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As for Denise we could say: “Denise twisted her wedding ring nervously waiting for John’s answer”.

The secret is that when you decide on a mannerism you also decide when and why they use them.

In the examples above, John pulls his lip when he is thoughtful or considering a difficult decision for instance, and Denise twists her ring when she is nervous or anxious. In this way mannersims fill out, in a subtle way, the personality of the character. We now know John is thoughtful and perhaps doesn’t make snap decisions, and Denise may be of a nervous disposition and needs reassurance and support.

All these character forming mannerisms are part of the writer’s arsenal of tricks to build believable people to populate a story.

When deciding what mannerism to use for a character, make sure it is appropriate for the person you have in mind. For instance, it may not be a good idea to give Major Dreadnaught a limp wrist, but he could have a habit of smoothing his moustache.

Watch out, however, for these two important points: Don’t overuse the mannerism. We can’t have John pulling his lower lip every five minutes for no reason. It will simply turn the reader off. Second: Be careful not to give any character too many mannerisms. We don’t want them jiggling about like puppets on strings, do we?

In a short story it’s probably best to give mannerisms to just the main characters. Minor characters can remain on the bland side. For a novel, more characters can be fleshed out in this way, although again, it’s best not to overdo it.

So, apart from pulling lips and twisting rings, what can we have our characters doing to indicate who they are and what they’re made of. The list is virtually endless but will involve a movement, no matter how small, of some kind, and will often, but not always, give an indication of what is going on in their head or their heart. From a simple sniff to the angry beating a fist against a wall, they can be used to reveal thoughts and emotions.

Readers love characters with personality, and by using these, sometimes quite small, mannerisms you can help your readers understand how they tick.

About the Author

Mervyn Love offers advice, resources, competition listings, Writers Questions and Answers and much more on his website WritersReign.co.uk Subscribe to his free Creative Writing Course here: http://www.writersreign.co.uk For an excellent ebook on Building characters, go here: http://www.writersreign.co.uk/1/quirksa

ISTC 0A9-2010-12B4A105-7 and may appear on the back cover but is more likely to be referenced just on the copyright page and will be listed in database information about the book.

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In this way, you will be able to tell instantly whether a trade paperback, a hardback, an audio book or an ebook have the same content.

It should also help end the confusion on whether different presentations of the same book should have the same ISBN. They should not. They should have the same ISTC.

The issuers of ISTCs will almost certainly be the same as the issuers of ISBNs, in other words the biggest players will be Bowker and Nielsen under the supervision of the ISTC Agency using a single, global XML database system.

Items covered are described as “creative works” such as prose, poetry. lyrics, original screenplays, audio and stage scripts. Photographs, although they can be part of such works, are not in themselves covered and while graphic novels would be, the registration would cover only the text elements of these.

The registration agency will run a computer test to check whether the content has already been registered. Works can be registered by an author, publisher, agent, library, rights management or collection agency or distributor.

It is not yet clear what the fee structure is likely to be. The present ISBN structure is commonly a price per code which reduces with quantity, although there are provisions is some countries for free issue of ISBNs, especially single registrations.

The ISTC identifier is a 16-character code (using numbers 0-9 and letters A-F, i.e. the hexadecimal system) in four sections to identify the registration agency, the year of registration, the identifier and a check digit. It has no section for registrant, so the same content can be published by different publishers but would have only one ISTC. That’s a major difference to the ISBN which identifies primarily a publisher.

A work that is translated, abridged, annotated, a compilation, criticism, excerpt, expurgated, revised or adapted, will get a new ISTC but the metadata for that must state the original ISTC and just what its relationship is. This will also be a problem for authors and publishers of non-fiction works which have frequent editions. New ISBN are usually adopted if there is anything but superficial changes but often there are substantial changes between editions, and all degrees in between. It seems it will still be a matter of opinion with the publisher making the decision whether to use the same ISTC or gain a new one with a reference to the original.

There will be internet search engines to identify works from the ISTC and for prospective publishers etc to search on title, author etc to establish whether a work has been registered. They will not link to ISBN data and it would be normal for a work to be registered for an ISTC well before it gains an ISBN, such as that an author might register it before submitting to an agent or publisher, or an agent might register a work before submitting it to publishers.

No one will own any single ISTC once it has been created and an ISTC will not imply any rights to the material. (To my mind, however, it may discourage plagiarism).

