The Editing Agenda: One Space or Two?

It's a common question posed quite often in the grammar community: How many spaces should be used after a period? Some will argue that it's always been two and that people simply got lazy with word processing, and others will insist that two spaces are no longer needed. So which is correct? The issue is actually more about formatting than it is a grammar or punctuation one, and it has everything to do with the evolution of word processing and the printing industry. So let’s start at the beginning.

A Brief History

Long before computers existed, there were typewriters. Before that, there was movable type, or manual printing. Before that, everything was recorded by hand. The evolution of fonts and typeface, along with the history of printing, is actually quite fascinating. But without giving you an in-depth history lesson of everything from Johannes Gutenberg’s introduction of movable type to the West or what was known as the “writing ball” typewriter—the first of its kind—to modern-day word processing, let’s talk about why two spaces were ever used.

When letterpress printing still dominated the publishing industry, everything still had to be done by hand. Molds of each letter were used in various font matrices to produce exact copies of letters each time they were pressed onto the material they were printed on. They pretty much worked like giant stamps. As such, each of the letters were the same width within the block. That meant spacing between each word mimicked that of the spacing between sentences. Therefore, it became somewhat difficult to tell where one sentence ended and the other began when quickly glancing at each line.

Monospace vs. Proportional

When typewriters came along, the system was more automated, but there was one carryover: the monospace font. Monospace fonts (also known as non-proportional or fixed fonts) use the same amount of space, or kerning, between each letter. The Courier font is a good example of this. Pull up your favorite word processor, and you’ll see that if you change everything to Courier or Courier New, each letter will occupy an equal amount of space as the next. The space between each word, also referred to as tracking, is also fixed.

Now compare a paragraph of text in Times New Roman to one in Courier New. Which is easier to read? You probably picked the paragraph in Times New Roman. This has everything to do with spacing. They are both serif fonts—meaning they both have stems, or little feet, at the bottom of the letters—but the block-style spacing makes the Courier paragraph a bit more difficult to read.

To offset the difficulty of the monospace font, it became standard practice to use two spaces after each sentence in the days of typewriters. That means anyone who learned to type before word processing became mainstream likely learned to use two spaces. The same is true for anyone who was taught by someone who learned to type with a typewriter. You see the problem with this trend?

Automated Word Processing

Apart from select publishers who still prefer authors to submit their works using a monospace font, the need for two spaces after a sentence has all but vanished. The modern-day word processors are quite adept at compensating for different spaces between letters, words, and sentences. They automatically adjust according to the design of the font family. Guess what that means. ONE space after a period is correct. So for those of us who were lucky enough to learn one space after the period, we’re all set. However, for those who learned the two-space method, it proves a difficult habit to break. So what are some ways of combating it?

Tips for Ridding Yourself of the Two Spaces

1. Take advantage of the find and replace feature. Microsoft Word (and most other word processors) have this function, and it’s a great way to quickly eliminate all those extra spaces and even figure out how many you had. The only downside to this is that you might also need to check for triple spaces—I’ve seen it happen often enough—and fix those as well.
2. Practice. How do you break a bad habit? You practice replacing it with a good one. In this instance, you simply have to be consciously aware of how many times you’re hitting the space bar at the end of a sentence. It may be rather tedious at first, but it doesn’t take long for most people to make the adjustment. The more you use one space, the easier it becomes to stick with it.
3. Train your eyes to catch the extra space. Editors excel at this. It’s one of the reasons we can spot them from a mile away; we’ve trained our eyes to hone in on them!

The bottom line? Use word processing to your advantage. And triple-check the requirements of a publisher before submitting your work to them. Each will have their own style and guidelines. If you don’t follow them, you’ll likely get an automatic rejection.

October Newsletter

My next newsletter will be arriving soon! The plan is to get it sent out at the end of next week, about the middle of the month. I’ll be including some new writing tips in it, one of my own struggles as a writer (and how I dealt with it), a sneak peek at some of my current works in progress, and, of course, some more freebies. ^_^ Oh, and you guys will get to meet my awesome editor. I certainly never could have made my books half of what they are—even the ones in progress—without her expertise. She’s amazing. And she’s a talented writer herself!

If you’re interested but want to check out previous issues before you sign up, you can do so here: http://us11.campaign-archive2.com/home/?u=1f06c99130f18a139504c6115&id=510ab8ece4. I only send out newsletters quarterly, so your inbox won’t be flooded. Also, the content is for you guys, so please let me know what you’d like more (or less!) of.

