“I came out to write and have a good time and I am honestly feeling so attacked right now,” the Microsoft Word edition:
“I came out to write and have a good time and I am honestly feeling so attacked right now,” the Microsoft Word edition:
One of the most common misconceptions that I run across in writing is when to capitalize things, and when they should stay lowercase. This is honestly a big issue, and can take your manuscript from potentially looking professional to seemingly amateurish in a heartbeat. It can be the difference between an agent or publishing house thinking that you know what you’re doing, or thinking that you started writing a week ago.
Proper capitalization in your writing is important for several reasons.
One of the biggest no-no’s I’ve seen is confusing capitalization of honorifics. For some people, this can be a very difficult subject to broach, as there are many rules regarding the use of honorifics, and some of them are confusing.
What are honorifics? Honorifics are essentially “titles” that you give to people. Think sir, ma’am, mister, doctor, etc. For those of you writing medieval fiction, there are also the titles of royalty and lords. This can all get a bit confusing when you’re trying to figure out what needs to be capitalized, and what needs to be lowercase. So let’s start with some clarification!
When a title should or should not be capitalized:
First things first, NEVER capitalize “the” unless it’s the first word of your sentence or it’s the first word of your book/movie/art title.
“I saw The Secret Life of Pets the other day.” vs. “This is The Book of Shadows.” The second one is wrong. It will make your editor/agent/reader/publisher cringe. Don’t do it!
Sir & ma’am: Are only capitalized when they are the first word in a sentence.*
“Sir, I’ve got some bad news…”/ “But what were you hoping to hear, ma’am?”
“I’ve got some bad news, Sir.” / “But what were you hoping to hear, Ma’am?”
* The only time this would be different is if you are introducing someone who’s been knighted, like Sir Elton John, or Sir Patrick Stewart. These are now titles that include the proper noun that makes them capitalized.
“Oh my goodness, it’s Sir Patrick Stewart! May I have your autograph, sir?”
“Eh, what do you know, mister?” vs. “That’s Mister Ford.”
“Can I ask you a question, miss?” vs. “I’m telling Miss Davis!”
“But Mom said I could go.” vs. “That’s my mom.”
“Didn’t you ask your father?” vs. “Yes! And Father said I could go.”
“I’m going to see my uncle.” vs. “I’m going to see Uncle Robert.”
US political titles
“President” is a title frequently used in writing as a means of addressing the president. It also holds the first spot for one of the single most incorrectly capitalized terms I’ve ever seen. (And that’s not hyperbole, either.) You’ll notice in this paragraph that “president” is only capitalized at the beginning of a sentence.
(The following samples in this section are all correct.)
That’s because it’s not a proper noun on its own and therefore should not be capitalized unless before a name or if that’s someone’s actual name.
“But sir, the president is on her way now.” / “Tomorrow, President Adams will be speaking in the courtyard.”
The same goes for other political titles, like senator, congressman/woman, ambassador, vice president or chairperson, etc.*
“This is Robert Davies, the senator from Montana.” / “Excuse me, Senator Davies?”
“I’d like to introduce you to Congressman/woman Jones.” / “The congressman/woman isn’t available right now.”
*If your character is being addressed by a honorary title that includes the words “madame” or “mister,” etc. before it, then it is capitalized.
“Would Madame Ambassador follow me this way, please?” and “Mr./Mister Secretary, a word, if you can.” / “Please, Vice President Craig, listen to reason!” and “The vice president cannot take part in the meeting at this time.”
Titles of profession
Doctor, professor, officer, detective… these are all commonly capitalized when they should actually be lowercase. The only time these titles should be capitalized is when a proper noun follows them.
However, there are some grammar places that capitalize titles like “doctor” when they’re addressing the person by that title, though I personally do not follow these rules unless it’s a nickname, like calling your doctor “Doc.”
This is because doctor is both a profession as well as a title, and if you’re addressing someone as “doctor,” you’re calling them by their profession. It’s the same thing as saying “teacher” or “mailman.” None of these professional titles are typically capitalized unless adjoined to a proper name, like below.
“I’ve got a bad cold, doctor.” vs. “I’ve got a bad cold, Doctor Strauss.”
“I’ll have the paper to you tomorrow, professor.” vs. “I’ll have the paper to you tomorrow, Professor Adams.”
“That’s an order, captain!” vs. “That’s an order, Captain Walsh.”
“Over here, officer!” vs. “Over here, Officer Waterson!”
“Let’s get started, detective.” vs. “Let’s get started, Detective Peters.”