It may help in book searches, since once a particular example of a work has been found, that will provide the ISTC which is what is needed to identify the work in other formats, even if they have a different title. It may also help avoid duplication of acquisitions by libraries.

The usefulness of ISTC will increase with time, more rapidly if the registration agencies and especially those who already maintain databases used extensively by the book industry decide to start entering past works. There seems to have been some indications that this will happen though that may depend on what they see as possible financial benefits.

For an author or small publisher ITSC is not something they need to act on instantly, but they do need to watch what is happening. Once the codes start to appear for new works by major publishers in your genre then that will be the time to act. In the meantime you may like to delve further:

Book Industry Study Group discussion paper: http://www.bisg.org/contentweb/papers/the-international-standard-text-code-istc-a-work-in-progress/

You can also find “A 2009 overview” by Andy Weissberg, VP of Identifier Services at Bowker: and the ISTC user manual on the ISTC International resources page http://www.istc-international.org/index.php?ci_id=1820

About the Author

Gordon Woolf is the author of several books including Publish Your Book, How to Start and Produce a Magazine and (jointly) Success in Store: How to start or buy a retail business, enjoy running it and make money, which has been reissued in a second edition which is being printed concurrently in both Australia and the USA. His blog is at http://www.gordonwoolf.com

Before signing an agreement, you may wonder what things you need to consider. Many literary agents may not be legitimate. You should evaluate terms and contents stated in the condition the agency offers you.

Find the right agent to represent your work with the Guide to Literary Agents. Available @ Amazon.com

1. Duration

The term or duration of your agency agreement is a critical factor. The range of terms varies from thirty days to the whole duration of your work’s copyright.

Most authors don’t want to be bound to an idle agent for a long time; on the other hand, literary agents are reluctant to sign short-term contracts with book authors. The best arrangement is one that allows any party to use a 30-day termination provision. This serves as a trial period to determine if your professional author-agent relationship can work.

If you have already signed a long-term deal, make sure you retain the right to terminate your agreement if your agent has not helped you sell your book within a certain period of time.

2. Scope

Most agreements grant the literary agent rights to represent your work internationally, in all types of media, and in all formats. All of your existing works during the contract period is covered.

This agreement may not always work for you, so consider negotiating your agent’s control to specific projects, especially when you are starting out. If things go smoothly with your agent, you can always adjust and broaden his or her scope of control.

You may want to use a different literary agent to handle subsidiaries like film, audio, and foreign deals. This may be applicable if you feel your agent lacks expertise in a specific market.

3. Commission

Usually, this part of the agreement is non-negotiable. Most agents charge a fifteen percent (15%) commission from your royalties. You can expect an additional five to ten percent (5-10%) for international distribution, as your agent may need to compensate his sub-agents in foreign countries. You should expect to pay as much as a twenty-five percent (25%) fee for a foreign sale.

There are exceptions: if you discover a foreign publisher and you want your agent to negotiate the deal for you. In this case, some agents may lower their usual commission.

4. Disbursements

Since the literary agent will receive royalties and advances from the publisher, make sure your contract includes an agreement that requires your agent to deposit all funds on your behalf into a separate and private account instead of your agent’s account. Make sure your contract grants you to receive your regular payment within 10 business days.

5. Expenses and Accounting

Negotiate with your agent as much as possible, especially if you incur any excessive and unusual expenses. Such expenses should not exceed a specific amount without your permission and should not be taken directly from your pocket, but should be deducted from future royalties instead. If your agency agreement absorbs most client expenses as a part of their commission, then this would be a better deal.

Make sure your agent is willing to provide an accounting report along with other IRS documents at least once a year. You need to ensure that cash flow from your royalties is going to all the right places and your agency is not scamming you.

6. Powers and Assignment

Beware of agreements that give your agent different powers that originally only you should have. Such powers may include signing checks and contracts on your behalf. Your contract should also not be transferred to a publisher or agent without your permission.

If you granted your literary agent with too much power, then you should negotiate to decrease them, especially if you have not yet earned trust with your agent.

7. Bankruptcy, Disability, And Death

Check if your contract includes the clause that all your royalties may be transferred directly to you, in the event of bankruptcy, disability or death to your agent. The prevents your royalties from being tied in court due to events that your agency may have experienced.

A literary agent’s job is to help you voice your concerns between you and the book publisher. Always review your agency’s contract to determine if you have the right representation that supports your best interests.

