The Island of Misfit Posts #1: Discouraged by Discouragement

When I sit down to write these posts, I never know what they’ll be about beforehand. It’s a first-thought-that-hits-me-stream-of-consciousness sort of thing. Sometimes they’re on point, other times they meander a bit, but as stated in the About This Blog section, the posts are less about me attempting to appear clever or knowledgeable (what are the odds, really?), and more about getting myself into a proper writing frame of mind with a warm up exercise. Mental calisthenics, if you will.

As you might imagine, it doesn’t always go to plan. Case in point: the post below. Inspired in part by Susannah Breslin’s Forbes article, Why You Shouldn’t Be A Writer, and Martin Levin’s, You Suck And So Does Your Writing–which is more about petty squabbles between notable literary figures (how I would have combined the two ideas is anyone’s guess)–it was meant to be a discouragement piece, you know, separating the wheat from the chaff, and all that, that started out like this:

Of All the Things You Could Do With Your Life, Why On Earth Would You Purposely Choose To Be A Writer?

Don’t worry, it’s not a trick question, but one you should be prepared to ask yourself and answer before undertaking writing in any fashion as a serious profession. Among the more common reasons I’ve come across in my travels are:

1. No commuting and every day is Pajama Friday!

I can’t fault your logic here because commuting is generally a nightmare and what’s better than tooling around your house in a onesie all day long like an agoraphobic superhero? Sadly, it isn’t a good enough reason to want to be a writer, especially since there other telecommuting positions that offer more stability and better chances at becoming a career.

2. What better way is there to make a ton of dough and roll around in my piles of cash?

Well, you could try your hand at playing the lottery or betting the ponies, for starters. Rich writers are the exception to the rule. The majority of people who claim writing as a profession, work their mental fingers to the bone, producing material for years before they even get a glimpse at recognition, let alone a healthy paycheck. Instead of rolling in piles of cash, you’ll most likely be rolling up your coins, praying your landlord accepts pennies for rent.

3. Nothing better than being my own boss with flexible hours!

Flexible hours? Been writing long? Writing is a huge commitment that commandeers your entire life with absolutely no guarantee of any sort of financial gain. As stated earlier, there are other work-from-home opportunities that are far more secure and come equipped with a steady payday. And being your own boss isn’t the sipping Mai Tais under a beach umbrella fantasy you imagine it to be. First off, there’s no one to delegate all the donkey work to, and your brain doesn’t simply punch out when the working day has ended. Writing–and the guilt of not writing–never leaves you in peace until the article/book/screenplay/project has been completed.

4. It would be amazing to see my best-selling book in a bookstore/my script turned into a blockbuster feature film/win the Pulitzer Prize for my groundbreaking article series.

Who wouldn’t want any of those things? While we’re daydreaming, I’d also like to be an astronaut so that I can save the planet from extraterrestrial threats, be the smartest man in any room I’m in so that I can solve all the world’s problems and become Earth President, and build a safe-box time machine–that protects me from any sort of injury–equipped with a high end movie camera in order to jump back and forth in time to make the ultimate series of historical documentaries.

Now that my feet have touched terra firma and I’m once again grounded in reality, I can tell you that while it’s great to dream big, fame is one of the worst reasons to choose writing as a profession.

But the post wasn’t really working for me because I could feel myself getting snarkier as the piece went on, which wasn’t my intent going in. So, I decided to step off my soapbox and kill the post. And there it sat in my trash for days, forgotten like Charlie-In-The-Box, Dolly, Spotted Elephant, and King Moonracer. But it miraculously survived deletion during my numerous trash emptying sessions. This had to be a sign. What sign, I hadn’t the faintest, but I decided to attempt recycling it into a less judgmental, more positive message:

Writers are born critics who will criticize any and everything that crosses their paths, especially fellow writers. They will issue their assessments and commentary with the righteousness of having had their opinions validated by the Mount Horeb burning bush. These are the writers who cut open veins and bleed for love of the craft, whose skulls ring with haunting voices that cannot be silenced until exorcized onto the page, who believe in their heart of hearts that the only words that deserve to be written are the truths that need to be told.

I can’t lie, sometimes I feel the same way.

But I’m not as bothered by it anymore, because I know first hand that the writing process has it’s own way of weeding out the fly-by-night scribblers, posers and pretenders with the obstacles it scatters on the long and winding path to a completed project. Whether your driving force is money, fame. to impress a person/people, burning need, or love of the artform, you will still experience your fair share of procrastination, anxiety, writers block, time crunches, lack of motivation, fear of rejection, judgement of peers, and impatience of selling a piece.

If you can repeatedly bash your head into these walls, get up, dust yourself off and continue to write, who am I to question your motives? That, my friends, is the best I can do fer ya, today.

Sally forth and be writeful.

— Rhyan Scorpio-Rhys

15 Further Reasons You Might Be A Writer

“You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we’re doing it.” ― Neil Gaiman