The Editing Agenda: Adding Layers

Once you’ve finished your first draft and you’re ready to delve into the editing process, one of the first things you should tackle is adding layers. Layers make every great story come to life. They make a well-rounded character realistic, a plot and its details that much juicier, and they have a way of making the final pieces of the puzzle fall into place. And while there is definitely a time and a place for punctuation, grammar, and all things syntax, without layers, your story will always fall flat. So where should you start?

Plot

While there’s really no right or wrong answer to that question, the place I tend to start is overall plot. Take a look at your outline, timeline, storyboard, or whatever you have in the way of notes for your story, and review the major plot points. Don’t have an outline? I strongly suggest making one at this point. It will help you weed out any inconsistencies in your plot, and it will become increasingly crucial in tightening your story. Once you have a rough outline in place, ask yourself these questions:

1. Does the plot make sense?
2. Is there a clear beginning, middle, and end?
3. Does the first two-thirds of the book build tension and conflict?
4. Do the subplots make sense? Do they make sense on a timeline?
5. Are there any inconsistencies, particularly with placement and foreshadowing?

Those may seem like rudimentary questions, but if the answer to any one of these is no, you have some corrections to make before you begin adding in layers to the plot. As anyone who has ever attempted to write a book can tell you, a solid foundation is immensely important to a writing a successful book. Without it, your work will break down and eventually cave in on itself like a house of cards, leaving you both frustrated and discouraged.

After you’ve made any necessary revisions and can answer yes to all of those questions, it’s time to add more layers. For plots, this means adding additional subplots, minor conflicts that will build more tension along the way. But don’t add conflict in haphazardly. Each subplot that you add MUST contribute to the overall plot or character development. If it doesn’t, it’s fluff, and it doesn’t belong in your masterpiece-in-the-making.

Characters

When you’re done tackling the plot, it’s time to move on to characters. Again, it’s always a good idea to keep a catalog of all your characters and their bios. There are a lot of writing programs out there that can help you with this if, like me, you like to keep things organized electronically, but plain old index cards work just fine too. Whatever your method, keep your character notes handy. You’ll need this during the editing process both for fact-checking and for layering. If you need help with writing character bios, I highly recommend using scribbledwriting’s (Kayla Detton's) character analysis worksheet. It’s got just about every question you could ever imagine on it.

After you’ve gathered all your character notes, use your outline to go through your book piece by piece and find your weakest characters, the ones who should stand out but don’t, or the ones who just don’t seem realistic enough. Those are the ones you’ll want to focus on. Pull their character charts and pick a handful of dominant traits you know you want to use in the story or that should be focused on in the plot. Then ask yourself these questions:

1. What does this character want and why?
2. What sacrifices are they willing to make to get what they want?
3. What obstacles does this character have to overcome along the way?
4. Is this character successful, or do they fail?
5. How does this character change along the way?

By understanding what drives your characters and using their traits to affect their actions, you’ll be able to layer in scenes that reflect that and further develop them, making them more realistic to the reader. Dialogue is a great way to do this, and occasionally so are thoughts or backstory. But again, when you add in scenes, it’s important to keep only those that propel the plot or the character. Anything else would likely be seen an as info dump.

Environment and Worldbuilding

Next is environment and worldbuilding. This is my favorite part of the layering process, mostly because it gives the author a chance to really shine and bring to life the world they’ve created. Even if your story takes place in a real location, you still have to make the events of that location believable, and that’s where environment and worldbuilding come in.

The first step is to, yet again, dig up any notes you have about the world you’re dealing with. If it’s a real location, pull actual blueprints if you can find them, dig up articles about the kind of plants and trees that grow there, the weather, and the general atmosphere of that area and the surrounding ones. If your location is made-up, create a list of guidelines, rules, and/or any laws of physics that may come into play. Now it’s time for the questions:

1. Do the rules of this world make sense?
2. Are the rules consistent with each other and with the plot?
3. If a character breaks a rule, can it be justified in the plot?
4. Is the world easy to picture? Are there enough descriptions?
5. Does each location serve a purpose?

If you answered no to any of these, it’s time to go back and rework the environment, or perhaps the rules involving it. Consistency is by far the most important thing since it’s the thing readers will probably call you out on first. If you make a rule, stick to it. If you have a character that breaks it, it should be justified. And each location you mention in your story should absolutely serve some purpose in the overall plot. After all, you want to relay the events in your book that matter the most. Most readers don’t like consuming empty calories.

Once your answer is yes to all the questions, you get to my favorite part—the incredibly artistic part—of writing fiction. You can add layers by bringing in new vivid descriptions and extra details to areas that were previously lacking them. One of the best ways to do this is through the eyes of the characters, describing the environment and objects when they first come across them, slowly adding more detail bit by bit as the scene unfolds. This part of the layering process is a lot like painting a picture—probably another reason why it’s easily a favorite of mine. Just remember, there is a line with adding description that you don’t want to cross. Too much detail or wordiness will leave your world looking more like a toddler’s finger painting than a Picasso masterpiece.

