede traditional steam power.

3. Dieselpunk--A heresy in which diesel fuel and nuclear power replaces steam power in alternate histories that often have a political component.

4. Gaslight Romances--A mainly British term for alternative histories that romanticize the Victorian era.

5. MannersPunk--Fiction that may or may not be deemed steampunk, in which elaborate social hierarchies provide the friction, conflict and action of the narrative usually in the context of endless forms--dances, parties, etc.--in manners.

6. Raygun Gothic--Although not strictly a sub-genre, this type of retro-futurism based is in part on art deco and streamlined modern styles has been used for a variety of science fiction settings, usually in movies.

7. StitchPunk--Fiction influence by the arts and crafts element of steampunk, with a prime example being teh animated movie 9 in which a cute Frankenstein dall-creature stitched together from bits of burlap sack tries to save the world. In a wider context, stitchpunk emphasizes the role of weavers, tinkers and darners in steampunk.

8. CyberPunk--Dark techno-fiction set in a near future.

Here are some highly regarded steampunk novels that have been recommended to me.

Boneshaker by Cherie Priest

Leviathan by Scott Westerfeld

The Immorality Engine by George Mann

Morlock Night by K.W. Jeter

The Difference Engine by William Gibson and Bruce Sterling

If you're a fan of the genre, which are your favorite books or movies?

The Twelfth Monster of Chaos--A sneak peak

A Sneak peak at "The Twelfth Monster of Chaos" ...In times of trouble, know there is something watching over you...


Coming soon from Pill Hill Press, Dark Heroes.

My contribution--"The Twelfth Monster of Chaos"--tells of Omar, a reclusive, bitter storm demon, living in obscurity until an old frenemy returns. Seven words--"Choas reigns and her resurrection is imminent"--and an ancient artifact brings back the past he's trying to forget. Now he has to battle Tiamat, the creator of all things, to protect the world and the woman who snuck past all of his defenses.

Here's a small sample:

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

Omar's entire body stiffened as smoke seeped in from below the door. It smelled of foul herbs and sulfur
and caused the demon inside of him to demand release. The scent was familiar and unwelcome.

It smelled like enemies.


It felt lik family.


Sharp fangs exploded in his mouth and his hands grew bigger, longer, and developed razor-sharp talons. Aware of the fragile female huddled against his chest, he fought his body back. He had two contradictory needs: to defend and protect Lia from what he knew was coming and to protect himself from Lia ever discovering his demon nature. He had limited success in holding his demon back. The teeth and claws receded only slightly, and his overall girth increased, but to nowhere near his full size. He managed to keep the curved horns from sprouting atop his head, and the hard carapace that should cover his upper-body stayed hidden.


The dense smoke solidified, separated and formed hundreds of giant scorpions, each steel grey and the size of a grown man's forearm. They buzzed and clicked as they scurried towards them, stingers raised. They crawled over each other, wave after wave of poisonous beasts, targeting Omar and Lia. Lia screamed and tried to climb up Omar's body. Her breathing came quick and harsh. He swung her up into his arms, pushed her face into the crook of his neck.


"My children return to me, Imhullu. Will you, too, return, my son?"


"Not a chance, Mom." Omar kicked at a mutuant scorpion that had skittered close to his foot. It squealed as it winged through the air. The venom of the creature wouldn't kill him, but it would hurt like hell. Lia, on the other hand, would die a horribly painful death if one stung her. The clicks and shuffles of the armored creatures increased in intensity, as though they were angry on behalf of their punted brethren.


The cacophony of breaking bottles, crashing picture frames, colliding chairs and stools was deafening. Omar twisted and ducked, doing his best to keep Lia out of the line of fire. Though her weight was negligible to him, it was still awkward. Lia muttered against his neck. "This isn't happening, it's just a dream." She whimpered as a wooden plaque whizzed by close enough to ruffle the ends of her ponytail. "It's just a dream. Please, just a dream."


"If you will not return, then you will die."

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

Look for Dark Heroes to come out in September. As soon as it's available, I'll post a link.

Hot & Steamy (and I'm not talkin' about the weather!)

A year and a half ago I figured I couldn't write romance (at least the adult version) because I was too shy (embarrassed?) to write a sex scene.  I'm not a prude. I don't object to sensuality in principle. I've been reading romances since I was ten years old--I've never been put off by the crazy euphemisms or frank language. But the thought of someone reading a love scene that I'd written...let's just say I was hesitant.

Now, fast forward 18 months... I've had five erotic short stories published.  The intensity (for lack of a better work) grew with each story. What changed?


I did some research on how to write sex scenes, and some of the information really helped. That, in combination with the thousands of love scenes I've read in my life has enabled me to compile a list of certain love scene requirements.  There is (or at least should be) more to a sex scene that "insert tab A into slot B."

A Sex Scene Should:

• Show us something about the characters
• Show us something about the relationship between the characters
• Advance the story and/or increase the tension
• Arouse the reader

"If it doesn't do these four things," says Stacia Kane, author of Be a Sex-Writing Strumpet, "it doesn't belong in the book. This is true for the most sex-filled romance. If the sex isn't exploring, defining and advancing plot, character and relationship, it needs to go away."