“But the teacher said we can’t.” vs. “But Teacher told me we can!” –You’ll note here that “teacher” is capitalized. That’s because it’s being used in place of a name of one specific person, and can be treated as a proper noun. If someone calls their teacher “Teacher” in place of her name, it can be treated as a proper noun of sorts.
Nope. No capitalizing pet names. Nicknames, yes. Pet names? No.
“How are you doing, honey?” vs. “How are you doing, Nicky?”
There are too many to address, so I will leave a helpful link here.
Medieval titles/royal titles
One of the biggest problems I run across in fantasy is the improper use of titles. Basically they follow the same rules as the titles of profession, with a few exceptions, which will be addressed below. For the most part, when using a title like king, queen, prince, princess, duke, duchess, etc., do NOT capitalize unless it’s a direct address that includes their name.
“Introducing Queen Tabatha Shaw.” vs. “Introducing the queen, Tabatha Shaw.”
“That horse is the king’s!” vs. “That horse belongs to King Michael!”
“Protect the king!” vs. “Protect King Michael!”
“This is the duchess, Sarah Milford.” vs. “This is Duchess Sarah Milford.”
“Ah, Princess Anne, you’re looking lovely today.” vs. “Ah, princess, you’re looking lovely today.”
“No, my prince, the hunt has been canceled.” vs. “No, Prince Eric, the hunt has been canceled.”
“It is a pleasure to meet you, Lord Edward.” vs. “It is a pleasure to meet you, my lord.”
(“My lord” and “my lady” are only ever capitalized at the beginning of a sentence. Consider them the same as sir or ma’am.)
Medieval title exceptions
“What will you have me do, sire?” (Like sir, this word is not capitalized unless it’s the first of a sentence.)
“Today we’re going to the Lord Mayor’s joust!” (Lord Mayor is a capitalized term. However, if you were to say, “We’re going to the mayor’s joust,” it would be lowercase. “We’re going to Mayor Johnson’s joust.”)
“His Grace Duke Edward Gibbs.” vs. “How do you do, your grace?”
“But Your Majesty, we must adjourn.” vs. “But majesty, I must protest…”
“Oh, Your Excellency, of course!” vs. “Oh, of course, excellency.”
“Yes, Your Highness, we will have it done right away.” vs. “No, highness, we didn’t.”
These cover a few common (and easy to confuse) terms that should either be capitalized or lowercased given their use in the sentence.
And remember, when in doubt, find out if there is a name after the title or honorific, and choose accordingly.
Today, Inklings, we’re talking about talking.
Naturalizing your dialogue, to be specific.
Every writer has their own unique voice when they’re writing, because every person has their own dialect, inflections, voice patterns, and even vocabulary or colloquialisms. This is part of what makes language so diverse and gratifying to play with. You can use a variety of letters and sounds, and even make up your own!
But despite this, many writers struggle when it comes to making their characters speak, and if you have this problem, trust me, you are not alone. Dialogue between imaginary characters is hard, dude.
There are books upon books and blogs and lessons and classes and conferences about creating awesome dialogue, but there is a much, much simpler method of amping your character’s convos up to enjoyable levels.
1. Listen to conversations around you.
Go to your local coffee shop, grocery store, park. Sit for a while and hear how people speak. Pay attention to how they phrase things, or what inflection they use. Are they guilty of “up talk” or “vocal fry?” Do they over use the word “like” or “uhm” or “you know” because they are struggling to piece their words together? Do they have a tic, like beginning every sentence with “Okay, so…”, or just jump in and talksofastyoucan’tevencatchup? Believe it or not, these are all things you can incorporate (within reason) in your own writing. To make dialogue in writing believable, you have to know speaking in real life. You have to understand speech patterns—but this isn’t as hard as it sounds.
As human beings, we are actually significantly gifted at picking up body language and tone in speech, and now, it’s your great difficulty to translate that innate knowledge into your book.
2. USE. CONTRACTIONS.
As I’ve stated many times before, one of the easiest ways to make your language flow is an extraordinarily simple one. When you’re talking to a family member, do you say everything so prim and proper that you could be an extra in Pride and Prejudice? Chances are, no, no you don’t. Everyone has their “professional” voice and their “relaxed” voice. Professional you might be more precise, but chances are you won’t be able to cut those syllables with a chisel, right? Relaxed voice is how you normally speak, when you’re alone or with comfortable acquaintances. Putting a sense of “relaxed” voice in dialogue is a fantastic way of making your reader “say” it in their own version of relaxed voice, which makes it flow smooth like butta, baby. And the best way to do this? Use contractions.