Some literary agents may scam you with your creative abilities. These people make themselves rich at your expense; the only way they could do this is if you allow them to do so. Be smart in signing any contracts and stay true to upholding the value of your intellectual property.

About the Author

Brian Scott is founder of Book Proposal Writing ( http://www.BookProposalWriting.com ), a free website that teaches you how to write a book proposal. Download your free sample book proposal today.

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In general fantasy and science fiction, the main characters have abilities that are a match for the antagonists. In horror, that is often not the case. Frodo had Sting and his elven mail to protect him. In Star Trek the crew members of the Enterprise have their wits, their training and their equipment to deal with their enemies. In a Zombie apocalypse, the main characters typically have little or nothing to protect them except what they find lying around.

In general fantasy and science fiction, the heroes typically have someone that knows what is going on and can explain what they will face. In horror this is seldom the case. Obi Wan Kenobi, Gandalf, Dumbledore or some higher up in Star Fleet command or some member of the ship’s crew can usually give the lead characters at least some idea who they are up against and how to beat them. In horror, if there is someone that actually knows what is going on, they are probably in an asylum or some other inconvenient location, and their warnings may not make sense until after someone has been eaten. In addition, wise old mentors in horror have a disturbing habit of being wrong on very important issues. In a horror story, the protagonists are often responsible for their own survival and victory.

In general fantasy and science fiction most if not all the main characters come through all right in the end. In horror, the winners may well come away scarred for life. That’s assuming any of them actually survive. How many lead characters were dead at the end of Lord of the Rings? How many of the crew that don’t wear red shirts are killed in the average Star Trek episode? Sure there are exceptions to this, but in many cases even if a lead dies, they get brought back through some miracle of science or magic. Don’t count on this in horror. In a good horror story everyone is expendable. Even if there are survivors, they may still not be in good shape at the end. Many of Lovecraft’s protagonists found themselves long term residents of mental institutions by the end of his stories. They were often considered the luckier ones.

In general fantasy and science fiction, the heroes have a chance to stop the villains. In horror this may well not be the case. Fantasy and science fiction give a wide variety of means to combat a hopeless situation or otherwise impossible odds. In horror, if the ultimate evil actually makes an appearance it’s questionable whether it can be stopped at all. Frequently the key is dealing with the frail humans that are its allies before they can bring it all the way into our world. If the heroes mess that up, it’s all over. At the very least, putting an end to the ultimate evil may require the sacrifice of everyone’s lives or sanity or something equally valuable. The world wins, but the heroes lose.

So, if you are interested in adding a bit of horror to your fantasy or science fiction story, look at these guidelines and apply some of the horror end of them to the plot. Adding fantasy or science fiction to a horror story is generally as simple as making the thing that is stalking the protagonists some unearthly horror be it an alien from beyond or a demon from beyond. Give some genre blending a try and you’ll add variety and some suspense to your stories and perhaps make them a bit more exciting.

About the Author

Colin Neilson is an author and publisher of speculative fiction articles, stories and reviews. Readers interested in speculative fiction should go to Spectacular Speculations for a new electronic speculative fiction magazine. Authors will be interested in the author’s page which contains submission and publication information.

While they are also common in non-fiction, they are not so common but the same rules will still apply. I do not wish to leave any writers out of the proverbial loop.

Most writers already know the fundamentals of using quotation marks. In many instances however, a character or characters in a novel setting will be quoting each other as well.

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Most word processors will be able to differentiate the two and if not, an apostrophe will work just as well when you are typing something. If you are writing with pen and paper as I frequently do, if your handwriting is anywhere near as bad as mine is, nobody will ever be able to read it anyhow so it really does not matter as long as you can understand what is there and translate it when necessary.

Many writers will be familiar with the old “he said” and then “she said” in the telling of a story. “Oh my!” they exclaimed in unison as they made their way through the dark, dusty and dimly lit hallway.

However, a great portion of many stories involves interaction between the characters and references to other characters are often used within these dialogs. In these cases, when one character is quoting another, it is not important what the motive is either of the author or of the characters.

The rules will always be the same.

“I was talking to my friend the other day and they said ‘the times are changing, darkness fills the air every day now’ and then they told me of many other mysteries.”

The actual quotation in the dialog between the characters was included in single quotes.

It may actually look very awkward when the quote within the character dialog is placed at the beginning or ending of a sentence however, but this should not deter you from using proper grammar. If you are like me and do not like the way it looks, you can always change the dialog around.

