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Identify Elements of Good Diction

The most interesting character facing a significant moral decision in a fast-paced plot and exotic setting will appear bland if the words used are wrong. The vocabulary choices and ways they are arranged to create a sense of style is known as diction. Consider the diction in this passage:

At first, they thought it was an earthquake. But the ground kept shaking and the dust kept rolling into the scarlet sky, and then came the bellowing of a vast herd. They watched the beasts, which looked vaguely like shaggy triceratops, blunder shoulder-to-shoulder some 30 meters wide over the grassy field in a column that would not end.

Notice how the words describing the event create a sense of terror: the ground doesn’t stop shaking, dust is roiling, the sky is a scarlet as opposed to blue, the enormous dinosaur-sized creatures bellow. In fewer than 60 words, the mood is set.

There are many techniques you should keep in mind to improve your writing’s diction. They generally fall into five broad categories:
• Word choice – Every word counts when you’re writing. The wrong words, for example, can leave a fuzzy impression of a character or scene while others are ambiguous, creating confusion about what is meant.
• Tight writing – Sometimes unnecessary words are added to a sentence. The result is that the story slows or the scene grays.
• Syntax – A story is not just a collection of well-written sentences. Those sentences must flow together in a rhythm that effectively creates a mood or tone.
• Active vs. passive voice – Related to word choice and tight writing, the verbs you use either can leave you with a story that purrs like an Indy 500 race car or one that sputters like a junker on concrete blocks.
• Verb tense – Whether you tell the story as if it is unfolding before the reader in the present, as would a stage play, or recount events that occurred in the past, the verb tense you use will alter the pace and the story’s readability.

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My name is Rob Bignell. I’m an affordable, professional editor who runs Inventing Reality Editing Service, which meets the manuscript needs of writers both new and published. I also offer a variety of self-publishing services. During the past 15 years, I’ve helped more than 400 novelists and nonfiction authors obtain their publishing dreams at reasonable prices. I’m also the author of the Storytelling 101 writing guidebooks, four nonfiction hiking guidebook series, and the literary novel Windmill. Several of my short stories in the literary and science fiction genres also have been published.

Check out some of my writing guidebooks:

Constructing Your Story’s Main Character

Typically a story is about a single character who overcomes some problem. This player in your story is called the main character. Common examples are Dorothy in “The Wizard of Oz,” John in James Baldwin’s “Go Tell It on the Mountain,” and Jessica Fletcher in “Murder, She Wrote.”

Main characters usually are the hero of the story. The tale often is told from their viewpoint. Quality main characters typically:
• Possess likable traits but also have a major flaw – Your main character may be brave, intelligent, a natural leader and handsome, but he also ought to be indecisive, obsessed or hold some other negative quality. Your character runs the risk of being melodramatic (or too perfect) if he doesn’t possess some flaw. Such stories may be fun for kids to read (and possibly even instructive for them) but is not a believable story for an even slightly discerning adult reader, who will view the character as unrealistic.
• Face a challenge that attacks him at his weakest point: his major flaw – To succeed, the main character must grow and develop in such a way that he confronts and overcomes his major flaw. Oftentimes, to overcome his major flaw, he must surrender something of “inestimable value” to himself. By overcoming this inner conflict, the main character should gain something of inestimable worth. Such challenges maximize tension in a story and allows the reader to take something with him when he’s finished the story.
• Overcome conflicts that allow him to grow – All conflicts that the main character faces should serve to point or direct him toward ultimately overcoming his major flaw. By overcoming such challenges, the main character inches closer to realizing what he must do to solve his major flaw, which in turn allows him to overcome the problem that set the story in the motion.
• Don’t give up – Main characters almost always fight to remain in control of their lives. They want to determine their own destiny.

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My name is Rob Bignell. I’m an affordable, professional editor who runs Inventing Reality Editing Service, which meets the manuscript needs of writers both new and published. I also offer a variety of self-publishing services. During the past decade, I’ve helped more than 400 novelists and nonfiction authors obtain their publishing dreams at reasonable prices. I’m also the author of the Storytelling 101 writing guidebooks, four nonfiction hiking guidebook series, and the literary novel Windmill. Several of my short stories in the literary and science fiction genres also have been published.

