k that every word ending in ‘s’ should have an apostrophe in it—so you get odd constructions like this:

Laura recognized the suitcase. It was her’s all right, with it’s broken clasp. She’d used it to store all of Robin’s letter’s to her.

In particular, learn to differentiate between the possessive pronoun its and the contraction it’s. The possessive pronoun never has an apostrophe. (She recognized its broken clasp.) The contraction it’s (which is short for it is or it has) always has an apostrophe. It’s quite easy to work out which is which — if you can substitute the longer form ‘it is’ orDuring the years that I’ve been teaching writing and participating in writers’ critique sessions, I’ve seen some real talent. There are writers who produce such sparkling prose that you know publication is only a matter of time.

There are others who have wonderful ideas, terrific plots and lively characters—but who may never see their work in print. The reason? They are making one or more writing mistakes that will cause an editor to toss their writing aside. Often, when these mistakes are brought to the writer’s attention, she makes comments like ‘I can’t believe I didn’t pick that up!’ or ‘Oh no, I feel so stupid’.

It’s so easy to see those mistakes when they’re pointed out to us—but it’s also far too easy to go on for years doing the same thing if we’re not alerted to the problem.

Here are some of the most common writing mistakes. Read through them to see if there’s a clue here about what might be stopping you from getting a ‘yes’!

Technical Mistakes—Grammar, Spelling and Punctuation

1. Changes in tense.

The writer starts in the present tense then slips into past tense or vice versa. Sometimes this happens only once during the scene or story; sometimes the tenses switch back and forth all the way through. Tip: Quite often this happens after the writer has moved into the present tense to show the character’s thoughts. For example:

Laura ran down the steps. She shaded her eyes and stared down the road. There was a plume of dust at the bend. Is that Robin? Will he remember me?

She races off to meet the car, her heart leaping.

2. Changes in person.

The writer starts off in third person then slips into first person:

Laura was incredibly happy. She had never expected to see Robin again. Now he was here, looking taller and more handsome than ever.

I flew into his arms. “Robin! You’re here!”

“Laura,’ he acknowledged stiffly. He didn’t return my hug.

Often this occurs at dramatic or emotional moments, when the writer tends to identify more strongly with the viewpoint character. Sometimes, as with changes in tense, it follows the use of the character’s thoughts.

3. Misuse of the apostrophe

This is an incredibly common mistake. If your manuscript is peppered with apostrophes in the wrong place (or you leave them out altogether) you won’t create a good impression. Some people seem to think that every word ending in ‘s’ should have an apostrophe in it—so you get odd constructions like this:

Laura recognized the suitcase. It was her’s all right, with it’s broken clasp. She’d used it to store all of Robin’s letter’s to her.

In particular, learn to differentiate between the possessive pronoun its and the contraction it’s. The possessive pronoun never has an apostrophe. (She recognized its broken clasp.) The contraction it’s (which is short for it is or it has) always has an apostrophe. It’s quite easy to work out which is which — if you can substitute the longer form ‘it is’ or.

It’s so easy to see those mistakes when they’re pointed out to us—but it’s also far too easy to go on for years doing the same thing if we’re not alerted to the problem.

Here are some of the most common writing mistakes. Read through them to see if there’s a clue here about what might be stopping you from getting a ‘yes’!

Technical Mistakes—Grammar, Spelling and Punctuation

1. Changes in tense.

The writer starts in the present tense then slips into past tense or vice versa. Sometimes this happens only once during the scene or story; sometimes the tenses switch back and forth all the way through. Tip: Quite often this happens after the writer has moved into the present tense to show the character’s thoughts. For example:

Laura ran down the steps. She shaded her eyes and stared down the road. There was a plume of dust at the bend. Is that Robin? Will he remember me?

She races off to meet the car, her heart leaping.

2. Changes in person.

The writer starts off in third person then slips into first person:

Laura was incredibly happy. She had never expected to see Robin again. Now he was here, looking taller and more handsome than ever.

I flew into his arms. “Robin! You’re here!”

“Laura,’ he acknowledged stiffly. He didn’t return my hug.

Often this occurs at dramatic or emotional moments, when the writer tends to identify more strongly with the viewpoint character. Sometimes, as with changes in tense, it follows the use of the character’s thoughts.

3. Misuse of the apostrophe

This is an incredibly common mistake. If your manuscript is peppered with apostrophes in the wrong place (or you leave them out altogether) you won’t create a good impression. Some people seem to think that every word ending in ‘s’ should have an apostrophe in it—so you get odd constructions like this:

Laura recognized the suitcase. It was her’s all right, with it’s broken clasp. She’d used it to store all of Robin’s letter’s to her.

In particular, learn to differentiate between the possessive pronoun its and the contraction it’s. The possessive pronoun never has an apostrophe. (She recognized its broken clasp.) The contraction it’s (which is short for it is or it has) always has an apostrophe. It’s quite easy to work out which is which — if you can substitute the longer form ‘it is’ orforth all the way through. Tip: Quite often this happens after the writer has moved into the present tense to show the character’s thoughts. For example:

Laura ran down the steps. She shaded her eyes and stared down the road. There was a plume of dust at the bend. Is that Robin? Will he remember me?