Still, since many people will see things differently, those examples need to be examined here as well.

“‘Many are the mysteries of life!’ he said to me as he was leaving.”

In the preceding instance, the primary quotation is there because it is part of the character’s dialog.

It is followed by the single quote to indicate that it was a quote within a quote.

When the quotation is at the end of the sentence, it will look the same but there is still the matter of punctuation to be considered as well so it can seem a little tricky at first. Just remember that if there is a complete thought or sentence within the quotation marks, the punctuation is also included inside of the quotes.

If the quotation is not a complete thought, the punctuation goes outside of the quotation marks.

“As I was walking back to my house after this eerie chance encounter, I was suddenly startled to see the same mysterious man. I do not know what surprised me more, the fact that he had been walking the other way when I left or when he looked at me and said ‘Beware the darkness!’”

Notice that there is no additional punctuation for the sentence of the character’s dialog but only of the quote. While this is not by any means the only correct answer to the problem of double quotations, it is one of the most common methods and will usually allow you to get your writing past the initial proofreader and into the editors desk for selection.

Certain styles of writing will require some variations and I must include that fact as a disclaimer. Additionally, while it may occasionally be necessary to include a tertiary quote, it is best avoided if possible. On those occasions when it is necessary, alternating between double and single quotation marks is the general rule to be followed.

About the Author

Ward Tipton is a Professional Writer who personally prefers writing his science fiction but has spent the last five years providing highly specialized and quality informational product creations and online content for his clients. Ward Specializes in E-Mail Marketing Campaigns, promotional content and quality online articles for your web sites, article directories, press releases and more! Visit the Eclectic Ward Website today for truly Professional Writing Services.

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One way to attract readers is to create a Facebook Fan Page. Facebook Fan Pages are micro sites on Facebook dedicated to sharing information about a variety of things including a specific business, product, artist, service or, in this case, a novel. A fan page on Facebook provides a place for lovers of your book to congregate and talk about the characters, the plot and provide you with constant writing motivation by poking you, incessantly, for a sequel.

Your novel’s Facebook Fan Page also serves as a marketing tool where you can keep readers updated on release dates, special promotion, author signings and works in progress. You can also use it as a platform to provide additional character and story information that was left out of the book but gives readers a more in-depth understanding of the novel.

Creating a Facebook Fan Page is very easy. You must have a Facebook account first so if you don’t have one (why?), create an account for yourself before you start.

Once you have a Facebook account, go to Facebook.com homepage and click on the link at the bottom titled “Create a Page for a celebrity, band or business”.

Select “Brand, Product or Organization” and then from the dropdown box choose “Consumer Product”.

Fill in the name of the page. The best name to use is the name of your novel. If you want to create a page for a book series then use the overarching name of the series rather than an individual book title (i.e. “Harry Potter Series” instead of “The Prisoner of Azkaban”)

Enter the verification code and then click “Create Page”

Sign into your Facebook account. You will then be taken to the home page of your fan page where you can begin editing the profile.

Promoting your book’s Facebook Fan Page is as simple as adding the address to every piece of advertisement for your book. Be sure to let your publisher know that you have a fan page on Facebook for your novel so they can add it to any marketing material they create for your book.

You should also add the link to the Facebook Fan Page to any signature space that allows live links such as at the end of emails or the bottom of your forum posts (if you participate in forums). Don’t forget to invite your followers on other social networks to stop by and check out the page.
Using social media to promote your book doesn’t have to be a daunting task. Start small by creating a Facebook Fan Page. When you are ready, move on to other tactics that will expand your reach and help you can capture the readers you want. Good Luck!

About the Author

Arwen Taylor is the founding editor of The Plot Cafe Creative Writing Magazine; an online fiction writer’s magazine designed to move you from idea to print. Visit The Plot Cafe for creative writing prompts, writing tips and publishing info to help you think, write and publish.

Will Write for Shoes. A no nonsense guide for writing chick lit available at Amazon.com

A good chick lit read will contain the following key elements:

* A female lead: The main character will be struggling in at least one if not all of the dimensions of her life. These dimensions generally being her career, her love life and her relationships with family and friends.

* A unique style of writing: Often being as a recount of the heroine’s disastrous efforts in love and life, this can sometimes be in a diary format, such as ‘Bridget Jones’ Diary’, which was one of the more successful chick lit books on the market. The style of writing ensures that the book can be picked up, read and enjoyed in short bursts.

