Adjective Order

This is a basic level post because there isn’t much we can teach you about it…you already know how to do it, whether you realise it or not. Adjective order is one of those things that we all absorb as we are learning and using language. In fact, the only time linguists discuss it is in upper level classes as they analyse grammar. They study it, but mostly out of curiosity. There are no firm rules, so there’s nothing to get wrong…but if you do it incorrectly, everyone will know.

In English, we have ‘little old ladies’ but not ‘old little ladies’. We also have ‘old white hankies’ not ‘white old hankies’. Also consider ‘the big new square blue wooden house’ as opposed to ‘the wooden blue square new big house’. The jumbled ones aren’t necessarily wrong, they just sound strange. So, what is the correct order? Most linguists agree that it is opinion, size, condition, age, shape, colour, pattern, origin, material, and purpose.

Adjectives in order with examples

  • Opinion
    • Limiting
      • a real hero, a perfect idiot
    • Subjective measure
      • beautiful, ugly, interesting, silly, horrible, difficult, nice
    • Value
      • good, bad, costly
  • Size
    • tiny, big, extensive, large, enormous, little
  • Condition
    • broken, cold, hot, wet, hungry, rich, easy, difficult, dirty, tattered, rusted
  • Age
    • young, old, new, ancient, six-year-old
  • Shape
    • square, round, sharp, swollen, flat, rectangular, long
  • Colour
    • white, black, pale, blue, pink, reddish, grey
  • Pattern
    • striped, spotted, checked, flowery
  • Origin
    • American, French, Greek, eastern, volcanic, extraterrestrial, lunar
  • Material
    • woollen, cotton, metallic, brick, linen, wooden, paper, cloth, silk
  • Purpose (sometimes forms part of a compound noun, often -ing)
    • rocking chair, hunting cabin, sleeping bag, frying pan, curling iron, book cover, passenger car

So you could put a bunch together and sound like this:

  • A nice, little, old, round, white, brick house
  • The beautiful, big, wet, new, flat, blue, checked, French, linen, writing papers
  • The ugly, small, rusted, ancient, long, grey, spotted, eastern, metal, curling iron

Keep in mind though, if you do use such a long string of adjectives in front of any noun, you’re likely to be accused of Purple Prose, so don’t do it. Just remember that when you have two or three adjectives, they need to be in the right order…UNLESS you intend to put them out of order.

Fronting adjectives

One of the nice things about knowing the rules is that when you break them, you do so with purpose. It won’t be an accidental mistake, rather an intentional contravention. For example, if you need to add emphasis, you could use a different order. Let’s say that there are several dogs running around the yard, some large and some small, and you wanted to point out a specific one, so instead of saying, “the large, brown dog”, you could say, “the brown, large dog”, as opposed to the black one or the white one.

You may also have a situation where your character isn’t a native English speaker, so he might not have noticed the subtleties of English adjective order—when he uses a slightly different order, what he says might sound awkward, but it will just serve to reinforce his individuality.

Book Sizes (Trim)

Recently we covered a bunch of info about Paper Sizes—now we’re going to tackle books themselves. As with paper, the origin of the standards in the US seem to be lost in history, but book manufacturers have established some traditional sizes. If you want your book to fit into bookshelves, either in the store or at someone’s home, you really need to stick to the norms. Of course, if your book hits the international market, you’ll find that a completely different set of book sizes is customary.

Genre Specific

Before you can pick a size for your book, you need consider what’s inside. Children’s books are often a 7×10 format. YA is 5×7. Mass market fiction is a little over 4 by a little under 7 (it has to fit into a pocket). Comic books are 6 5/8 x 10 1/4 (to fit into those plastic sleeves).

Text books or technical manuals (cook books included) use a full 8.5×11 with spiral binding to make room for double columns and lots of illustrations…and it will stay flat when in use (on either the workbench or kitchen counter).

Novels, of multiple sorts, come in a range of sizes, with the width running from 5.5 to 6 and the height going from 8.5 to 9. At the small end, 5.5×8.5 (Digest size), you’re printing two pages per normal Letter size paper. (You could actually print those at home—of course, binding them would be a whole different ball of wax.) The larger end, 6×9 (also known as US Trade), is a rather popular size, so unless you have some specific reason to go with a different size, you may as well stick with this one.

If your book is short, rather than having a thin, floppy book (with not enough space on the spine for your title), try for a trimmed version of Digest: 5.25×8. It’s just a bit smaller, but with less space on the pages, you’ll have more pages, so your book will be thicker—an advantage that gives the reader a sense of worth.

International Market

When you hit the big time, and are being distributed internationally, you might consider other sizes. There aren’t as many choices here, but that’s good news. A bit smaller than Digest is the British Paperback size B (129x198mm or approx. 5 1/8 x 7 3/4). A taller, skinnier book, with larger pages, is the British Paperback Trade size C (135x216mm or 5 3/8 x 8 1/2).

On the other hand, for a longer book, you’ll want much larger pages, so you’d use paper size B5 (176x250mm or almost 7 x 9 1/2). If your book is really short, then use paper size A6 (105×148 or 4 1/8 x 5 5/6) to make it thicker. The other A size book you might look at is A5. It sits between US Trade and Digest, so it’ll feel right in your reader’s hands.