What a Sex Scene Can Do:

• Illuminate the most private acts of your characters
• Demonstrate their connections, their trust, the depth (or lack thereof) of their feeling
• Illustrate their desire for each other

While at the same time

• Strengthening the story
• Increasing the tension
• Adding complications
• Give the reader what she wants

One of the best bits of advice that Kane gives is:

Remember, a sex scene is just a scene, only with naughty parts. Think about what you want this scene to say about  your characters and get it on the page.

For people (like me) who want to get beyond their personal embarrassment, or are picturing their mother or father, or kid brother or whoever, possibly reading your smutty scene, here's some advice on how to do it:

1. Remember, your characters are not you. Whatever you put down on the page, whatever kinks or language you explore, do not necessarily reflect on you or your own preferences.
2. Plan ahead. If you know that "the scene" is going to be part of your story, picturing it in advance will help you work out the bugs before the time comes and, even better, it will allow you to increase the sexual tension early on.
3. Make everybody wait. You want your audience to be eagerly anticipating the big moment. There's a reason why most sex scenes (outside erotic romance) take place 2/3 of the way into the story.
4. Write a good kissing scene and interrupt it. Good sex doesn't (or shouldn't) appear out of nowhere. Even if you don't use the kissing scene, you should write it. Anything to get your and the characters amped up. And it gives the reader something to keep reading for--for the characters to pick up where they left off.
5. Watch a sexy movie. Seriously. Tune out the cheesy music and stilted dialogue (of course, I may be watching the wrong movies!) and focus on the play of two (or more, who knows!) bodies moving together, and hopefully get to the place where seeing it and thinking about it don't make you blush.
6. Play some music. It doesn't have to be Barry White, but maybe make a sexy play list and include any songs that make you think about sex and romance. Let it set the mood for you.
7. Think about sex. Good sex, bad sex, funny sex, kinky sex, wild monkey sex, whatever you need. Think about sex you've had, or your friends have told you about. Maybe it seems a little odd, but just the act  of thinking about it--and reminding yourself that just about every adult on the planet either does it regularly or has in the past--might help reassure you that you're writing about something universal.
8. Write about something that isn't sex. Make it as sexy as you possibly can. There are a slew of "sexy" words and adjectives, and tactile sensations that evoke sexual images. Use 'em. Get used to them. And it can be fun. I bet you've never thought about your laundry basket in sexual terms.
9. Read some sexy scenes. This is my personal favorite. It will inspire you, let you know what works (or what doesn't). Find some that you really like and analyze them.

Okay people, here's your chance.  Do you/would you include sex in your novel?  How hard is it for you to write a sex scene? Did you have any other advice for writing sex scenes?

Some of my favorite M/M authors

Last Friday I promised to share with you all some of my favorite M/M romance authors and books. 

So, as promised, here are the authors I consider the best of the best in this genre.

Z. A. Maxfield
Crossing Borders--

Tristan's got issues; he knows he does. So when his most recent girlfriend dumps him via messenger, and he can't stop staring at the messenger's cock while he's breaking the news, Tristan figures it's about time he makes some changes. He formulates a foolproof plan to get himself someone who can show him what he's been missing -- until who should crash his little adventure but Officer Michael Truax, the man who gave him a really expensive ticket for boarding without a helmet back when he was in high school.


Michael has been trying to catch Tristan for years...to give him a second ticket. Suddenly he's faced with his 'Sparky', all grown up -- and looking to get laid. The habit of protecting him isn't gone completely, but the opportunity is too much to resist. He figures the kid must know what he's getting into, so he takes him home. There, they carry on a cautious dance, only to find out that neither is what the other expected, and that together, they're hot enough to melt glass.

This is one of the first M/M romances I read, and it is still my favorite.  I read and re-read this book. I LOVE THIS BOOK!

Other good books by Maxfield include: ePistols at Dawn and Drawn Together.  Maxfield has several other good books, but these three are by far her best.
--------------------

K. A. Mitchell
Collision Course--

Paramedic Aaron Chase doesn't have anything against love, but he knows it means a lot of responsibility, like when he had to step in to raise his siblings. With the last one off to college, Aaron's anticipating enjoying life on his own terms. He certainly isn't expecting Joey Miller to accidentally drop into his life. Sexy, funny and annoyingly optimistic, Joey's tendency to get into trouble keeps sending him Aaron's way; Joey knows all about love. He's fallen in it ten times. All that experience has to count for something, right? With Aaron it's different. Joey's fallen for good.

Other great novels by Mitchell include:  Not Knowing Jack, No Souvenirs, Diving Deep and Regularly Scheduled Life.