“Do not take that bag out of the closet! If I have to look for it, I will end up late to practice!”
“Jer, we are going to the store. Is there anything you will need me to pick up?”
“I cannot forget to put all of the laundry in the dryer when I get home.”
“But Barbara, there is nothing you can do. He told you he does not want any help.”
“Don’t take my gym bag out of the closet! If I’m late to practice because it’s missing, I’ll be pissed!”
“Jer, we’re going shopping. You need anythin’?”
“Aww, crap! I gotta remember to switch the laundry over when I get back.”
“Barb, you can’t do anything. He said he doesn’t want help.”
Write how people speak, not how a narrator would dictate a sentence.
3. Read EVERYTHING aloud. ALL OF IT.
Go and read a portion of a book out loud. Doesn’t have to be dialogue or even your own work; just pick something and go. Did you find yourself sliding over the pronunciation of certain letters in favor of your relaxed voice? Like saying ‘don’ instead of don’t? Do you perhaps soften your “r” to the point where ya sound Bostonian? Did you read it fast, or slow? Did it jive with your internal voice, or did you find yourself pausing and rereading portions so you could reassess the tone? Reading written words aloud will strengthen your understanding of dialogue and language in general. Pay attention to your own accent. Are you from the south? Did you know that southern accents have different dialects depending on where you live? Midwestern tones can seem southern, but have subtle differences, and west coast people sound completely different from northerners and southerners altogether? A Bostonian accent is drastically different than one in New York, and both are distinguishable from New Jersey or New England.
Hearing words out loud from different regions can really help you develop a style of writing conversations that will give everyone an individual voice. If you want your characters to pop, give them different “vocal” affectations. Learn to recognize and incorporate different accents, dialects, and parts of speech in your dialogue to give your character, well… character.
4. Use slang and colorful (not necessarily vulgar) language.
My siblings and I grew up in northern Florida surrounded by country folk and surfer dudes, but my mother is from New York, so we picked up a lot of slang from her that wasn’t common in that area. I ended up pronouncing forest as “fah-rest” or orange as “ah-renge”, and we abbreviated “shut up” so that it became a single word (“shaddup!”) and we called unidentified bits of paper or fluff on the floor “schnibbles.” At the same time, I was developing a touch of a lazy drawl, and getting a bit too relaxed around g’s, if you know what I’m sayin’. I was comfortable with “surfer talk”—which is its own thing entirely. I found out that I would specify tacos at Taco Bell the southern way of “the 89 cent” ones—yes, children, tacos did used to be that cheap. We don’t lie when we say the 90s were a wonderful time—or when telling someone to leave “something” alone, I would often jam the words together to pronounce it as “Lea’ that alone.” I fought against using “ain’t,” although I will admit that it has slipped in conversation at least twice. Language is fun! Use various methods to make yours enticing.
5. If it doesn’t need it, DON’T MAKE THEM TALK.
Sometimes, the best things are left unsaid, right? Well, occasionally. In dialogue, “a picture is worth 1000 words” takes on extra meaning. If you can show us what’s going on without your characters talking us through it, then do it. When you’re writing a screenplay, dialogue is a precious commodity. You seriously have to consider what words are going on that page because you are so limited with page space. Some of my favorite parts of a movie are where the characters say absolutely nothing because the action speaks so well for them. If your character is talking when they really should be quiet, remove it. See how well silence can direct a scene for you.
Pixar actually does a fantastic job nixing dialogue in favor of showing action—think of the beginning of the movie Up, or actually don’t, because I do not need to cry right now. How about a film like Wall-E, instead? The action carried so well that they were able to forego dialogue in HUGE portions of the film, and one of the sweetest moments ever is when Wall-E first meets Eve:
Now imagine if he had been giving her verbose, expository dialogue about how he’d been fulfilling his mission to box all the trash on Earth.
When in doubt, go without!
The Top 3 Clichés that Make Me Close a Book
By Kelly Kobayashi
1. The Love Triangle
How many times have you yourself been in a Love Triangle? How many times has anyone you’ve ever known? I’m sure I’m blowing your mind when I tell you honestly that neither is true from my own experience. Have I known girls who broke up with one guy because they found themselves attracted to someone new? Definitely. Have I known guys who stayed silent and sat on their feelings until they sorted out which girl of two to approach? Of course.
