For Authors

 This week:

Stan Barstow 1928—,
British Novelist, Playwright

Epictetus 50-120,
Stoic Philosopher

Flannery O'Connor
1925-1964, American Author

Pardon This Interruption
or, Dash it all! What’s the difference between a hyphen, an en dash, and an em dash?

Yes, and I’m exhausted just thinking about it. After emoticons and ellipses, the poor hyphen and its cousins, Em and En Dash, are the most overused and improperly-used bits of punctuation in the writer’s arsenal. Why? Perhaps it’s because that breathless sense of interruption makes the writing seem more urgent and exciting. To the author, anyway.

Used properly and sparingly, these marks can be quite effective. Overused, they’ll just leave the poor reader feeling as if he’s run a marathon, and lost.

Through misunderstanding and laziness (or failure to remember the ALT+ codes needed to represent these marks on the screen), many of us make the hyphen do work meant for the em dash or the en dash. Eventually, the hyphen rebels and spews itself all over the page in a neat form of revenge. So lest that happen to you, read on.

First, there’s the most common use for a hyphen: it can divide a word of two or more syllables if it occurs at the end of a line and there’s no room to squish it in. This is a typesetting convention. The only rule you really need to remember here is that you shouldn’t leave one letter of a word dangling on a line all by itself, and you should divide words only where the syllables break. Most dictionaries will show you how the word breaks into syllables, if you just aren’t hearing it correctly. (It can be a real challenge in certain geographical regions to get this right!) Most decent word-processing software can handle hyphenation quite well, automatically, if need be. But unless you’re typesetting something for a special publication and understand the terms “proportional font” and “kerning,” or you’re typing a manuscript using a good old monospaced font like Courier, it may be best to skip hyphenation and leave the right margin “ragged.”

Second, we use the hyphen between certain compound words. These may be generally accepted compound words, or compound words that you, the writer, invent for your own purposes. (If you enjoy doing this sort of thing, consider studying German, where it’s not only allowed but encouraged.) But here’s where things get sticky. Some compounds are spelled as two separate words (“open”). Some are hyphenated. And some, over time, have been smooshed together to make one word (“solid”).

See “Hyphens,” http://www.nyu.edu/classes/copyXediting/Hyphens.html, Sonia Jaffe Robbins, Editing Workshop, G54.1123, WEEK III. There are nearly thirty rules given for using hyphenation to form compound nouns and adjectives. I don’t think I can explain them any better here, so I suggest you look. Once you’ve had a chance to study the list, you may do either of two things: give up on using hyphens altogether, or print the list and tack it up next to your monitor. Then practice, using examples given.

Third, hyphens are used to glue certain prefixes to words. Sometimes. Just when you think you understand the rationale behind the rules, read the rules again. Take comfort in the fact that the rules for hyphenation are often guidelines, and may vary, depending on which style guide you’re supposed to follow. Different countries seem to have different preferences, as well, so hyphenation rules may depend on whether you spell it “color” or “colour.”

Fourth, hyphens are used with certain numbers and fractions. Use a hyphen to spell out numbers from twenty-one to ninety-nine. Use a hyphen to spell out a fraction when used as an adjective (e.g., the bowl was three-fourths full); hyphenation is not required when the fraction is used as a noun (e.g., use one quarter of the butter in the sauce). 

The em is a unit of measurement, traditionally the width of the character “M” in any given font. Thus, an em will vary in size from one font to another. However, in modern usage, the em is defined as the length from the lowest descender to the highest ascender in a given font (including diacritical marks, if applicable). In a 12 point font, the em would be 12 points. Aren’t you just thrilled to know that?

The em dash is used to indicate a break in thought, in much the same way as you would use parentheses or a colon:

He thought her dress quite garish—he would have preferred softer colors and a more discreet pattern—but quite becoming, nonetheless.

The em dash can also be used to show an interruption. In dialogue, we tend to show the speaker trailing off or mumbling incoherently through the use of ellipses. But if startled, or abruptly interrupted, an em dash might be more appropriate:

“George, what have you got there? It looks like—“ Carolyn gasped. George was holding his mother’s severed head.

The em dash is also used to indicate an open date range, like the ones you often see carved on a surviving spouse’s headstone (e.g., Joe Smythe, June 22—)

Rarely will the em dash have spaces on either side.

