Tuesday, May 28, 2013

Happy Accidents Writing Method

I've been asked how I come up with writing ideas. The real truth is I often don't know where they come from, but I learned a long time ago to take an initial idea and write with an open mind.

What does that mean?

Every manuscript begins with a simple plot idea. For example, my first western-romance began life as a joke. One of my good friends likes traditional westerns, so I figured I'd throw him a curve. I would write a classic western that would end in a gunfight between the fastest female gun fighter in the country and a young male upstart nicknamed the Maker of Angels. Figured my buddy would never see that coming.

Here's what happened...

The story got away from me. As I crafted a plot device to precipitate that male-female showdown, the story grew. It exploded into a tale of forbidden love between a white cowboy, Colton, and an outcast Indian woman, Kaga Ishta, in a world where hatred between races was the rule.

What started as a subplot morphed into conflict between two tough women for the love of Cole. Along the way, he grows from a naïve young journalist into the Maker of Angels, a deadly gunfighter with blinding speed. In the end, he faces Tess Winslow, the lady gunfighter, with the captive Indian as the prize. But, before he meets her in the climactic event, his quick-draw mentor warns him, "She's faster'n you, Cole."

Does my writing method have a name?

Kind of. I call it the Happy Accident Writing Method. I'm a little embarrassed to admit that my stories don't come from countless hours of tedious plotting, detailed character outlines and predetermined plot. That just does not work for me. The energy and action in my books comes from freedom to "follow the story" as it unfolds. I love dead ends and plot walls. I thrive when my characters are trapped or in hopeless trouble. That is where creativity gets a workout . . . solving problems. In essence, my stories begin with a concept. From there, open-minded exploration leads me along the general plot. My only rule of thumb is to wander as much as I want, so long as I end up back on the plot.

Does this mean I have no fixed ideas when I start writing?

Oh, heck no. Every writer has a signature style. For example, all three of my most recent stories share certain similarities. I respect women readers so my stories provide complex plots with intricate storylines. Female main characters are not weak little ladies hoping a man will make them whole. Quite the contrary. Most are tough as nails while my male MCs are equally strong, often knocking heads with their women counterparts. Another signature of my writing is action. I get bored easily, so my stories carry as much pace as I can support without burning out readers.

I hope readers trust that they can always count on my stories to keep those promises. Whether a fan reads one of my western-romances, a thriller or sci-fi, the overall theme will always keep the promise of strong characters, intricate plots, challenging pace and unexpected turns. And, a lot of it comes from "happy accidents."

Wednesday, May 22, 2013

Indie Authors – Craft Your Book Cover

“Covers sell books.” Have you ever heard that expression?

Covers are supposed to catch visual attention and be interesting enough to get a potential buyer to read my title and blurb. Actual purchasing decisions follow if the reader likes my description.
 
Would you read the blurb?
Can a cover influence a reader's decision to buy? Of course. The old expression, “a picture says a thousand words,” suggests that if I am careful about cover design, it is possible to enhance the impact of the blurb. Cover art, though, can be a double-edged sword. It establishes expectations that must be matched by the story, or readers may feel let down.
 
The story on the left is a horror story. Does the cover art match the genre?
 
How do I approach cover design and layout? I consider six issues:

First, know my limits. I am NOT a graphic artist, so while I do know how to manipulate pictures, fonts and layout, I generally run my ideas through the pros. If I need a detail to be altered, I prefer to engage skills of the artist to achieve the change(s) even though I own Corel Draw, Corel Paint, Adobe InDesign, CoverPro and MarketingPro software...just in case I need to make changes myself.

Second, graphic artists are not writers. They will never “know” my story like I do. It is MY responsibility to communicate exactly what scene or images I want. What is the most important scene in the book? Is there a general theme to the story? Do I want character images on the cover? Remember, if I include detailed character images, then those had better match what my reader will discover inside the story.

Third, I call this element “mood.”  If I wrote a horror story, I want a dark “mood” established by the cover art. In my western-romance stories, conflict between a cowboy and cowgirl will always be represented in the cover along with suggestion of rough living in the old west. In my sci-fi book, The Last Human War, chapter five includes an epic space battle where two massive battle cruisers collide. My graphic artist developed the scene. His first concept was close but not exactly what I wanted. We worked together until it met my expectations.