But I’ve never personally known anyone just so darn alluring that multiple people crushed on them (and made their passionate feelings known) at once. I’ve never found myself so confused by my own feelings as to selfishly string anyone along. I’ve never known any boy, girl, man, or woman so stupid as to not know the difference between “I find this person hot” and “I care for this person’s story, their happiness, opinions, feelings, and overall well being.” Lust and Love are not hard to separate, even for teenagers. Shocking, I know.
So, even more offensive to me than the predictability, pointlessness, and utter failure at creating tension, is that the Love Triangle is just unrealistic. It’s lazy. And it’s actually pretty insulting, especially to YA readers. We know who we would pick, so why is the protagonist such a shallow, cruel, weak dimwit?
Don’t care. *slams book shut*
2. The Misunderstanding That Could Be Solved With a Single Conversation
Usually goes something like this: Girl sees Boyfriend walking beside another girl across the street. (They are not even holding hands.) Next day, Girl freezes Boyfriend out. No texts, no calls, no explanation.
Girl, I don’t have time for you and your faux drama. Boyfriend is really better off without you if that’s the way you’re going to act.
Or how about this: Male Lead of high fantasy novel finds out his Female Lead is stuck in an unwanted-but-arranged marriage, which—due to obvious factors such as time period, societal norms, and family politics—is completely understandable, but he still accuses Female Lead of betrayal, cowardice, and gold-digging.
Um, Author, you set up this world. You designed it as a medieval realm. You created gender parameters around the Female Lead. You made arranged marriages an accepted practice. Why is your Male Lead throwing 2016 shade?
Nope. *slams book shut*
3. The Misdirected Insta-Thirst for Revenge
Ugh. This one I really just can’t take seriously. And it’s the crux of far too many crime thrillers and graphic novels. This one plays out: Villain murders Mentor, Love Interest, or Family Member, then leaves scene. Best friend enters scene. Hero walks in, merely sees Best Friend standing over the body (wearing a look of horror), and vows REVENGE! upon them.
Call me nitpicky, but I’m pretty sure I would want to… you know, ask questions, investigate, and FIND THE REAL VILLAIN who is not my OBVIOUSLY-A-GOOD-GUY Best Friend?! I would at least ask Best Friend what happened. Did they see anyone? Did they just get there like I did? Have they already called for an ambulance?
If the Hero’s friendship is so tissue-paper-thin that he can believe Best Friend capable of murder, I don’t care if he realizes the truth later. Best Friend should run in the opposite direction from this idiot’s brand of loyalty and consideration.
I can’t even. *slams book closed*
Feat. Photo: mensxp
“Writin’ a book is a big durn deal, ya dig? Sometimes, people be like’n ta change the way they be writin’… to repre-zent a way of speakin’ or actin’ that ain’t necessarily the way it’s suppose to be written… ya get meh?”
But then again, sometimes people mistake passive or messy writing for stylistic choices.
These two are not the same.
Some of you who may be new to writing probably don’t think much about what an editor might say (or do!) to your manuscript, but the fact of the matter is, you can have the cleanest draft ever, and if your editor is skilled, they’ll send back a red-lined manuscript that makes you want to weep. There’s a big difference in writing and editing a book, and most people (editors included) have difficulty with that, because writers understand the book in a way that is completely different than readers or editors do.
Writers know all of the intimate details of a book (like we discussed previously), and sometimes, they can get a little butt-hurt when someone suggests anything changes. This is NORMAL. And trust me, everyone does it.
I try to remain professional when I edit, always making certain that my inflectionless type isn’t going to offend… but there are some writers who are bound to get hurt because that’s their baby you’re trying to cut in half here. I get it. I TOTALLY DO. Because I have had to suck up the pain of a mean edit, cry over my keyboard, and then start the hacking anyway, and it totally feels like losing a limb. It really does.
The actual stages of getting a book edited.
One of the things that I see authors cling to, time and again, is the old “That can’t be changed because it’s a stylistic choice, not XYZ whatever editor says.”
Let’s clarify something here, okay? Messy and/or passive writing is not typically a stylistic choice, and therefore all the wailing and gnashing of teeth in the world won’t help.
There are certain things that we, as editors, must do, and cleaning up these instances is not a grudge; it’s our job.
No. Bad author! Bad!
My point is that some authors (maybe you?) have some serious bones to pick with their editors over changes that are totally required. Grammar and punctuation are two of these things.
One of the biggest ‘stylistic choices’ I’ve run across though, is that of the passive sentence.