The en is a unit of measurement equal to ½ of an em. The en dash is used to link any two related things (e.g., mother–daughter tea; Chicago–New York flight); to show a closed date range (e.g., June 3–22, 2005); or, in place of a hyphen in compound adjectives, when one part of the compound consists of multiple words or is already hyphenated (e.g., pre–World War II, a high-priority–high-pressure assignment).

The en dash, surrounded by spaces, may be used in place of the em dash – provided you are not required to follow a certain style guide that prohibits this. Ultimately, it comes down to nationalistic conventions and stylistic preferences, with there being some disagreement between Americans, the British, and Germans as to how it ought to be done. Consult your local professional editor if you want to be scrupulously correct.

If it sounds too good to be true, it probably is. You've just finished your first novel. You've heard how hard it is to break into publishing; you've read tons of market listings that say "no unsolicited submissions, please!" You decide that it might be worth your while to hire an agent, so you begin searching for one who is willing to represent new writers. Eager, indeed, for fresh new talent to promote.

Is your book really good enough for an agent? Will they, like so many publishers, reject your labor of love? Here's where you begin to make your first mistake – deep in the back of your mind, you crave acceptance. You want your manuscript to be loved unconditionally. You do not want to see it with the jaded eye of a bean counter, analyzing its sales potential in today's literary marketplace. You are ripe for the picking.

A successful, busy agent may well turn you down if he or she feels that your work isn't marketable, or if he or she doesn't have the time to market it properly. Another agent may love that same manuscript, may be hungry for new clients, and may have contacts in different markets. A different agent may see something in your work that says "This is the next bestseller! I have to have a piece of this!" That's a business reality. Of course the best agents can afford to be picky – imagine being Stephen King's agent! (I wish.) Now, imagine being Stephen King's first agent, back before he was earning scads of money. What you need is a visionary, not a scam artist.

If an agent calls you and tells you how promising your work is and how eager he is to represent you, of course you're inclined to listen. Of course that's exactly what you've been hoping to hear. But you need to really listen. Do the compliments come with strings attached?

Some agents will ask for a retainer fee, up-front marketing fees, reading fees, or other fees from the writers they purport to represent. Beware! A reputable agent makes money from selling your work. Reputable agents will charge a commission of 15% on the advance and royalties from all uses of rights. All agent fees and commission should be collected out of book sale proceeds as they come in from the publisher. Publishing receipts generally come through the agent to the author, so the agents usually take their cut out as it passes through their hands. Be sure to choose a literary agent wisely. Some people who pose serious agents will ask for money up front, reading fees, evaluation fess, and pay-to-publish contracts. A reputable agent will earn their money based off of commissions and not from charging money to their clients. (from http://www.stliteraryagency.com/1197/literary-agent-literary-agents.html) You may be expected to pay some or all of the reasonable costs of marketing your work. Ask about commissions. Most agents charge a 15 percent commission on anything they sell on your behalf, and some charge for incidentals like photocopies and postage. And since agents only earn a fee when they have generated income for you, they have a strong incentive to work on your behalf. (from http://www.ehow.com/how_107938_hire-literary-agent.html) Notice that "reasonable costs of marketing your work" include such things as phone calls, photocopies of your manuscript, and postage, not glossy brochures and nationwide ad campaigns. Still other agents, searching for a stigma-free way to obtain money upfront, came up with the notion of marketing fees. Marketing fees go by many other names--contract, submission, processing, circulation, preparation, expense, retainer—but basically the idea is the same: the writer is being asked in advance to defray the expenses of marketing his/her work to publishers. (from http://www.sfwa.org/beware/agents.html) So these agents now expect the author to assume all of the financial risk and still be willing to share 15% of their income. Sure, they still have some incentive to market the work – after all, they could get a 15% commission, if it sells. But there's no incentive to turn authors away because their work isn't really marketable, or to work hard on their behalf – they've already been paid. By the same clients they were supposed to be helping to earn money. You might just as well self-publish and cut out the middleman.

A coworker of mine, Greg Morris, got sucked in by Dorothy Deering. (See http://www.edinboro.edu/cwis/polisci/jimfisher/scams/horror.html) Now, I just bought two of Greg's books (available through Amazon.com) and he's a good writer. Though the books are self-published, I think they are on a par with many of the traditionally-published mystery novels I've read. I don't regret the money I spent buying them. Had he taken a little more time to market them (irony of ironies, he's a marketing manager), I have little doubt he'd have been successful. As it is, he's sold enough to more than cover his costs in publishing them through iUniverse.com. He's still writing, in his spare time, and looks on the whole Deering incident as a learning experience. For some authors, though, it would be a crushing blow, both emotionally and financially. A serious dream killer.

