Apostrophe Usage Made Simple

Written by Michael LaRocca

APOSTROPHE USAGE MADE SIMPLE Copyright 2005, Michael LaRocca

According to one of my previous articles, whenever a Southerner says "Y'all watch this," get out ofrepparttar way because those are probablyrepparttar 148189 last words he will ever say.

Well, I'm a Southerner. I used to live inrepparttar 148190 southeastern United States, but I moved torepparttar 148191 southeast of China. And, I'm about to sayrepparttar 148192 magic words:

Y'all watch this.

The word is "week." If I want to talk about more than one week, like what I wrote a few weeks ago, I'll use weeks. No apostrophe. If I want to talk about something belonging to a week, such as "last week's newsletter," I'll use an apostrophe.

That'srepparttar 148193 rule. If it's a noun, s makes it plural and apostrophe-s makes it possessive. It's just that simple.

If I were still inrepparttar 148194 US, and I wanted one of those fancy carved signs that are so common on southern lawns, it would not read "The LaRocca's." The LaRocca's what? His lawn? His sign? That apostrophe makes it singular possessive, so The LaRocca (one person) is surely claiming ownership of something. If that wasn't his intent, and he whacked in an apostrophe anyway, he's an idiot.

What about plural possessive? Is it "the LaRoccas' house" or "the LaRoccas's house?" Well, it's neither, since my wife isn't a LaRocca and we don't own a house. But forrepparttar 148195 sake of this article, pretend she is and we do.

Awesome Ending

Written by Lea Schizas

Awesome Ending

Bungee jumping, sky diving, secret mission, Indy 500: how do these events compare torepparttar art of fiction writing? Each one brings to its ‘doer’ an element of anticipation, exhilaration, unfamiliarity, and adventure. A pure adrenaline rush. And as a writer of fiction, this isrepparttar 148121 plateau you want your reader to experience.

Straying fromrepparttar 148122 anticipated ending to a twist makes for good reading, pleasingrepparttar 148123 editor, and upping your chance of getting accepted. But be wary. Your twist should conform alongrepparttar 148124 lines ofrepparttar 148125 story you have crafted thus far. Not an easy task to accomplish, but plausible.

For example: fifteen-year-old John stolerepparttar 148126 answers to his exam from his teacher’s desk. Throughoutrepparttar 148127 storyline, John has been portrayed as a ‘bully’ but every so oftenrepparttar 148128 writer has offered either flashbacks or little inconspicuous hints into John’s childhood. The reader assumes that John will either get away with it, or get caught and suspended. The author has grippedrepparttar 148129 reader into continuingrepparttar 148130 book to see where this will end up. Here comesrepparttar 148131 twist.

Because of these rare flashback insights, we’ve seen another side to John, although subtle, it’s still there. So when John ends up placingrepparttar 148132 answers back with no one beingrepparttar 148133 wiser,repparttar 148134 reader is stunned, surprised, but content with this twist ending because it has been subliminally build intorepparttar 148135 plot.

Ifrepparttar 148136 writer’s portrayal of John had been exclusively ‘bullish’, mean-spirited, unfriendly throughout thenrepparttar 148137 reader’s reaction would have been stunned, surprised and obviously, left cheated with an ending that holds no basis withrepparttar 148138 rest ofrepparttar 148139 storyline.

This is called character reversal, whenrepparttar 148140 character reacts different than whatrepparttar 148141 reader expected. And to pull it off, you must have planted subtle seeds alongrepparttar 148142 way.

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