* Humour: The book will generally highlight the character’s failings or day to day happenings with a humorous slant.

* Sexual themes: A good chick lit will not shy away from the inclusion of sex and it is often written about in a very frank manner.

* Glamorous setting: These stories are often written around the supposedly glamorous worlds of fashion or media, although more often than not the story reveals that the reality is not quite as the reader would expect.

* Modern references: References to the latest designer shoes or to celebrity lives can often be found in a good chick lit and it adds to the relevance that the reader can find within the story.

* An unexpected twist: Although chick lits are expected to be an easy read, the more successful books always have a quirky outcome or twist that makes finishing the book even more worthwhile.

So if you want to write successful chick lit make sure you incorporate these simple elements.

ABOUT THE AUTHOR

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Get advice from a pro. Ayn Rand's The Art of Fiction available at Amazon.com

Rand obviously had something going for her. She didn’t lack for productive firepower. Her two best-known works, “The Fountainhead” and “Atlas Shrugged,” weighed in at 750 pages and 1,200 pages, respectively. In total, she authored more than 15 books and many more were written by other authors about her enduring career. There is even an Irvine, Calif.-based Ayn Rand Institute founded in her honor.

But here we boil down Rand’s best practices to her five-step writing process. A short treatment to the hundreds of pages she produced in her books about fiction and non-fiction writing.

Step one: Limit your subject. This might sound elementary but it’s a common mistake writers make. Rand advised writers to ask three questions at the start of any project.

1. What will I write about? Define the topic and stick with that focus. And be sure that you can cover it adequately within the parameters of the project.
2. What do I want to say about this subject? Determine the theme of your project – the point of view that you want to communicate. There’s a lot of writing that takes up space and time but doesn’t really have a lucid point or destination.
3. Is what I have to say new? Am I adding something to the sum total of human thinking and creativity? If not, then don’t put pen to paper at all.

Step two: Judge the audience. Understand who that audience is. Most of us, and certainly all business writers, are writing to an audience. So, to write persuasively we need to identify the characteristics of our intended audience.

Step three: Create a plan of action. Like many experienced writers, Rand was a firm believer in the power of the outline and suggested two tests to measure an outline’s completeness. The first is the essence test. An outline is complete only when you can understand it as a unified whole. The second is the test of final causality. This test, which Rand adapted from Aristotelian philosophy, says that when your outline establishes and details a logical chain of cause-and-effect steps that lead to the established conclusion, it is complete. Many writers still refuse to do the upfront work involved in drafting the outline. Yet, a well-conceived outline can speed the writing process and make it sure-handed.

Step four: Draft from the subconscious mind. Rand suggests that you write without stopping and, to the greatest extent possible, without consciously thinking out each sentence. This technique sidelines the internal editor and allows the mind to roam freely and fully express its creativity.

Step five: Edit objectively. Rand proposed a three-level approach to editing.

1. Focus on the structure of the work. At this level, you need to ensure that it progresses logically – that scenes and ideas build on one another – and that it respects the reader’s intelligence.
2. Focus on clarity. Make sure the writing is communicating exactly what you intend it to. Rand said writing’s purpose is to communicate exactly what you intend it say. She warns writers to beware of “over-condensing” (cramming too much into a sentence or paragraph). Clarity is fundamental to writing but it’s often sacrificed for stylistic considerations.
3. Consider style. Her style tips include:

* Don’t complicate a simple thought
* The simpler the words the better
* Don’t use sarcasm, pejorative adjectives or inappropriate humor
* Don’t use bromides (i.e., trite sayings)
* Don’t use unnecessary synonyms

This approach certainly worked miracles for Ayn Rand. Though the Russian-American novelist, playwright and screenwriter passed from this world in 1982, her most popular books remain mainstays in bookstores across America. No bookstore of any size or seriousness would be without The Fountainhead and Atlas Shrugged. Her books, almost 30 years after her death, are expected to sell 2 million copies this year, up from an average of about 300,000 per year.

We would certainly do well to follow Ayn Rand’s writing techniques.

ABOUT THE AUTHOR

Mike Consol is president of MikeConsol.com, which provides business writing seminars, Web 2.0 strategies and media training to midsize and large companies. Consol spent 17 years with American City Business Journals, the nation’s largest publisher of metropolitan business journals with 40 weekly newspapers across the United States.