You very well might be a writer if…

  1. You recognize the tropes when friends tell you about a movie they’ve just seen and annoy them by correctly guessing the surprise twist ending.
  2. You fire off irate emails to professional critics who obviously lack the ability to comprehend even the most basic elements of the book they’re critiquing. Stupid critics.
  3. To you, Goodreads is the newer, better Facebook.
  4. When a boring person is speaking to you, your thoughts turn to something in the neighborhood of: “She stood amazed at this man, gifted with features so unremarkably plain as to render him virtually invisible amongst the crowd. More fascinating was how a mouth could move with such dexterity–the working of tongue against palate and teeth in complete choreography with lips glistening with the spittle of excitement–yet let slip content of no consequence.
  5. Your common review of most of the films that your friends have recommended is, “The book was much better.”
  6. New pens make you happy, especially the clickable kind. Click-click-click… joy.
  7. The aroma of an old book is your preferred air freshener scent.
  8. You have to piece your current story together from bar napkins, matchbook covers, toilet paper roll (hopefully unused), old (unpaid) parking tickets, business cards, or any other paper-esque scrap you can lay your hands on at the moment. And when no paper is available, your non-writing hand (and arm) becomes a suitable substitute.
  9. You suppress your rage in a physical argument with a colleague, only to recreate the argument in a story, filled with all the witty and biting things you could have/should have said.
  10. You find jokes of this ilk funny: I have a pet dinosaur named Roget. Roget the Saurus.
  11. You have an unnatural affection for lists. More than just clicking on Buzz Feed and Huff Post list links, even though the topic doesn’t interest you in the slightest. I mean really unhealthy to the point you begin viewing the physical world as a series of lists.
  12. Despite the internet and the built-in spelling/grammar tools in your word processing program(s), you still own a hard copy dictionary and thesaurus, and possibly a set of encyclopedias.
  13. Your blog contains several posts that will forever remain drafts because they’re either too brilliant or too frightening to share with anyone. The outside world would never understand.
  14. You consider your writing to be your better half.
  15. And finally, you might be a writer if you write, edit, rewrite, edit and finally delete emails to friends and family constantly because you’ve played the entire conversation of their response in your head and didn’t like the way it ended.

Sally forth and be writeful.

— Rhyan Scorpio-Rhys

Words of Encouragement From Them What Know Better’n You

I promised myself that I would set at least one day a week aside for some quality reading time, and that day happens to be today. In my absence, I invite you to soak in a few words of encouragement from people who understand your plight better than you realize and are far more eloquent, blunt and knowledgeable than I could ever hope to be.

Sally forth and be writeful, but don’t forget to be readful, as well.

— Rhyan Scorpio-Rhys

Nobody ever got started on a career as a writer by exercising good judgment, and no one ever will, either, so the sooner you break the habit of relying on yours, the faster you will advance.

People with good judgment weigh the assurance of a comfortable living represented by the mariners’ certificates that declare them masters of all ships, whether steam or sail, and masters of all oceans and all navigable rivers, and do not forsake such work in order to learn English and write books signed Joseph Conrad.

People who have had hard lives but somehow found themselves fetched up in executive positions with prosperous West Coast oil firms do not drink and wench themselves out of such comfy billets in order in their middle age to write books as Raymond Chandler; that would be poor judgment.

No one on the payroll of a New York newspaper would get drunk and chuck it all to become a free-lance writer, so there was no John O’Hara. When you have at last progressed to the junction that enforces the decision of whether to proceed further, by sending your stuff out, and refusing to remain a wistful urchin too afraid to beg, and you have sent the stuff, it is time to pause and rejoice. — George V. Higgins

Always dream and shoot higher than you know you can do. Don’t bother just to be better than your contemporaries or predecessors. Try to be better than yourself.

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Everything goes by the board: honor, pride, decency . . . to get the book written. If a writer has to rob his mother, he will not hesitate; the “Ode on a Grecian Urn” is worth any number of old ladies. — William Faulkner

“One of the few things I know about writing is this: Spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book, or for another book, give it, give it all, give it now.” — Annie Dillard

Sometimes people say to me, “I want to write, but I have five kids, a full-time job, a wife who beats me, a tremendous debt to my parents,” and so on.

I say to them, “There is no excuse. If you want to write, write. This is your life. You are responsible for it. You will not live forever. Don’t wait. Make the time now, even if it is ten minutes once a week.” — Natalie Goldberg

I have never understood why “hard work” is supposed to be pitiable. True, some work is soul destroying when it is done against the grain, but when it is part of “making” how can you grudge it? You get tired, of course, but the struggle, the challenge, the feeling of being extended as you never thought you could be is fulfilling and deeply, deeply satisfying. — Rumer Godden

“Don’t market yourself. Editors and readers don’t know what they want until they see it. Scratch what itches. Write what you need to write, feed the hunger for meaning in your life. Play at the serious questions of life and death.” — Donald M. Murray

“No one put a gun to your head and ordered you to become a writer. One writes out of his own choice and must be prepared to take the rough spots along the road with a certain equanimity, though allowed some grinding of the teeth.” — Stanley Ellin

My Mad Fat Brain Bug: A Story Box Full of Regret

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The damnedest thing can place a bug in your brain. Rod Serling is the source of one of mine.

It happened while I was deep within my Twilight Zone infatuation phase, in the prehistoric information days before civilian access to the internet, when I devoured every Serling-related book, article or fanzine I could lay my grubby little mitts on. In one of the pieces, I read how Rod’s widow, Carol, found a number of scripts and stories amongst her late husband’s possessions that were unproduced at the time.

And thus the bug found a home in my grey matter.

I pictured Rod in the final moments before he shuffled off this mortal coil, his gaze sliding across the room until it fell on the closet door, eyes filled with that unique brand of sadness only known to writers. Carol would remember that stare and later be drawn to the closet by a mysterious force that urged her to dig out a box buried deep beneath the material remnants of Rod’s life, shed like so much old skin. A box filled with his regrets, the stories that remained untold, that never found a proper home.

You don’t have to say it, I know that’s all rubbish. Simply me fictionally placing myself in the position of a man I never met. If Rod had any regrets at all, I certainly wasn’t privy to them. But that doesn’t make my brain bug any less real.