Check out some of my writing guidebooks:

How to Properly Punctuate ‘et al.’

One of the most common abbreviation mistakes that new writers make, especially when penning academic papers, is the Latin phrase et al. Part of the problem is that we don’t know Latin; another part is that neither do our computer spell checkers.

Et al. means “and others”. Et is Latin for “and” while alii is Latin for “others”. In modern English, we don’t abbreviate et but we do abbreviate alii to al. Because of this, the correct way to spell et al. is with one period after the l, as in: Boston et al. found that hiking just 20 minutes a day can change a person’s mood for the better.

Sometimes writers will forgo the period after the last l, but for academic papers written in APA style, it is required. A few spell check programs will flag this as an error, however, so watch for it.

Make Use of Local Dexterity

One of the kindest things writers can do for their readers is employ “local dexterity.” This occurs when images, sentences, paragraphs and scenes are pleasurable to read because of their vividness.

To achieve the descriptions, imagery and symbolism in your story must work in concert with all of the other techniques discussed so far in this book. Imagery that is written in passive voice, for example, will remain weak writing.

Consider this passage:

The stuffy house was dark from the drawn curtain. Yellowed Cape Cods were over the kitchen sink. Boxes and stacks of newspapers lined the walls. Abbie saw one pile with by an edition dating back some 15 years. The furniture was at least that old as well. Peter was unhappy for suggesting they go inside. Sitting at the dining table, he pushed away dirty dishes and an open cereal box. Lyle, his eyes caked with gray dust and belly sticking out even farther than usual, slumped in a chair across from him. Their father went into the living room, his mouth open. He was like a senile old man trying to gain his bearings.

The passage could use a little tightening, some variety in sentence structure, and definitely active voice verbs. It could be rewritten as:

The wind died as they entered the stuffy house, dark from the drawn curtain and yellowed Cape Cods over the kitchen sink. Boxes and stacks of newspapers lined the walls. Abbie noticed one pile topped by an edition dating back some 15 years. The furniture appeared at least that old as well, and for a moment Peter reproached himself for suggesting they go inside. Sitting at the dining table, he pushed away dirty dishes and an open cereal box, while Lyle, his eyes caked with gray dust and belly sticking out even farther than usual, slumped in a chair across from him. Their father lolled into the living room, however, his mouth hanging open as if a senile old man trying to gain his bearings.

Notice how the second passage describes the house and three men in a clear and striking manner compared to the way it originally was written. As both passages’ images are life-like, readers can visualize the scene as they would an immediate experience – but since the second passage makes better use of diction and narrative drive, its imagery is more effective. Be careful of using local dexterity to hide the absence of drama or conflict, however. If you enjoyed reading a passage you wrote but keep telling yourself that nothing happened in it, you’re going overboard with local dexterity.

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Check out some of my writing guidebooks:

Plotting Your Book: Falling Action and Denouement – Inventing Reality’s Newsletter for Aug. 26, 2025

Plotting Your Book: Falling Action and Denouement
Though your story may have reached its climax, the tale isn’t over yet. Loose ends must be tied up. This typically occurs int he story’s falling action and denouement. READ MORE

Make Sure the First Page of Your Story is the Best it can Be
My writing guidebook Write Your Story’s First Page looks at the 11 must-have components of your story’s first 250 words. These include starting in the middle of your story, writing a killer first line, introducing your protagonist, and more. Being aware of what readers need and expect from the first page of the book – even though they often aren’t aware themselves of those elements – is vital to ensuring you make the most of your story’s opener. SEE BOOK

Writing Tip: Improve Writing’s Texture by Avoiding Repetition
One of the quickest ways to ruin a story’s texture is to repeat the same word between sentences and paragraphs. As with any “writing rule,” of course, there are exceptions. READ MORE

Self-Publishing Tip: Trademark Registration is Overkill for New Writers
Authors who’ve written a series of books or who’ve created a publishing house (also known as an imprint) to publish their books sometimes purchase trademark protection in an effort to protect themselves. This almost never is necessary, though. READ MORE

This Week’s Podcast: Select a Viewpoint That Gives You Flexibility
Stories don’t have to be told only from the main character’s perspective. Indeed, the story’s author often narrates a story about a character rather be that persona. When this occurs, authors are writing in third-person point of view. LISTEN TO PODCAST