--------------------
J. L. Langley
Without Reservations--

Sometimes love just catches you by the tail. Chayton Winston is a veterinarian. He is also a werewolf. Much to his Native American parent's chagrin, he has always dreamed of a fair-haired, Caucasian mate. However, he never imagined his mate would be male. As a heterosexual man, he's not quite sure what to do with a male mate, but more than willing to find out. Keaton Reynolds wakes up, in wolf form, and finds himself with a mate. He's instantly attracted, but not so thrilled to find out the man is straight. Having been in a relationship once before where his partner professed to be "Not gay" left a bad taste in his mouth. Keaton wants to make a break for it and pretend he never set eyes on Chay-but Chay is not ready to let him go. Together the two work to solidify their shaky relationship and battle the prejudices against homosexuals. Chay must deal with not only his mother's prejudices against gay men but also her hatred of white people. When a power struggle in Keaton's pack threatens Keaton's life, the two men learn to depend on one another and their relationship to get them through it. Warning, this title contains the following: explicit sex, graphic language, violence and hot man-love.

Other fantastic books by Langley include: With Caution, With Abandon, The Englor Affair,  and My Fair Captain.

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

T. A.. Chase
No Going Home--

Six years ago, a hoof to the head ended Leslie Hardin's show-jumping career and his relationship with the man he loved. Broken, hurt, and rejected, Les has focused his energies on rebuilding his life. Les's accident has shown him that the most valuable treasures are usually found under an imperfect surface, and his reputation for taking in strays starts to grow. But it's one of these strays in particular, injured rodeo cowboy Randy Hersch, who captures more than just his compassion. Between his disapproving father and his chosen career path, Randy has always felt the need to deny his passion. But when Les takes him under his wing, Randy begins to realize that he is truly strong enough to admit his true self-to himself and the rest of the world. But in the arms of a broken man, can he find acceptance.and love?

Other great novels by Chase include: Wishing for a Home, Home of His Own, High Line: The Love of Sports, Out of Bounds: The Love of Sports and Duncan's World.

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

I could keep going, but then this post would take hours to read, so I'll leave you with this list of some other fantastic M/M romance authors to check out:

Andrew Grey

Josh Lanyon

L. B. Gregg

Laura Baumbach


There are a bunch more that I know of, but these are the best of the best (of those that I've read, of course!).

Does anyone have any other M/M authors I should check out?


 

A Book Review: Prove It by Chris Owen

http://www.amazon.com/Prove-Chris-Owen/dp/1610402545/ref=sr_1_1?ie=UTF8&qid=1312061927&sr=8-1

Description:



Warren and Silas meet for the first time at the age of five. It doesn't go well. When they reach junior high they have a truce in place and Tal, a new guy in their class, acts as a catalyst, bringing them together as best friends. Together all through high school they survive school plays, Tal's girlfriends, Silas' boyfriend, and Warren's endless studying. College is more of the same, until Silas and Tal coax Warren out of the closet. For Warren nothing changes, but for Silas the world has unexpectedly changed forever. He had no idea he was in love with his best friend at all, and when he finally tells Warren the reaction is another surprise. Prove it. Warren knows all about Silas, knows the tricks, the games, the very best and the very worst about him, and Warren loves him back. But Warren also knows that if they're going to be together it's got to be forever, and he can't just risk everything for what might be another one of Silas' whims. Silas has to prove he loves Warren, and he wants to do just that. But how do you win the heart of someone who knows you better than anyone else?

My Thoughts:

I LOVED this book. Would it be considered romance? Maybe not. It's not really coming-of-age, either, though it has elements of both. It's a story about the ways in which relationships are built and how they change as people develop.

There were no wasted characters, not even random names mentioned. Everyone had a role in moving the plot forward and creating dynamic characters. Even Tal, who in many ways could be mistakenly viewed as a third wheel to Silas and Warren's romantic relationship was integral to the story.

I felt good reading this book. I felt like I was getting to know these three lovely boys and watching them grow up to become lovely men. I was happy for them and the places they were going. The story spans 17 years, from when the Warren and Silas are 5. In middle school Tal comes along and the trio become inseparable. While it covered a lot of time, the book wasn't particularly long, but I never felt like anything was missed. All of the important moments were hit, all of the characters fully developed. And, unlike a lot of romances, everything seemed plausible. I love how the three boys' personalities balanced each other out.

The sex scenes were graphic without being crude, were integral to the plot, and were creatively executed. Let me explain what I mean by that: too many times the sex scenes in M/M fiction follow a basic formula, repeated with each encounter. Ms. Owen explored different aspects of physical intimacy, paying as much attention to a brain-melting kiss or frottage as to actual intercourse. And none of it was gratuitous or over-the-top.

The only criticism I have deals with the pacing of the story when Warren and Silas realize that their love was different than the "just friends" love they shared with Tal. I think the time between the "I wonder if" to the declarations of love went too fast. I would have liked a little more build up to the declaration, even a bit more soul-searching, particularly by Warren. Silas's leap from "love" to "IN LOVE" actually fit well with his personality. Warren, however quiet and private he kept his thoughts, was a little too abrupt in his declaration.

I've only read one other book by Ms. Owen--Bareback--which was fabulous, emotionally draining, and downright painful--and while this book had the same quality writing, the feel of it was lighter, more positive. It's clear that Ms. Owen is a master at building authentic, relatable relationships and I know I'm going to be checking out some of her other works.

I absolutely recommend this book to others! (Also, it's a fairly easy intro too M/M fiction if you're interested in exploring the genre.)