You see, I have a box–well, it started off as a file folder and grew into a box–filled with stories in various stages of development. Ideas written on scraps of paper, composition notebooks loaded with concepts and outlines, and completed stories that only exist in paper form–written pre-computer on an Underwood typewriter, circa 1950–as I haven’t gotten down to the laborious task of transferring them to my computer.

I don’t discuss my box much and I only brought it up to respond to an email I recently received (copied and answered here with permission):

I want to write a blog but I’m scared of being exposed and having people judge or attack me because of my opinions and I don’t think I have the writing skills to get my point across in the right way. What gives you the courage to write?

Guess what? Self-doubt and anxiety regarding humiliation and criticism is all part of the process and grist for the mill, so welcome to the club. What separates writers from non-writers is that instead of running away from that fear, we invite it in for wine and cheese. Befriend the beast that frightens you most because there’s a story just waiting to be revealed in that encounter.

It’s true that honest writing takes courage, as does sharing your writing with people who may not be kind in their opinion of it, but you also have to realize that it’s not your job to make people like your writing. Some people will flat out hate it because of your views (see: The Opinions Expressed) or your writing style, and because they may not know any better, can possibly hate you because of it. Hopefully, it’ll be the minority. Accept it as an unavoidable truth and move on.

As for the question, “What gives [me] the courage to write?” Everyone has their own reason for writing, and fear of acceptance isn’t high on my list. Sure, it’d be great if the unwashed masses loved my work, but the simple truth is all writing has its audience, whether infinite or infinitesimal, and if you never put your writing out there, there’s no chance in hell of your audience ever finding it.

The real reason I write is because of the aforementioned box. I just don’t want to be lying on my deathbed–hopefully many, many, many years from now–and staring at that damned box full of unwritten stories. I no doubt will have my fair share of regrets in my final days, but I’m determined not to have that box be one of them.

And since we’re on the topic of regrets, I recently read a book, “The Top Five Regrets of the Dying: A Life Transformed by the Dearly Departing” by Bronnie Ware, a palliative care nurse who cited the most common lamentations as being:

  1. I wish I’d had the courage to live a life true to myself, not the life others expected of me.
  2. I wish I hadn’t worked so hard.
  3. I wish I’d had the courage to express my feelings.
  4. I wish I had stayed in touch with my friends.
  5. I wish that I had let myself be happier.

So, while I can’t offer you reasons why you should write, I can tell you that most of the regrets listed above factor heavily in my need to write.

In closing, someone once wrote, “writing is like getting into a small boat with a wonky paddle and busted compass and setting out on rough waters in search of unknown lands.

Paddle forth and be regret-freely writeful.

©2013 Rhyan Scorpio-Rhys

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Author’s note: Since I’m never at a loss for ideas, I don’t dip into my story box as much as I’d like to, though I occasionally slip one or two of them into or in between current projects. The story idea folder on my computer… that’s a whole different story.

Famous Thoughts on Grammar and Usage

1. “You can be a little ungrammatical if you come from the right part of the country.” — Robert Frost

2. “Word has somehow got around that the split infinitive is always wrong. That is a piece with the outworn notion that it is always wrong to strike a lady.” — James Thurber

3. “It is indeed acceptable practice to sometimes split an infinitive. If infinitive-splitting makes available just the shade of meaning you desire or if avoiding the separation creates a confusing ambiguity or patent artificiality, you are entitled to happily go ahead and split!” — Richard Lederer

4. “When you catch an adjective, kill it.” — Mark Twain

5. “The adjective is the banana peel of the parts of speech.” — Clifton Fadiman

6. “The adjective is the enemy of the noun.” — Voltaire

7. “If the noun is good and the verb is strong, you almost never need an adjective.” — J. Anthony Lukas

8. “Don’t say it was ‘delightful’; make us say ‘delightful’ when we’ve read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers ‘Please will you do my job for me?’” — C.S. Lewis

9. “Forward motion in any piece of writing is carried by verbs. Verbs are the action words of the language and the most important. Turn to any passage on any page of a successful novel and notice the high percentage of verbs. Beginning writers always use too many adjectives and adverbs and generally use too many dependent clauses. Count your words and words of verbal force (like that word “force” I just used).” — William Sloane

10. “The editorial ‘we’ has often been fatal to rising genius; though all the world knows that it is only a form of speech, very often employed by a single needy blockhead.” — Thomas Baington Macaulay

11. “Only presidents, editors and people with tapeworm have the right to use the editorial ‘we.’” — Mark Twain

Writing Joke of the Day: Comforting a Grammar Nazi

Q: What do you say when you are comforting a grammar nazi?
A: There, Their, They’re

English Professor

“In English,” he said, “A double negative forms a positive. In some languages, though, such as Russian, a double negative is still a negative. However, there is no language wherein a double positive can form a negative.”

A voice from the back of the room piped up, “Yeah, right.”

Library

A Texan was visiting Harvard University, and was lost. He stopped a student and asked, “Do you know where the library is at?”

“I sure do,” replied the student, “But, you know, you’re not supposed to end sentences with prepositions.”

“What?”

“Prepositions. You ended your sentence with an ‘at’, which you aren’t supposed to do.”

“Oh, ok,” said the Texan, “Do you know where the library is at, asshole?”

Grammar walks into a Bar

Three intransitive verbs walk into a bar. They sit. They Drink. They Leave

A comma splice walks into a bar, it has a drink and then leaves.

A dangling modifier walks into a bar. After finishing a drink, the bartender asks it to leave.

A Question mark walks into a bar?

Two Quotation marks “walk into” a bar.

A gerund and an infinitive walk into a bar, drinking a drink.