Put your magnum opus aside for a few days and rest. Then give the manuscript one more critical look. Are you sure you’ve said everything you want to say? Once you’re satisfied, you’re ready for the next crucial step to making your manuscript the best it can be—a peer review.

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A Necessary “Evil”?

A peer review involves sending your manuscript to fellow writers, other experts in your field or genre, and readers in your target audience for their feedback. As those who’ve been through the process know, a peer review can be frustrating and nerve-wracking. The reviewers’ role is to help you “see” what you’ve written, and you may get feedback you don’t want to hear. But you also garner valuable information to make your book better.

Reviewers point out what’s working in the text or storyline and what isn’t. They may nitpick on the wrong things and take you on tangents, offering suggestions that don’t advance your ideas. Still, feedback from reviewers is essential because they bring a variety of perspectives to the book—as your buyers will. Be prepared for ideas that could be so far off you wish you could take back your manuscript and say “never mind.” But also be ready for dynamic and brilliant suggestions.

Keep Reviewers on Track

To ensure reviewers’ comments are valuable as opposed to distracting, guide the process the best you can. How? Consider these suggestions:

• Be specific about what you want peer reviewers to look for.

• Ask them if the content seems complete or if you’ve overlooked something important.

• Also ask them to forgive typos, punctuation glitches, and the like, as those issues are addressed in the editing process. You want them to focus on content.

Be Grateful for Valuable Feedback

Resist the temptation to skip the peer review. Reviewers’ questions often reveal muddy spots that need to be cleared up. Thank them! It’s easy to get your nose too pressed to the computer screen to see the overall picture. Peers may notice places where you need to expand on your message or where you haven’t used words correctly. These problems you can fix with a little more thought and a good word or language reference. But don’t rely on reviewers for nitty gritty editorial glitches, or you could receive a confusing patchwork of opinions. Best to let your editor ensure consistency and precision when it comes to details. You can’t expect that from peer reviewers.

When you instigate this review process, you’ll find that people appreciate being asked. What’s more, you’ll have ambassadors out there when your book finally launches.

About The Author

Barbara McNichol helps nonfiction authors through expert editing and her searchable e-guide, Word Trippers: The Ultimate Source for Choosing the Perfect Word When It Really Matters, available at http://www.BarbaraMcNichol.com.

Do you ever make any of these common mistakes with your writing? Now might be a good time to drop them from your regular use.

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Using irregardless as a word

Irregardless is not a word. Regardless, on its own, already means “without regard.” What, then, does irregardless mean? It means you’re not a good English writer, that’s what!

Adding the suffix -wise to everything

Lots of common words end in “-wise.” That doesn’t give you the license, however, to affix it to everything. Words like “specs-wise” and “profit-wise” have no place in formal business writing, or for any form of writing in general.

Using gift as a verb

Some nouns may be used as a verb but gift, with the many action forms that can be used to express an act of giving, isn’t one of them. Instead of saying “We gifted him with a new toy,” you can use presented, gave, awarded, provided, confer and many more. Run your English grammar software through that sentence and stumble upon about a dozen alternative words you can use instead.

Avoid Repetition

When writing any sort of piece, whether it be an article or a report, using the right words can mean the difference between a compelling read and a tedious bore. Unnecessarily repeating words, even when they bear the correct meaning, can leave your writing bland and wanting in quality.

Take this paragraph as an example:

Gadget freaks, rejoice! The company has announced that the gadget will shoot videos in native HD resolution, which you can then stream to your HD-ready TV sets for full HD enjoyment.

Contrast it to this, which replaces repeated words across the text:

Gadget freaks, rejoice! The company has announced that the device will shoot videos in native 1080p resolution, which you can then stream to your HD-ready TV sets for a complete high-def viewing experience.

How many times can you repeat a word? Generally, avoiding use of the same word within the same sentence or the one immediately after it can endow your piece with added readability. In its place, you can use a pronoun or another term that carries the same meaning.

When trying to find words that can express the same idea, there’s no better tool to use than a thesaurus. Simply look for the word you’re intending to substitute and look for a suitable replacement. Many English grammar software applications come with a built-in thesaurus that you can use as reference while writing your piece. The software will also likely recognize excessive repetition in your text and suggest replacements from it.

This simple trick of avoiding the use of the same words over and over can facilitate tremendous improvements in your writing.

About The Author

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