Backstory and Final Touches

After you’ve made it through all the other stages of layering, you’re ready for the final step: finishing touches. This including weaving in a bit more backstory and any other last-minute details that help put the final pieces of the puzzle together. The best way to do this is to examine the story scene by scene (a storyboard comes in handy for this one), breaking it down into chunks. You can then add in any remaining details that you wish, but please do so sparingly, or you’ll be left with—yep, you guessed it—fluff. Too much frosting on a cake, and you can no longer taste the cake.

The Editing Agenda: Those Darn Dashes

When it comes to formatting and punctuation issues, hyphens and dashes take the cake. Their use in books is incredibly inconsistent, which leads to a lot of confusion for anyone trying to learn them. This article will give a thorough breakdown of each kind and their uses as they pertain to fiction. Keep in mind that the rules I’m covering are the ones that are the most beneficial for fiction writing—there are some that won’t be addressed in this post. And all rules mentioned are based on The Chicago Manual of Style, 16th Edition.

Hyphens

Phrasal Adjectives

Phrasal adjectives are a short group of words (usually two but sometimes three or more) that link together to modify another noun. They typically precede the noun and are very common in fiction writing.

Example 1: rose-colored glasses

Example 2: four-chambered heart

A fantastic resource for this can be found on The Chicago Manual of Style website: https://www.chicagomanualofstyle.org/dam/cmos/tables/pdfs/table07-hyphens.pdf

(Please note that the hyphenation table is no longer accessible on the website without a subscription. Unfortunate but true.)

Phrasal adjectives almost always call for a hyphen if they're followed by a noun. The linked chart shows the breakdown of various combinations of adjectives and how they should be punctuated, including permanently hyphenated words and exceptions. The CMOS advises following Merriam-Webster’s dictionary for determining which words and phrases should always be hyphenated. Some of examples of this are the words life-form, run-down (not to be confused with rundown, which holds a different meaning), and short-lived.

Compound Name

Hyphens are also used for compound names, including surnames, first names, and other names.

Example 1: Merriam-Webster

Example 2: Mary-Kay

Example 3: Theta-Gamma

Word Division

The most common word division breaks where you’d find hyphens would be line breaks, syllable breaks (often used for pronunciation purposes), and prefixes and suffixes. Which isn’t all that common in fiction writing. However, you will often see it in dialogue, particularly with stuttering.

Example: “W-w-where’d you l-l-leave it?” Tom asked.

Separators

Hyphens can also be used to separate letters and numbers. That’s that type of thing you see with phone numbers, ID numbers, and the like. However, a great use for separation hyphens in fiction writing is when have a word that you need to spell out completely or partially.

Example: The sign read: “C-A-U-T.” The rest had long since worn off.

En Dashes

Dates, Times, and Page Numbers

The en dash’s main purpose is to replace the word to. The most typical occurrence of this would be with dates, times, and page numbers.

Example 1: He held office from 1929–1932.

Example 2: The event is Saturday, 2:30p.m.–4:30p.m.

Example 3: Tonight’s assignment is to read pages 32–45.

You also might see this with scoring/votes and with an unfinished number range.

Example 4: We won our last game 13–2.

Example 5: The magazine (2003–) has produced six volumes so far.

However, you should always use the word “to” instead of an en dash if “from” precedes the range.

Example 6: He joined us from 11a.m. to 12p.m. but had to leave for lunch after that.

Directions and Compound Adjectives

En dashes are also sometimes used with words, as can be the case with directions.

Example 1: I took the London–Paris train last week.

And sometimes—very rarely—an en dash is used with compound adjectives. This is where it gets tricky because the intended meaning can often get muddled by using this method, so it’s usually best to reword and find a more elegant solution when possible.

Example 2a: I’d like to find more Taylor Swift–style music.

Example 2b: I’d like to find more artists like Taylor Swift.

Version 2b of the above example flows much better and is less confusing than the first, so it’s easily the better choice.

And with two sets of compound adjectives where the sets are acting as coordinate adjectives to each other, a comma is the best option.

Example 3: This run-down, high-maintenance property will end up costing a lot of money.

Universities

The last use of en dashes is one that you probably won’t find in most fiction writing, but it’s useful to know nonetheless. You will sometimes find universities with multiple campus locations using an en dash to include the location name.

Example: I put my application in for Fordham University–Westchester.