The bar was walked into by the passive voice.

The past, the present, and the future walked into a bar. It was tense.

A synonym ambles into a pub.

A gerund and an infinitive walk into a bar, drinking to drink.

A hyperbole totally ripped into this bar and destroyed everything.

A run on sentence walks into a bar it is thirsty.

Falling slowly, softly falling, the chiasmus collapsed to the bar floor.

A group of homophones wok inn two a bar.

Panda

A panda walks into a cafe. He orders a sandwich, eats it, then draws a gun and fires two shots in the air.

“Why?” asks the confused waiter, as the panda makes towards the exit. The panda produces a badly punctuated wildlife manual and tosses it over his shoulder.

“I’m a panda,” he says at the door. “Look it up.”

The waiter turns to the relevant entry and, sure enough, finds an explanation.

“Panda. Large black-and-white bear-like mammal, native to China. Eats, shoots and leaves.”

Coined by the Immortal Bard: Popular Words and Phrases

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Many of the words and phrases we casually toss about in our everyday conversations can be traced back to a man who is considered the greatest writer of the English language, William Shakespeare. He boldly toyed with the language–as any good writer should–turning nouns into verbs, verbs into adjectives, adding prefixes and suffixes, and joining unrelated words to create new definitions. Below is a list of a few of the phrases and words coined by the immortal bard:

Phrases:

  • All that glitters is not gold (The Merchant of Venice)(“glisters”)
  • All’s well that ends well (title)
  • As good luck would have it (The Merry Wives of Windsor)
  • As merry as the day is long (Much Ado About Nothing / King John)
  • Bated breath (The Merchant of Venice)
  • Bear a charmed life (Macbeth)
  • Be-all and the end-all (Macbeth)
  • Better foot before (“best foot forward”) (King John)
  • The better part of valor is discretion (I Henry IV; possibly already a known saying)
  • In a better world than this (As You Like It)
  • Brave new world (The Tempest)
  • Break the ice (The Taming of the Shrew)
  • Breathed his last (3 Henry VI)
  • Brevity is the soul of wit (Hamlet)
  • Refuse to budge an inch (Measure for Measure / Taming of the Shrew)
  • Cold comfort (The Taming of the Shrew / King John)
  • Come what come may (“come what may”) (Macbeth)
  • Dead as a doornail (2 Henry VI)
  • A dish fit for the gods (Julius Caesar)
  • Dog will have his day (Hamlet; quoted earlier by Erasmus and Queen Elizabeth)
  • Devil incarnate (Titus Andronicus / Henry V)
  • Eaten me out of house and home (2 Henry IV)
  • Elbow room (King John; first attested 1540 according to Merriam-Webster)
  • Faint hearted (I Henry VI)
  • Fancy-free (Midsummer Night’s Dream)
  • Fight till the last gasp (I Henry VI)
  • Flaming youth (Hamlet)
  • Forever and a day (As You Like It)
  • For goodness’ sake (Henry VIII)
  • Foregone conclusion (Othello)
  • Full circle (King Lear)
  • The game is afoot (I Henry IV)
  • The game is up (Cymbeline)
  • Give the devil his due (I Henry IV)
  • Good riddance (Troilus and Cressida)
  • Jealousy is the green-eyed monster (Othello)
  • It was Greek to me (Julius Caesar)
  • Heart of gold (Henry V)
  • ‘Tis high time (The Comedy of Errors)
  • Hoist with his own petard (Hamlet)
  • Household words (Henry V)
  • Improbable fiction (Twelfth Night)
  • In a pickle (The Tempest)
  • In my heart of hearts (Hamlet)
  • In my mind’s eye (Hamlet)
  • Infinite space (Hamlet)
  • Infirm of purpose (Macbeth)
  • It is but so-so(As You Like It)
  • It smells to heaven (Hamlet)
  • Itching palm (Julius Caesar)
  • Kill with kindness (Taming of the Shrew)
  • Killing frost (Henry VIII)
  • Knit brow (The Rape of Lucrece)
  • Knock knock! Who’s there? (Macbeth)
  • Laid on with a trowel (As You Like It)
  • Laughing stock (The Merry Wives of Windsor)
  • Laugh yourself into stitches (Twelfth Night)
  • Lean and hungry look (Julius Caesar)
  • Lie low (Much Ado about Nothing)
  • Live long day (Julius Caesar)
  • Love is blind (Merchant of Venice)
  • Melted into thin air (The Tempest)
  • Though this be madness, yet there is method in it (“There’s a method to my madness”) (Hamlet)
  • Make a virtue of necessity (The Two Gentlemen of Verona)
  • Milk of human kindness (Macbeth)
  • Misery acquaints a man with strange bedfellows (The Tempest)
  • Much Ado About Nothing (title)
  • Murder most foul (Hamlet)
  • Naked truth (Love’s Labours Lost)
  • Neither rhyme nor reason (As You Like It)
  • Not slept one wink (Cymbeline)
  • [Obvious] as a nose on a man’s face (The Two Gentlemen of Verona)
  • One fell swoop (Macbeth)
  • Time is out of joint (Hamlet)
  • Out of the jaws of death (Twelfth Night)
  • Own flesh and blood (Hamlet)
  • Star-crossed lovers (Romeo and Juliet)
  • Parting is such sweet sorrow (Romeo and Juliet)
  • What’s past is prologue (The Tempest)
  • [What] a piece of work [is man] (Hamlet)
  • Pitched battle (Taming of the Shrew)
  • Play fast and loose (King John)
  • Pomp and circumstance (Othello)
  • Primrose path (Hamlet)
  • Quality of mercy is not strained (The Merchant of Venice)
  • Salad days (Antony and Cleopatra)
  • Seen better days (As You Like It? Timon of Athens?)
  • Send packing (I Henry IV)
  • Make short shrift (Richard III)
  • Sick at heart (Hamlet)
  • Snail paced (Troilus and Cressida)
  • Something in the wind (The Comedy of Errors)
  • Something wicked this way comes (Macbeth)
  • A sorry sight (Macbeth)
  • Sound and fury (Macbeth)
  • Spotless reputation (Richard II)
  • Stony hearted (I Henry IV)
  • Such stuff as dreams are made on (The Tempest)
  • Smooth runs the water where the brook is deep (“Still waters run deep”) (2 Henry VI)
  • The short and the long of it (The Merry Wives of Windsor)
  • Sweets to the sweet (Hamlet)
  • Swift as a shadow (A Midsummer Night’s Dream
  • Set my teeth on edge (I Henry IV)
  • Tell truth and shame the devil (1 Henry IV)
  • There’s no such thing (?) (Macbeth)
  • There’s the rub (Hamlet)
  • This mortal coil (Hamlet)
  • To gild refined gold, to pain the lily (“to gild the lily”) (King John)
  • To thine own self be true (Hamlet)
  • Too much of a good thing (As You Like It)
  • Tower of strength (Richard III)
  • Towering passion (Hamlet)
  • Trippingly on the tongue (Hamlet)
  • Wear my heart upon my sleeve (Othello)
  • What’s done is done (Macbeth)
  • What the dickens (The Merry Wives of Windsor)
  • Wild-goose chase (Romeo and Juliet)
  • Working-day world (As You Like It)
  • The world’s my oyster (Merry Wives of Windsor)