When an editor looks over your manuscript, s/he is going to look for several elements, including something we call ‘voice,’ which is the style with which you write. Styles might include quirky ways the character’s dialogue is displayed, like above, particular repetitive habits, phrases, sentence structure (using fragments, for one), or any other way in which your particular author’s ‘voice’ comes through the words.
Pick up a book, any book. If you open that first page, the way in which one author writes may be similar to another, but they each have their own voice that is undeniably them. It is your editor’s job to preserve this voice in all of their edits and to maintain your stylistic choices.
There are books that occasionally defy the typical writing process. One such book, Crank, writes from the perspective of entries of a person falling into drug addiction. As the author goes on, the writing becomes less stable and more chaotic, more poetic, mirroring the character’s slipping sanity. This is a stylistic choice, most definitely. And it works! The editor preserved that choice while also doing away with sloppy or passive writing.
One of the style guidelines of the companies I’ve worked for told its editors to do a search on the words was/were throughout the document and correct them if necessary. So a sentence like, “The purse was stolen,” might be okay if your character says it in dialogue, but in your narration it would typically be a no-no. (Unless it’s something like say, a crime novel where you don’t actually know who took the purse.)
The proper way would be something more like, “He stole her purse,” which assigns blame, or “Someone stole the purse,” which leaves it a little more ambiguous. Now, this is not an exact science, because someone is going to write in such a way that the passively worded sentence might be more appropriate. In that case, it would be a stylistic choice… but most people don’t do that on purpose, and the rest of the writing will define that for an editor.
Incorrect: Henry was standing by the tree when she was pulling into the driveway. Her arrival was making him wait.
Correct: Henry stood by the tree when she pulled into the driveway. He was waiting for her. (This last ‘was’ is fine, because it’s an active sentence where Henry, the subject, is the one performing the action.)
I walked into the lobby, and in the corner, a song was being sung by Sam. <-This type of sentence is unfortunately very common, and it’s a bit messy.
I walked into the lobby. In the corner, Sam was singing by himself. <-This is a better way of phrasing it, because it corrects the passive bit, ‘a song was being sung’ to the active voice, ‘Sam was singing.’ In this way, the ‘was’ is still correct, but the passivity has been removed from the sentence.
Again, these are not stylistic choices. They are examples of messy writing that everyone at some point is bound to do—yes, even editors on the occasion!
The most important thing to remember in writing in a particular style (which could include passive sentences/voice) is to make it abundantly clear in your writing so your editor can tell the difference. If you have a couple of instances of messy writing but the rest of your work is clean, you probably can’t argue it’s a style choice.
If you have a character that purposely speaks with a specific dialogue that requires the butchery of American English spelling, that is a style choice. If your narrator dictates the story in an unusual style, then make sure your editor can tell.
One piece of advice that is of the utmost importance is this: If your editor doesn’t know, can’t understand, or doesn’t see the connection, neither will your readers.
Happy writing, Inklings, now get to work!
Want to see what actual editors would recommend you work on?
Send it in!
Who knows? You could be next.
This portion of the blog will be dedicated entirely to editing actual samples sent in by Inklings Anonymous group members! Interested? Take a look below:
If you want your piece reviewed anonymously, please e-mail me your information via the contact page of this blog.
No hardcore erotica or poetry, please!
Do not submit your piece in the discussion comments. You may post a comment stating you would like your work reviewed, and state the genre, length, and whether or not the piece has been self-published previously.
Yes, you may still submit your piece even if you’ve already self-published it. In fact, I encourage you to.
Submitted pieces can be up to 5 pages long, and may be a sample of any part of your work, For instance, you could send in pages 1-5, 21-26, or even 47-49, etc. It may be a section from a short story, novella, work in progress, or novel. We may not use all 5 pages, but will send the corrections back to the author. You are welcome to ask questions about anything posted on your work.
Please be aware that your work will be featured on the blog without identifying markers hidden, so if you have a really specific, weird character name you use that people might see, you might want to substitute it with something else before you send in your work.
Send in your work, Inklings!
A lot of things have happened for me in the last year. Not all of them great, but some of them pretty wonderful. May 3rd was the anniversary of the day my (now) husband and I officially started dating, waaaaaay back in good ole’ 2011. We celebrated quietly (because one can only have so many anniversaries, I am told, and marriage trumps dating), ate dinner, played GTA 5, and my husband gave me a glorious Sailor Moon figure, because, yes, we really are that much of a geeky couple.