She races off to meet the car, her heart leaping.

2. Changes in person.

The writer starts off in third person then slips into first person:

Laura was incredibly happy. She had never expected to see Robin again. Now he was here, looking taller and more handsome than ever.

I flew into his arms. “Robin! You’re here!”

“Laura,’ he acknowledged stiffly. He didn’t return my hug.

Often this occurs at dramatic or emotional moments, when the writer tends to identify more strongly with the viewpoint character. Sometimes, as with changes in tense, it follows the use of the character’s thoughts.

3. Misuse of the apostrophe

This is an incredibly common mistake. If your manuscript is peppered with apostrophes in the wrong place (or you leave them out altogether) you won’t create a good impression. Some people seem to think that every word ending in ‘s’ should have an apostrophe in it—so you get odd constructions like this:

Laura recognized the suitcase. It was her’s all right, with it’s broken clasp. She’d used it to store all of Robin’s letter’s to her.

In particular, learn to differentiate between the possessive pronoun its and the contraction it’s. The possessive pronoun never has an apostrophe. (She recognized its broken clasp.) The contraction it’s (which is short for it is or it has) always has an apostrophe. It’s quite easy to work out which is which — if you can substitute the longer form ‘it is’ ornd more handsome than ever.

I flew into his arms. “Robin! You’re here!”

“Laura,’ he acknowledged stiffly. He didn’t return my hug. Often this occurs at dramatic or emotional moments, when the writer tends to identify more strongly with the viewpoint character. Sometimes, as with changes in tense, it follows the use of the character’s thoughts.

3. Misuse of the apostrophe

This is an incredibly common mistake. If your manuscript is peppered with apostrophes in the wrong place (or you leave them out altogether) you won’t create a good impression. Some people seem to think that every word ending in ‘s’ should have an apostrophe in it—so you get odd constructions like this:

Laura recognized the suitcase. It was her’s all right, with it’s broken clasp. She’d used it to store all of Robin’s letter’s to her.

In particular, learn to differentiate between the possessive pronoun its and the contraction it’s. The possessive pronoun never has an apostrophe. (She recognized its broken clasp.) The contraction it’s (which is short for it is or it has) always has an apostrophe. It’s quite easy to work out which is which — if you can substitute the longer form ‘it is’ ork that every word ending in ‘s’ should have an apostrophe in it—so you get odd constructions like this:

Laura recognized the suitcase. It was her’s all right, with it’s broken clasp. She’d used it to store all of Robin’s letter’s to her.

In particular, learn to differentiate between the possessive pronoun its and the contraction it’s. The possessive pronoun never has an apostrophe. (She recognized its broken clasp.) The contraction it’s (which is short for it is or it has) always has an apostrophe. It’s quite easy to work out which is which — if you can substitute the longer form ‘it is’ or ‘it has’, then use it’s. If you cannot substitute these expressions, then you are using the possessive pronoun which does not require an apostrophe.

4. Spelling.

Your first resource is the spell check on your computer. However, this won’t pick up everything—if you’ve made a typo that is also a real word (such as typing ‘met’ instead of ‘meet’) the spell check won’t pick it up. Nor will it pick up the use of ‘beach’ instead of ‘beech’, since both are real words. If you know that spelling is a weakness, try to get a friend who is a strong speller to check your work.

Mistakes in Style

1. Head-hopping.

The writer decides it would be nice if the reader could be privy to what was going on in everyone’s mind, so hops blithely from one head to another. (I’ve seen stories with half a dozen viewpoints in one page.) Sometimes it works to let the reader know what is going on in the minds of two characters in a scene, but use this very carefully or you can lose your reader. You’ll get much more emotional punch into your work if you let the reader ‘become’ your viewpoint character, seeing everything (and feeling everything) from one person’s point of view.

2. Overuse of ‘As…’, ‘...as…’ and ‘...ing’

Check your work to make sure it is not sprinkled with sentences that begin with ‘As…’ or ‘...ing’ words, or that have ‘as’ joining two actions. Usually this has the effect of slowing the pace and setting the reader at a distance. The participle construction (‘...ing’ words) has a particularly amateurish flavour when placed at the beginning of a sentence. When you can, use alternatives.

3. Overuse of qualifiers

Some writers like to use liberal doses of words like ‘very’, ‘extremely’, ‘fairly’, ‘somewhat’ and so on. This weakens your writing. Use strong verbs instead. Rather than ‘he was extremely happy’, say ‘he was delighted’; instead of ‘somewhat annoyed’ say ‘irritated’ or ‘irked’ or ‘furious’, depending on the degree of annoyance!

4. Dull or stilted narrative.

There are lots of reasons for this one—some of them fit into pacing problems (see following section) as well. However, if your writing seems flat, look at these things:

• Repetitive sentence beginnings. When you revise your work, watch for too many sentences starting with ‘He’, ‘She’, or ‘I’.

• Repetitive sentence structure. This can apply anywhere in your text. In dial