Words: 

  • accommodation (Othello)
  • accused (n.) (Richard II — first known use as a noun, meaning person accused of a crime)
  • addiction (Henry V / Othello)
  • admirable (several; seems unlikely)
  • advertising (adj.)(Measure for Measure; in context, means “being attentive”; the noun was already in use)
  • aerial (Othello)
  • alligator (Romeo and Juliet; Spanish “aligarto” was already in use in English)
  • amazement (13 instances; first known use as a noun)
  • anchovy (I Henry IV; first attestation in English of the Spanish word for dried edible fish)
  • apostrophe (“apostrophas”)(Love’s Labour’s Lost; seems to be a well-known word already)
  • arch-villain (Measure for Measure / Timon of Athens)
  • to arouse (2 Henry VI / Hamlet; “rouse” was the usual form)
  • assassination (Macbeth; “assassin” was already in use and derives from “hashish eater”)
  • auspicious (several; “auspice” was a Roman practice of fortune-telling by bird flight)
  • backing (I Henry VI; this is just a pun on a known word)
  • bandit (II Henry VI, actually “bandetto”, the first attestation in English of a familiar Italian word for people “banned”, i.e., outlaws)
  • barefaced (in the sense of “barefaced power”) (Macbeth)
  • baseless (in the sense of fantasy without grounding in fact) (The Tempest)
  • beached (several, merely means “possessing a beach”)
  • bedazzled (The Taming of the Shrew)
  • bedroom (A Midsummer Night’s Dream, merely means a place to sleep on the ground)
  • belongings (Measure for Measure)
  • to besmirch (Henry V)
  • birthplace (Coriolanus; first attestation)
  • to blanket (King Lear; first use as a verb)
  • bloodstained (I Henry IV)
  • blusterer (A Lover’s Complaint)
  • bold-faced (I Henry VI)
  • bottled (Richard III)
  • bump (Romeo and Juliet; first attestation of onomopoeic word)
  • buzzer (Hamlet; means gossipper)
  • to cake (Timon of Athens, first attestation as a verb)
  • to castigate (Timon of Athens)
  • to cater (As You Like It; from coetous, a buyer of provisions)
  • clangor (3 Henry VI / 2 Henry IV)
  • to champion (Macbeth; first attestation as a verb, and in an older sense of “to challenge”; though the noun was familiar as someone who would fight for another)
  • circumstantial (As You Like It / Cymbeline; first attestation in the sense of “indirect”)
  • cold-blooded (King John; first use to mean “lack of emotion”)
  • coldhearted (Antony and Cleopatra)
  • compact (several; seems to have been a common word)
  • to comply (Othello)
  • to compromise (The Merchant of Venice, several of the histories; seems to have been already in use)
  • to cow (Macbeth; first use in English of a Scandinavian verb)
  • consanguineous (Twelfth Night; “consanguinity” was already in use)
  • control (n.) (Twelfth Night)
  • countless (Titus Andronicus / Pericles)
  • courtship (several, seems unikely)
  • critic (Love’s Labour’s Lost; Latin term)
  • critical (not in today’s sense) (Othello, A Midsummer Night’s Dream)
  • cruelhearted (The Two Gentlemen of Verona)
  • Dalmatians (Cymbeline)
  • dauntless (Macbeth)
  • dawn (I Henry IV, King John; first use as a noun, the standard had been “dawning”)
  • day’s work (several, must have been a common expression)
  • deafening (II Henry IV; in the sense of a noise that is loud but does not produce real deafness)
  • to denote (several; already a word in Latin)
  • depository
  • discontent (Richard III / Titus Andronicus; the verb was in use but this is the first attestation as a noun)
  • design (several, seems unlikely)
  • dexterously (Twelfth Night)
  • dialogue (several, seems already familiar)
  • disgraceful (I Henry VI; means “not graceful”)
  • dishearten (Henry V)
  • to dislocate (King Lear, refers to anatomy)
  • distasteful (Timon of Athens)
  • distracted (Hamlet / Measure for Measure; seems possible)
  • divest (Henry V / King Lear; probably already in use as referring to a royal title)
  • domineering (Love’s Labour’s Lost; from a Dutch word)
  • downstairs (I Henry IV, supposedly first use as an adjective)
  • droplet (Timon of Athens)
  • to drug (Macbeth; first use as a verb)
  • to dwindle (I Henry IV / Macbeth, seems already familiar as a term for body wasting)
  • to educate (Love’s Labour’s Lost)
  • to elbow (King Lear; first use as a verb)
  • embrace (I Henry VI; first use as a noun)
  • employer (Much Ado about Nothing)
  • employment (several, obviously familiar)
  • engagement (several, seems simply the first attestation)
  • to enmesh (Othello)
  • to ensnare (Othello)
  • enrapt (Troilus and Cressida)
  • enthroned (Antony and Cleopatra)
  • epileptic (King Lear; first use as an adjective, though the noun was old)
  • equivocal (Othello / All’s Well that Ends Well; first use as adjective, though the verb “to equivocate” was familiar)
  • eventful (As You Like It)
  • excitement (Hamlet / Troilus and Cressida; both times as plural; first use as a noun)
  • expedience (several, supposedly first use as noun)
  • exposure (several, supposedly first use as noun)
  • eyeball (The Tempest)
  • eyedrops (II Henry IV; means “tears”)
  • eyesore (The Taming of the Shrew)
  • fanged (Hamlet, first attestation)
  • farmhouse (The Merry Wives of Windsor; first known use of the compound)
  • far-off (several, seems already familiar)
  • fashionable (Timon of Athens / Troilus and Cressida)
  • fathomless (not today’s sense) (Troilus and Cressida)
  • fitful (Macbeth)
  • fixture (not current sense) (Merry Wives of Windsor / Winter’s Tale)
  • flawed (King Lear; first use as an adjective)
  • flowery (A Midsummer Night’s Dream)
  • foppish (King Lear)
  • fortune-teller (The Comedy of Errors)
  • to forward (I Henry IV; first use as a verb)