Em Dashes                                                            

Em dashes are used to set off phrases and clauses in a manuscript that require an abrupt break, either to draw attention to it or because there is a large shift in the train of thought. This is one of the most useful tools an author has in fiction writing when used correctly and sparingly. Note that em dashes should NOT be substituted with ellipses; the two serve different purposes.

Em Dashes vs. Ellipses

Em dashes are used for interruption or to set off an explanatory element. An ellipsis is used to indicate hesitation or trailing off.

Example 1: “Lucy, where did you put—”

“It’s none of your business!” Lucy shouted from the other room.

Example 2: I stumbled down the stairs—the power had gone out earlier that evening—before I found my way to the bathroom.

Example 3: “I don’t know…” I admitted. “I hadn’t really thought much about it.”

Interrupted Thoughts

Sometimes the interruptions can come in the form of narrative thoughts.

Example: Justin’s feet pounded against the ground as he blazed down the trail. Awesome. If he kept up the pace, he’d beat—a tree root caught his foot, and he was sent sprawling into the dirt.

And if you have a character that is having trouble forming a sentence due to the circumstances at hand and/or heighted emotions, em dashes can be used to indicate stammering between words (not syllables).

Example: “What I meant was—why can’t we—oh, just forget it,” Julie spat out.

Words and Phrases

An em dash can also be used to set off noun or pronoun at the beginning of the sentence.

Example: Cowards—they were the ones who sought power.

Another common use for the em dash is before the phrases “namely,” “that is,” “for example,” and others similar to those.

Example: We spent most of the afternoon in the garden—that is, until the heat became unbearable.

Note: You should never use em dashes within or immediately following an element that already has a set of em dashes. Not only would this look terrible aesthetically, but it could also cause potential misinterpretation.

Interrupted Dialogue

The last use of em dashes for fiction is probably one of the trickiest, but it can also be the most useful. If you have a line of dialogue that is split up by an action in the middle, you can use em dashes to set off that action.

Example 1: “Well, the thing is”—Tommy quickly turned his attention to his feet—“it’s just not working out between us.”

Note that the em dashes go outside of the quotation marks in such a case, and the quotation is a continuous line of dialogue that is being split. The first word of the dialogue after the split should be lowercased. You can’t use this method if you have two separate sentences that have an action in between. In that situation, you’d use periods.

Example 2: “You really mean it.” My voice caught in my throat. “I just don’t understand what happened.

Two-Em Dash

One type of em dash that isn't commonly used in fiction writing (though it's probably my favorite) is the 2-em dash. The 2-em dash is used to omit words or parts of words that are missing or illegible, or to conceal a name. Two em dashes are most useful for the genres of fantasy, thriller, and mystery, where characters might come across documents that have damage to them. The example below is from a snippet of a work in progress of mine: book one of the Ansakerr series.

My dearest I——,                                                                        

If you are reading this, I have long since p—— away. I can only pray that my —— box and this letter have fallen into your hands and your hands alone. There is much you have yet to learn about me. There is still a D——k O—— out there, one more dangerous than you can imagine. For now, you are protected, but be on your toes, my girl. One day soon, I fear the p—— will fade, and you'll need to be ready. He is coming.

The key will lead you to A——. It will hold the answers you’re looking for.

Deepest love and affection,

Grandma Bea

Notice that most of the missing parts are for key elements, including names, places, and very specific items that are clearly crucial to the plot. If you craft these parts well, you can purposely mislead a reader in the narrative, giving a twist to your story.                                                                                   

Formatting and Stylistic Use

No spaces should be used around hyphens or dashes except in the case of the 2-em dash when it is being used to completely omit a word. This is probably the most common error regarding formatting of hyphens and dashes that I come across. Though there is some debate about spacing among various sources, the CMOS is pretty clear about it. But again, as with anything else in writing, consistency is the most important thing.

As for formatting the different dashes, mainstream word processors include symbols for each that you can insert into your document. In fact, some of them even automatically convert two hyphens used together into an em dash. While most publishers will accept em dashes in the form of two hyphens (in fact, some even request that you submit manuscripts that way), when it comes to actual printing and online publishing of the material, you’ll want to make sure they’re replaced. Your document will look more professional when you use the correct symbol, and your readers will likely notice as well.

Tip: To quickly find and replace any stray instances of two hyphens with an em dash symbol, use your word processor's Replace function.

Lastly, when it comes to use with other punctuation, a question mark or an exclamation mark can precede an em dash, but never a comma, colon, or semicolon. In other words, if you use an em dash where one of the latter punctuation marks would typically be used, the dash takes the place of the punctuation.

Example: He bent down to tie his shoe—but he stopped when he saw Alyssa approaching.