It was, unfortunately, also the day that marked a big sadness in my life: the day I got rear-ended by a–not soccer mom, I was vehemently corrected–woman in her “athletic sport-abled transportation vehicle.” It caused a lot of issues, a lot of pain, and a lot of pure, utter, nonsense. It’s a part of my life I am hoping to put behind me.
Because of these things, May 3rd caused a lot of reflection for me. I will be twenty-eight in a scant few days. If my grandmother were here, she’d tell me I’m only a year away from her favorite age of twenty-nine. When I was little, I actually looked forward to getting to that age so I could tell people the same thing my grandmother told them all the way up until she passed: “I don’t care what my birth certificate says, I’m twenty-nine and holding.” This is the woman whose thick Brooklyn accent I adored to mimic, who always had a electronic gambling game in her purse, a cigarette in her hand, and lipstick on her glass.
It’s amazing the things you think about around birthdays, isn’t it?
These days it doesn’t feel like I have time for anything. Much less for reflection, so the third was an interesting–albeit it bittersweet–period. About a year and a eight months ago, I graduated from college. Half a year after that, I started working as a proofreader. About eight months ago, I got married. Three months ago, I got promoted to editor. About two months ago, I started editing job number two, and hell if my days haven’t just been a whirlwind since then. Working in your industry is great; it’s what you strive for. Of course, the pay doesn’t really cut the mustard some days, and your workload is shit, but the thing is, you adore what you do. And I do. I don’t mind filling my days with editing and my downtimes with video games… but it doesn’t leave much time for my writing stuff.
When I went to school for creative writing, I had grandiose dreams of finishing a couple novels, getting some short stories out, and eventually having a successful editing company of my own. Of course, the real world never works out like a five year plan… and slowly that plan began to look more like fantasy than the novels I read for a living.
(Still, it’s hard to complain. I read books for money and tell them how to make it better!)
When you can actually fix the misspelled words in a book
I’ve been trying to cram a lot into a very limited amount of time, however, and recently, that meant pushing myself to clean and polish (read: cut 8,000 words out of) a short story of mine, in the hope that I can submit it for publication in an anthology. I’m super stoked, if not perhaps nervous that I’m taking their ‘20,000 words or less rule’ a bit too literally.
I take word count to heart, thank you very much.
Like all hopefuls, I’m eager to see the acceptance email after working on something so hard, but there’s still the nagging doubt that I’ll be able to do it at all. Editing other people’s work makes me understand how great it is. Editing mine? Not so much.
(Hint to any struggling writers out there: You are probably your own worst critic… so don’t listen to you.)
Maybe the five year plan isn’t working out the way I wanted; maybe my dreams are different now, and maybe a couple got derailed in lieu of more realistic expectations.
That’s okay. Gonna keep at it and hope I hit my mark one day.
Wish me luck! The deadline is June 1st. ;p
“Is that Gaven?” Ingrid lifted a pale hand to shade her equally pale blue eyes and stared into the setting sun’s light.
Irritated, Elijah only nodded.
“He shouldn’t force the emissaries to act. They’ll just send him to the Farm,” Ingrid said.
Elijah squirmed uncomfortably. He couldn’t let Ingrid know how close he had come to crying. “Should we say something?”
She thought for a moment. “He lost his family today… leave him alone.”
Elijah was grateful for her empathy—a rare trait among a culture where deep emotions were deemed distasteful. The chastisement of Gaven’s actions was nothing more than rote; one of the strange laws they’d followed compliantly since the End nearly thirteen cycles prior.
Elijah often wondered what it had been like before the End, but he couldn’t picture it since he’d been born into the new world. Now, all he had to imagine the lives of his parents and siblings were pictures and remnants. He wondered if it was harder for the others who knew both, or for him not to have known it at all. The way they mentioned it was almost reverential; he was sad he would never understand.
In the village behind them, hushed whispers announced the coming of the emissaries.
At her hip, Ingrid’s hand tightened on the pommel of her short sword, and Elijah followed suit. Did someone already call them? He wondered. After a few minutes of fearful expectation, he forced his hand to unclench.
After all we’ve seen today, Elijah pondered as survivors turned and dissipated into the dark houses of the settlement, maybe they don’t want to cause more pain?
It wouldn’t last, though.
It never did.
Whose got two thumbs and a bunch of pieces being published?
I just got an e-mail back from The Aviator, which is my school’s art and writing editorial! They let me know that of the seven pieces that I submitted, an astonishing FIVE have been selected for publication! Three in the upcoming issue, and two in the following one!
I love having my work published!