  • foul-mouthed (several, seems already familiar)
  • freezing (Cymbeline)
  • frugal (several; “frugality” was already in common use)
  • full-grown (Pericles)
  • gallantry (Troilus and Cressida)
  • generous (several, obviously already known)
  • gloomy (several, “to gloom” was a verb)
  • glow (several; the word had originally meant red-and-warm)
  • gnarled (Measure for Measure; alteration of knurled which was a standard word for bumpy)
  • go-between (several, seems familiar)
  • to gossip (The Comedy of Errors; first use as a verb; “gossip” was one’s familiar friends)
  • gust (III Henry VI, seems already familiar and was an Old Norse word)
  • half-blooded (King Lear)
  • hint (Othello, first use in today’s sense)
  • hob-nails (I Henry IV, alleged; seems already familiar)
  • hobnob (Twelfth Night; older term was “hab, nab”, and not in today’s sense)
  • homely (several, seems already familiar)
  • honey-tongued (Love’s Labour’s Lost)
  • hoodwinked (already known from falconry)
  • hostile (several, seems like a word that is already familiar)
  • hot-blooded (The Merry Wives of Windsor / King Lear)
  • housekeeping (The Taming of the Shrew; seems unlikely)
  • howl (several, clearly familiar)
  • to humor (Love’s Labour’s Lost, first attestation as a verb)
  • hunchbacked (can’t find)
  • to hurry (Comedy of Errors, first attestation as verb)
  • ill-tempered (can’t find)
  • immediacy (King Lear, first use as noun)
  • impartial (2 Henry IV)
  • to impede (Macbeth, first use as verb, though “impediment” was already widely used)
  • import (several, and not used in the modern sense)
  • immediacy (King Lear, first attestation as a noun)
  • importantly (Cymbeline, first attestation as an adverb)
  • inaudible (All’s Well that Ends Well; “audible” was already in use)
  • inauspicious (Romeo and Juliet)
  • indistinguishable (not in today’s sense)(Troilus and Cressida)
  • inducement (several, seems unlikely)
  • investment (II Henry IV, not in present sense)
  • invitation (The Merry Wives of Windsor; signifies “flirting”)
  • invulnerable King John / Hamlet / The Tempest; first attestation for the negative; Coriolanus has unvulnerable)
  • jaded (several, seems already a term of contempt)
  • Judgement Day (I Henry VI; usual term had been “Day of Judgement”)
  • juiced (Merry Wives of Windsor; first attestation as an adjective)
  • kissing (several, first attestation of the participle, though surely not its first use)
  • lackluster (As You Like It)
  • ladybird (Romeo and Juliet)
  • to lament (several, seems already familiare)
  • to lapse (several, first attestation as a verb, though already familiar as a noun)
  • to launder (first use as a verb; “laundress” was in common use)
  • laughable (The Merchant of Venice)
  • leaky (Antony and Cleopatra / The Tempest)
  • leapfrog (Henry V; first attestation but seems unlikely as a coinage)
  • lonely (several, seems unlikely)
  • long-legged (can’t find)
  • love letter (can’t find)
  • to lower (several, seems already known)
  • luggage (first use as noun)
  • lustrous (Twelfth Night / All’s Well that Ends Well)
  • madcap (several, attestation as adjective; the noun had become popular just before)
  • majestic (several, first use as adjective)
  • majestically (I Henry IV; first attestation as adverb)
  • malignancy (Twelfth Night, seems possible)
  • manager (Love’s Labour’s Lost / Midsummer Night’s Dream; first attestation as noun)
  • marketable (As You Like It; first use as adjective)
  • militarist (All’s Well that Ends Well)
  • mimic (Midsummer Night’s Dream)
  • misgiving (Julius Caesar; first use as noun, though “to misgive” was in common use)
  • misplaced (several, seems unlikely)
  • to misquote (1 Henry IV; not in the present sense)
  • money’s worth (Love’s Labours Lost)
  • monumental (several, seems unlikely)
  • moonbeam (A Midsummer Night’s Dream)
  • mortifying (Merchant of Venice / Much Ado About Nothing )
  • motionless (Henry V)
  • mountaineer (Cymbeline; the sense is “hillbilly”)
  • multitudinous (Macbeth)
  • neglect (several, obviously already known)
  • to negotiate (Much Ado about Nothing / Twelfth Night; verb from the Latin)
  • new-fallen (Venus and Adonis / I Henry IV)
  • new-fangled (Love’s Labour’s Lost / As You Like It)
  • nimble-footed (several, seems already a familiar expression)
  • noiseless (King Lear / All’s Well that Ends Well)
  • to numb (King Lear, first attestation as a transitive verb)
  • obscene (several; straight from Latin)
  • obsequiously (first use of the adverb; comes from “obsequies”, or funeral rites)
  • outbreak (Hamlet, first attestation as a noun)
  • to outdare (I Henry IV)
  • to outgrow (can’t find)
  • to outweigh (can’t find)
  • over-cool (II Henry IV)
  • overgrowth (can’t find)
  • over-ripened (II Henry VI ;first-use of the familiar compound)
  • over-weathered The Merchant of Venice)
  • overview (can’t find)
  • pageantry (Pericles Prince of Tyre)
  • pale-faced (A Midsummer Night’s Dream)
  • to pander (several; was already a proverb)
  • pedant (several, seems already in common use for a stuffy teacher)
  • perplex (King John / Cymbeline)
  • perusal (Sonnets / Hamlet; first use as a noun)
  • to petition (Antony and Cleopatra / Coriolanus; first use as a verb)
  • pious (several, seems very unlikely)
  • posture (several, seems known)
  • premeditated (several; first attestation of the adjective, though the noun was in use)
  • priceless
  • Promethean (Othello / Love’s Labour’s Lost)
  • protester (not today’s sense) (Julius Caesar)
  • published (2 Henry VI)
  • puking (As You Like It)
  • puppy-dog (King John / Henry V)
  • on purpose (several; seems very unlikely)