We hope to see you hit the big time soon. Keep at it!

Extended Keyboard Shortcuts

In earlier posts, we covered some Essential Keyboard Shortcuts (and I hope none of you fell asleep when reading that one) as well as More Essential Keyboard Shortcuts, but now we’re going to continue with some more involved ones. As before we’ll start off with how to move around in Word.

  • Down one screen (scrolling) – Page Down
  • Up one screen (scrolling) – Page Up
  • Top of current window – Ctrl+Alt+Page Up
  • Bottom of current window – Ctrl+Alt+Page Down
  • Go to last edit location after opening – Shift+F5
  • Repeat Find or Go To action – Shift+F4
  • Top of next page (scrolling—not after find) – Ctrl+Page Down
  • Top of previous page (scrolling—not after find) – Ctrl+Page Up

As previously, you can hold Shift as you do the above moves to select the text, but here are a few more ways to select:

  • Select all text – Ctrl+A
  • Enter regular Selection mode – F8
  • Extend Selection mode – F8 (1 additional time word, 2 sentence, 3 paragraph, 4 document)
  • Reduce Selection mode – Shift+F8
  • Exit Selection mode – Esc
  • Enter Column Selection mode – Ctrl+Shift+F8

The F8 Selection mode may need a bit of discussion here. As it seems to be the only real way to select a sentence in the middle of a pgph, it can be handy for that, but the Column Selection mode is rather strange. You may find that you will never have a need to select text vertically when your lines of text run horizontally, but it could be fun to play with. If you find a good use for it, please let us know. Thanks!

Here’s a few more ways to cut and move text around…this time we will explain how the Spike works, too, so read carefully.

  • Copy format only – Ctrl+Shift+C
  • Paste copied format only – Ctrl+Shift+V
  • Copy text – Shift+F2 (use Enter to paste in new location)
  • Cut text – F2 (use Enter to paste in new location)

The Spike

  • Cut additional text onto Spike – Ctrl+F3
  • Copy additional text onto Spike – Ctrl+F3, Ctrl-Z
  • Paste all copied text from Spike (and clear Spike) – Ctrl+Shift+F3
  • Paste all copied text from Spike (and keep in Spike) – “spike” Enter

Copying just the format of one section to paste on another could be helpful, and the F2 cut-n-paste takes fewer keystrokes, but the Spike…ah, the Spike…that is a different beast. What it allows you to do is consolidate a bunch of different parts together in one place. (Probably more useful for non-fiction, but who knows?)

When you select text and hit Ctrl+F3, it gets added to the Spike. You can do that multiple times, collecting together info from various locations throughout your document. When you’ve collected them all up, you then paste all of them in at one time! That could allow you to take the first (intro) pgph from each section, and put them all together into a summary…even into a new document.

Story Elements (Plot)

Today we are going to examine the shape of your story…how the plot guides the structure. If you are looking for a discussion of the different types of plots, we will cover that in a later posting on Theme that covers much of that topic.

As you may know, some writers prefer to have the entire story outlined before beginning to create the content—then there are the pantsers who write by the seat of their pants…not knowing what’s going to come next until it happens (my style), but even those of us who don’t outline before writing at least have a clue of how the story is going to go. That basic idea is shaped like a skewed bell curve (remember statistics class??). It starts out low, slowly builds up, then reaches a peak before heading back down for the end. There are five points that determine the shape of the story and divide it into the classic three act structure.

Graph showing Standard Bell Curve and Plot Curve

Act I is the beginning, consisting of the Introduction (first point). In this part we get to know who our characters are, where they are, and something about their boring lives. It ends (hopefully quickly) with the Inciting Event (second point), kicking the story into full gear and creating the Story Question. This is the question in the back of your reader’s mind which he looks forward to solving by the end of the story. You don’t want to spend too much time in this act, rather try to hook the reader with the big change right up front, then move directly into the next act.

Act II is the main part of the story, where all the Rising Action takes place. This act should take up at least half your story, with the Hero trying and failing, again and again, each time with greater and greater peril to his life (or the lives of his friends). The threats can be physical, mental, emotional, or spiritual, but our Hero can only seem to succeed as the tension increases with each attempt. This act ends with the Darkest Point (third point), where the Hero has obviously been defeated, all is lost, no way out. You can also include a suggestion of the climax, a bit of a cliff hanger to get the reader back after the commercial break. (Oh, wait, this isn’t on the tele yet…or is it?)

Act III starts off with the Climax (fourth point), quickly followed by a bit of Falling Action. The Climax is where the Hero decisively overcomes the ultimate crisis. Make certain that what he does seems valid from all the work he’s done—nothing magic here to rescue him. The Falling Action allows time to clean up a few loose ends, tie up subplots, and understand the results of our Hero’s actions.

The story finishes up with the Resolution, or Dénouement if you prefer (fifth point), where life gets back to the new normal, but nothing can be as it was before—the Hero has a new life to live.