Book Marketing Tip: Speak about Book’s Topic to Various Groups
When promoting your book, you don’t have to limit public appearances to book signings or radio/television interviews. You might consider creating a presentation related to your latest book’s topic and then finding places to present it. Of course, your book(s) will be on a hand for sale, and you’ll be introduced as the author and such-and-such title. In short, you’re using your status as an author to speak to a group rather than pitching yourself as someone with a book to sell. READ MORE

Client Spotlight: “Bessie Howard, Virtual Sorceress: Her Amazing Adventures through Time and Space!” by Gib Check
About three years ago during covid, Gib Check used his spare time to write a middle grade novel that had been floating in his head for a long time. After I edited the manuscript, Gib published his tale about science whiz Bessie Howard, who has her life all figured out: college at a prestigious university where she’ll learn to be a cyberneticist. But one day while playing a virtual reality game with her friends, something strange happens – she’s teleported to wherever the game is set… the Age of Dinosaurs, the Battle of Gallipoli, the Civil War, Mars. As she tries to figure out why this is occurring to her, unscrupulous powers at Ultra Tech catch wind of her ability and seek to learn how it’s happening for their own personal gain! CHECK IT OUT

$25 Off Your Next Edit!
For being a newsletter subscriber, please take $25 off your next edit with Inventing Reality Editing Service. When scheduling your edit, be sure to mention you’re a subscriber and give the email where you received this newsletter. Minimum order of $200. Offer expires Sept. 2, 2025. SCHEDULE EDIT

My name is Rob Bignell. I’m an affordable, professional editor who runs Inventing Reality Editing Service, which meets the manuscript needs of both aspiring and published writers and offers a variety of self-publishing services. During the past 15 years, I’ve helped more than 400 novelists and nonfiction authors obtain their publishing dreams at reasonable prices. I’m also the author of a novel, the Storytelling 101 Quick Read series, four children’s books, more than 25 bestselling hiking guidebooks, and even a book of poetry. Several of my short stories in the literary and science fiction genres also have been published.

Develop a Sense of Voice

Great Writing Quotes by Author Ursula K. Le Guin

A story rises from the springs of creation, from the pure will to be; it tells itself; I takes its own course, finds its own way, its own words; and the writer’s job is to be its medium.

Modernist manuals of writing often conflate story with conflict. This reductionism reflects a culture that inflates aggression and competition while cultivating ignorance of other behavioral options. No narrative of any complexity can be built on or reduced to a single element. Conflict is one kind of behavior. There are others, equally important in any human life, such as relating, finding, losing, bearing, discovering, parting, changing. Change is the universal aspect of all these sources of story. Story is something moving, something happening, something or somebody changing.

…the secret to writing is writing. It’s only a secret to people who don’t want to hear it. Writing is how you be a writer.

I have no control over my writing. I have lots of good intentions, but no control. There’s a story that wants to be told.

Writers have to get used to launching something beautiful and watching it crash and burn. They also have to learn when to let go control, when the work takes off on its own and flies, farther than they ever planned or imagined, to places they didn’t know they knew.

Readers, after all, are making the world with you. You give them the materials, but it’s the readers who build that world in their own minds.

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Check out some of my writing guidebooks:

Ways Your Main Character Can Ultimately Succeed – Inventing Reality’s Newsletter for Aug. 19, 2025

Plotting Your Book: Ways Your Main Character Can Ultimately Succeed
When reaching the climax of the story, the main character usually overcomes the central problem that he set out to solve. Still, this penultimate scene tends to play out differently from story to story so that no two tales that are truly original seem alike. READ MORE

How to Devise Your Story’s Plot
When writers come up with a great story idea but don’t know how to develop it, usually the problem is one of plotting. Understanding story structure – i.e. plot – would be extremely helpful in developing their story. My book Devise Your Story’s Plot is all about understanding the basic rules for constructing your story. It examines plot’s role in storytelling, the importance of conflict in plotting, and the five traditional elements of a plot. It also looks at some common plot pitfalls. The structural guidelines outlined in the book work for any genre, whether you’re writing a serious literary piece or penning in any of the escapist genres from romance or science fiction to mystery or fantasy. By the end of this book, with a little imagination tossed in, you should be able to construct an impressive plot. The book is available in paperback, audiobook and Kindle ebook. SEE BOOK