  • quarrelsome (As You Like It / Taming of the Shrew)
  • questing (As You Like It; first use of the gerund)
  • in question (several, seems already in use)
  • radiance (several; first use as noun)
  • to rant (The Merry Wives of Windsor / Hamlet; loan-word from Dutch or previously-unattested English word?)
  • rancorous (2 Henry VI, Comedy of Errors, Richard III, all early plays, seems unlikely)
  • raw-boned (I Henry VI)
  • reclusive (Much Ado about Nothing; first use as adjective)
  • reinforcement (Troilus and Cressida / Coriolanus; seems already in use)
  • reliance
  • remorseless (several, first attestation of this form)
  • reprieve (several, obviously already in use)
  • resolve (several, obviously already in use)
  • restoration (King Lear)
  • restraint (several, seems already familiar)
  • retirement (II Henry IV; refers to military retreat; first use as noun)
  • revolting (several, obviously already familiar)
  • to rival (King Lear; first attestation as verb; noun was well-known)
  • rival (Midsummer Night’s Dream; first attestation as adjective, noun was well-known)
  • roadway (II Henry IV; first attestation of the compound)
  • rumination (As You Like It; first use as noun)
  • sacrificial (Timon of Athens; not today’s usage)
  • sanctimonious (Measure for Measure / Tempest)
  • satisfying (Othello / Cymbeline)
  • savage (several; the word was obviously already in use)
  • savagery (King John / Henry V; first use as this form)
  • schoolboy (Julius Caesar / Much Ado about Nothing)
  • scrubbed (The Merchant of Venice)
  • scuffle (Antony and Cleopatra; first use as noun, though the verb was familiar)
  • seamy-side (Othello)
  • to secure (II Henry VI; first use as a verb; the adjective was well-known)
  • shipwrecked (Pericles Prince of Tyre, seems unlikely)
  • shooting star (Richard II; first known use of the phrase)
  • shudder (Timon of Athens; first use as a noun; verb already well-known)
  • silk (alleged; obviously not Shakespeare’s)
  • stocking (obviously not Shakespeare’s)
  • silliness (Othello)
  • skim milk (I Henry IV; first use of the familiar term)
  • to sneak (Measure for Measure; supposed first use of the verb)
  • soft-hearted (2 Henry VI / 3 Henry VI; first use of the familiar phrase)
  • spectacled (Coriolanus; not in today’s sense)
  • splitting (II Henry VI; first use as adjective)
  • sportive (Richard III / Comedy of Errors / All’s Well that Ends Well; supposed first use)
  • to squabble (Othello; supposed first use, as with “to swagger”)
  • stealthy (Macbeth; first use as adjective)
  • stillborn (can’t find, obviously not Shakespeare’s)
  • to submerge (Antony and Cleopatra)
  • successful (Titus Andronicus, seems dubious)
  • suffocating (Othello; supposed first use as a descriptor)
  • to sully (I Henry VI)
  • superscript (Love’s Labour’s Lost)
  • to supervise (Love’s Labour’s Lost; also Hamlet but not in today’s sense)
  • to swagger (II Henry IV, others; in context this seems to be already a well-known word)
  • switch (first use to mean “twig”)
  • tardily (All’s Well that Ends Well; first use of adverb)
  • tardiness (King Lear; “tardy” as adjective was well-known)
  • threateningly (All’s Well that Ends Well; first use of the adverb)
  • tightly (The Merry Wives of Windsor; first use as an adverb)
  • time-honored (Richard II)
  • title page (can’t find; seems unlikely)
  • to torture (several; first use as a verb)
  • traditional (Richard III; first use as adjective)
  • tranquil (Othello; “tranquility” was an old word)
  • transcendence (All’s Well that Ends Well; first attestation of the noun)
  • tongue-tied (III Henry VI / Julius Caesar / Troilus and Cressida; seems first attestation of a phrase already in use)
  • unaccommodated (King Lear)
  • unaware (Venus and Adonis; first use as an adverb; the adjective was not yet in use)
  • to unclog (Coriolanus, first use as a negative)
  • unappeased (Titus Andronicus)
  • unchanging (The Merchant of Venice)
  • unclaimed (As You Like It; not in today’s sense)
  • uncomfortable (Romeo and Juliet)
  • to uncurl
  • to undervalue (The Merchant of Venice)
  • to undress (The Taming of the Shrew; seems unlikely)
  • unearthly (Winter’s Tale)
  • uneducated (Love’s Labour’s Lost, seems possible)
  • ungoverned (Richard III / King Lear)
  • to unhand (Hamlet)
  • unmitigated (Much Ado about Nothing)
  • unpublished (King Lear; in the sense of “still unknown”)
  • unreal (Macbeth, first use of the negative)
  • unsolicited (Titus Andronicus / Henry VIII; supposed first use of the form)
  • unswayed (Richard III; not in today’s sense, but “is the sword unswung?”)
  • unwillingness (Richard III / Richard II)
  • upstairs (I Henry IV; supposedly first use as an adjective)
  • urging (Richard III / Comedy of Errors; first attestation as a noun
  • useful (several, seems already familiar)
  • varied (Love’s Labour’s Lost, others)
  • vastly (Rape of Lucrece, not present sense)
  • viewless (Measure for Measure; means “invisible”)
  • vulnerable (Macbeth; used in today’s sense)
  • watchdog (The Tempest; first use of the phrase)
  • well-behaved (The Merry Wives of Windsor; first known use of the compound)
  • well-bred (II Henry IV; first use of the familiar compound)
  • well-read (I Henry IV)
  • whirligig (Twelfth Night)
  • to widen
  • widowed (Sonnet 97 / Coriolanus; first use as an adjective)
  • worn out (Romeo and Juliet / 2 Henry IV; seems unlikely)
  • worthless (III Henry VI, several others; seems just a first attestation)
  • yelping (I Henry VI; first attestation of this adjectival form)
  • zany (Love’s Labour Lost; simply a loan-word from Italian commedia dell’arte)