If you have been scammed, realize that the scam is a business scheme – it doesn't necessarily mean that their compliments on your writing were mere flattery and lies! mmiles nearly fell victim to an agent scam. She turned to her friends on Writing.com and asked what we thought of the deal. I did a little searching on Google, and what I found there set off all the warning bells. I hated to trample on Mik’s enthusiasm and excitement, but I couldn’t stand by and let her be suckered in. She wrote back: As soon as [the agent] said she wanted $3000 up front, I was a little wary, though still excited. I think I mentioned I started searching for her client list on Amazon and BN.com and found nada. That's why I came here, because I knew you would know.

Intellectually, you know. Emotionally... you want to believe. That's why vanity press operations like Poetry.com are so hurtful, too. They're so good at the flattery. When a talented poet receives their marketing lit, it sounds great. When that talented poet learns that the guy who submitted something his cat typed up got the same letters, it hurts. It doesn't suddenly mean that the talented poet is on a par with the cat, but that's how it feels. The truth is that these people prey on everyone's hopes and dreams; they don't discriminate. What a feather in their cap it is to sucker in someone who actually has some talent or ability! These folks would dearly love to get hold of a naive John Grisham to lend themselves an air of legitimacy. Persistence will pay off, in the end. Keep the faith.

Holly Jahangiri

A great new hang-out for writers:

Yeah, you’ve heard this before, but it bears repeating. Before you go out and buy that lottery ticket, maybe you should invest in stamps.

Just one of many secrets to success as a novelist:

How do you write a successful query letter? One paragraph at a time.

What if all your wildest dreams came true?

C’mon—toot your own horn! It’s allowed—even encouraged—here:

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Johnny_mac

Super stars are hard to come by; you're one, Jessie.

Johnny-mac

—Jessie

Puditat

Another excellent editorial. A very nice style of writing, too.

Further to landoosh's query on both worlds, grammatically it is 'foot in both worlds' as it is a metaphor based on human experience. Thus a two-footed being could only have one foot in each place for it to make sense. Use it for a fantastical or animalian creature, and this leads to some interesting changes of phrasing. Two tentacles on each lily pad.

Big Mike 2humble2bragbut...

Jessie,

Excellent newsletter. Your humor makes the sometimes tedious (but necessary) study of the nuts and bolts of our craft very, exceedingly, superfluously, outrageously, and great fun! (Wow, I don't get to use those words very often; especially in one sentence!)

Victoria Earle

Jessie, thank you for this needed commentary on these practical symbols. The semicolon really serves a purpose other than to give our right pinkie a resting place!

I had a boss once that hated them! I stopped using them because of that, but they can be quite elegant. Nice work!

AuntyNelly

Hi Jessie, A great NL.

Your information on how to use colons and semicolons was very useful. It takes me back to my school days. Thanks AuntyNelly

mithrandir

I saw; I read; I remembered. Thanks for these facts that every writer should know, yet I still need reminding. Just enough information presented thoughtfuly and concisely, this newsletter was very pleasant reading. Thanks!

Angie

Great newsletter! First, you tackled the infamous comma and have now safely conquered the dreaded semicolon. Thanks!

Archweasel

Good article. I will never look at my colon the same way again, nor my semi-colon for that matter.

I do, however, have a question. You wrote, "Note this carefully: you must never use a colon right after a verb. If you say: “My favorite TV shows are ER, C.S.I., and Little House on the Prairie,” the verb are is performing the introduction, so the semicolon would be redundant". "Say" is a verb. Was this an incorrect use of the colon, or is it one of those exceptions that those who created proper grammar seem to be so fond of?

dmack

Thank you for a very helpful article. You've explained the use of commas, colons and semicolons so clearly.

I've always had a problem with commas; I never seem to get it right. I always have either too few or too many. When it comes to colons and semicolons, I panic. I needed this article.

bobneH .. aka.. just bob

Hi Jessie..re. colon In my story 'Super Bug' I introduce a list w/a colon. Those who bother to review usually object to it...but it stays

DuraH

Is guilty of splicing commas without a permit

I love getting feedback on the For Authors Newsletter – it lets me know you’re reading, and it tells me whether I’m writing about the subjects that interest you. Please keep those questions and comments coming!

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