Writing Tip: Avoid Starting Sentences with ‘It’
Avoid starting sentences – and especially paragraphs – with “it.” By starting a sentence with “it,” you can confuse the reader. After all, what exactly does “it” refer to? READ MORE

Self-Publishing Tip: Use Consistent Style on Chapter, Header Titles
xxx https://inventingrealityediting.com/2023/04/30/use-consistent-style-on-chapter-header-titles READ MORE

This Week’s Podcast: Base Story on Overcoming Emotional Disturbance
Often a story is not about defending the world from some outside menace (out-of-whack event) or about obtaining some item (Macguffin) but is about overcoming some internal, man vs. himself struggle. In science fiction writing workshops, this type of storyline is called an emotional disturbance. LISTEN TO PODCAST

Book Marketing Tip: Offer Valuable Content to Increase Sales
When promoting your self-published book, consider offering additional valuable content. This tried-and-true technique can drive readers to a service you provide or to other books you are selling. READ MORE

Client Spotlight: “Lady in Room Number Nine: My Grandmother’s Murder at the Empire Hotel” by Larry Ohman
In Lady in Room Number Nine, Larry Ohman recounts the story of Theresa Evans – his grandmother – in one of Montana’s greatest cold cases. On April 18, 1940, Theresa Evans was brutally beaten at the Empire Hotel in Butte, Montana. She never regained sufficient consciousness to tell what happened. Today, her murderer’s identity remains unknown. Could it have been her husband, who she hadn’t seen in four months? A woman who had spent months in town pretending to be a man until Theresa discovered the truth? The goon for the local crime boss to whom Theresa and her husband owed money? Someone else? I edited this book in 2022. CHECK IT OUT

What is “The Craft of Writing”?

“Writing is easy. All you do is cross out all the wrong words.” – Mark Twain

You’ve written an action-packed plot full of great twists. It’s got fascinating characters who grow and develop. You’ve maintained a consistent point of view, provided incredible descriptions of the setting, and even offered a profound message.

Yet, every time you read the story, it feels flat. Vanilla. Dare I even say…boring?

As a long-time novel and short story editor, I’ve read hundreds of manuscripts in which this was the case. Clearly the writer grasped some basics of storytelling. But like a comic who understands what makes a joke funny yet can’t get his audience to laugh, something in the story was missing.

After analyzing those manuscripts, I realized that many shared the same flaws…lots of passive voice…lots of exposition…lots of fat writing. Unfortunately, these authors had not yet mastered the craft of writing. Their delivery fell short.

In comedy, delivery is just as important as the words of the joke. Arguably, it’s a good portion of what makes the joke funny. Likewise with storytelling, craft is as important as the plot or characters.

Techniques such as varying sentence lengths, using active rather than passive voice, and avoiding clichés all make one’s writing stronger. Recognizing these methods is important because style can be the difference between readers buying more of your books or giving you a bad review at Amazon.com.

You can learn the craft of writing through a number of books available for purchase either at your local bookstore or online. There also are plenty of free articles and videos (including my blog) that are online.

As you master the craft of writing, you’ll begin producing better stories. It will be an amazing experience for you. You’ll soon start to realize the talent you always knew you had…at the very least, you’ll discover that simply taking a few minutes a day to practice your craft will lead to some impressive results.

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Check out some of my writing guidebooks:

Great Writing Quotes by Author Roland Smith

…a good writer should draw the reader in by starting in the middle of the story with a hook… Once you have the reader hooked, you can write whatever you want as you slowly reel them in.

When you do your research write down whatever interests you. Whatever stimulates your imagination. Whatever seems important. A story is built like a stone wall. Not all the stones will fit. Some will have to be discarded. Some broken and reshaped. When you finish the wall it may not look exactly like the wall you envisioned, but it will keep the livestock in and the predators out.

…what makes a story unique is not necessarily the information in the story but what the writer chooses to put in or leave out.

Everything you need to know can be found in a book.

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Check out some of my writing guidebooks:

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