Writing Joke of the Day: Change a light bulb

How many screenwriters does it take to change a light bulb?

Answer:  Ten.

1st draft:  Hero changes light bulb.
2nd draft:  Villain changes light bulb.
3rd draft:  Hero stops villain from changing light bulb.  Villain falls to death.
4th draft:  Lose the light bulb.
5th draft:  Light bulb back in.  Fluorescent instead of tungsten.
6th draft:  Villain breaks bulb, uses it to kill hero’s mentor.
7th draft:  Fluorescent not working.  Back to tungsten.
8th draft:  Hero forces villain to eat light bulb.
9th draft:  Hero laments loss of light bulb.  Doesn’t change it.
10th draft:  Hero changes light bulb.

How many science fiction writers does it take to change a light bulb? 

Two, but it’s actually the same person doing it. He went back in time and met himself in the doorway and then the first one sat on the other one’s shoulder so that they were able to reach it. Then a major time paradox occurred and the entire room, light bulb, changer and all was blown out of existence. They co-existed in a parallel universe, though.

How many publishers does it take to screw in a light bulb? 

Three. One to screw it in. Two to hold down the author.

How many mystery writers does it take to screw in a light bulb? 

Two.  One to screw it almost all the way in, and the other to give it a surprising twist at the end.

How many screenwriters does it take to screw in a light bulb?

Why does it *have* to be changed?

How many cover blurb writers does it take to screw in a light bulb? 

A VAST AND TEEMING HORDE STRETCHING FROM SEA TO SHINING SEA!!!!

Writing Joke of the Day: Ode to the Spell Check

Eye halve a spelling chequer
It cam with my pea sea
It plainly marques four my revue
Miss steaks eye kin knot sea.
Eye strike a key and type a word
And weight four it two say
Weather eye am wrong oar write
It shows me strait a weigh.
As soon as a mist ache is maid
It nose bee fore two long
And eye can put the error rite
Its rare lea ever wrong.
Eye have run this poem threw it
I am shore your pleased two no
Its letter perfect awl the weigh
My chequer tolled me sew!

Writing Joke of the Day: Punctuation Parable

Dear John,

I want a man who knows what love is all about. You are generous, kind, thoughtful. People who are not like you admit to being useless and inferior. You have ruined me for other men. I yearn for you. I have no feelings whatsoever when we’re apart. I can be forever happy – will you let me be yours?

Gloria

Dear John,

I want a man who knows what love is. All about you are generous, kind, thoughtful people, who are not like you. Admit to being useless and inferior. You have ruined me. For other men, I yearn. For you, I have no feelings whatsoever. When we’re apart, I can be forever happy. Will you let me be?

Yours,

Gloria