What mood do you think this book cover on the right represents? This story will be about children who have been programmed to kill. It's a cross between a thriller and a mystery. Does this cover get the message across? What about the boy on the cover? If the boy in the story is a blue-eyed blond, then the cover needs to be changed to match the character descriptions.

Fourth, ownership. I do NOT use “free” or “leased” graphic art. Why? I do not want others to steal my images and use them in any way. I like to make posters, book marks, web pages and other promotional items from the images that I OWN. Also, if I own the artwork, I never have to worry about somebody demanding that I pay them for some part of an image that they own, but was included in a free image I imported.

I own this 100%
Fifth, credit. Most graphic artists get very little credit for their talent. I believe it is ethical and respectful to give credit for inspired artwork to the creator. If I help them to grow their business, they tend to bend over backwards to work with me on creating a fantastic cover.

Sixth, color. Did you know that the predominant color of a cover suggests a theme? Take a look at this interesting color chart provided to me by literary agent, Stacey Donaghy. I love this information. Thank you, Stacey!


All this talk about making a good cover doesn’t help much unless you know where you can find good graphic artists to do your bidding. Author Sass Cadeaux recently referred me to several cover art resources. I engaged the services of one of them. Thank you, Sass!

Let me introduce you to that company: SelfPubBookCovers.com.

http://selfpubbookcovers.com/

I’m quite impressed with the quality of their pre-made covers and the simple tools they offer to build cover fonts that achieve the writer’s story image. They purchase covers from a number of graphic artists and sell them at outrageously low prices. In addition, I needed major changes to one cover I bought, and the owner of the company, Rob, contacted the artists on my behalf and produced a fantastic custom cover that will be revealed in a few weeks. The best part? I OWN the final artwork 100%!

Building a quality cover in this day and age is simple. Indie authors can compete successfully with the best traditional cover art designers. Just follow the simple six guidelines above and your book will look fantastic.


Monday, May 13, 2013

Page Turners, Part II—PLOT

Back in December, I posted my thoughts about the relationship between writing structure and pace for creating “page turners.”

Here’s the link if you missed it:


In today’s blog, I’d like to share my thoughts about the first element in creating a fast-paced story—a great plot.

What is plot?

Everybody knows that plot is the primary story line, but it’s really more than that. Any story idea can be used to generate a work of fiction, but what is the difference between a run-of-the-mill story idea and a kick-ass plot?

A great plot must produce strong tension. How does it do that? Conflict. All tension is driven by conflict, but not all conflict creates great tension.

Consider Hemingway’s novel, The Sun Also Rises. To me, it sucked. Conflict came principally from internal angst of the main character who loves the female lead, but can never consummate the relationship with her, yet she beds several other men during the story. In my opinion, it was little more than a soap-opera-by-book before television popularized the sport of sexual infidelity. Its action scenes bored me. I suspect its success back in 1926 was probably due to public voyeurism as establishment readers enjoyed titillation from the story’s description of the sexual freedoms embraced by the “lost” generation. Really tame stuff by today’s standards.

There is a valuable lesson in my experience with The Sun Also Rises. PLOT IS NOT UNIVERSAL. Each plot has a target audience. My dear Mr. Hemingway would not find me to be a suitable reader of his first major novel, because his plot does not interest me. I simply don’t feel the required tension to make the story compelling.

On the other hand, I loved his book Old Man and the Sea. This plot intrigued me—a classic man versus nature battle with brilliantly written internal dialog and scene narration. Tension was palpable for me. In fact, I read it more than once.

Therein lies my impression of the importance of plot to writing the “page turner.” Writers like me must know our intended readers for our stories and carefully select plots to match. Conflict that matters to a reader will keep that person turning pages as fast as possible. It’s kind of like watching a sport. If the observer likes the sport, it is exciting. But, if the sport is golf, oh my God, how boring, at least for me.

I try to understand my readers’ needs when I take a basic plot and flesh out my story. For example, I have a war story, Palace Dawgs, written with men in mind, especially former soldiers. Will women like it? Some will. Some won’t. But, from the very beginning, the story caters to those story elements that will enhance tension through war-related conflict. This plot will be compelling for the right set of readers.

On the other hand, Maker of Angels is a western romance story about forbidden love between a white cowboy and a renegade Indian woman. It follows the growth of the main character from a naïve young college graduate to a highly skilled gunfighter who ends up in a gunfight against impossible odds to save the Indian woman he loves. Women who enjoy complex stories and highly developed character conflict with a romance theme are my target audience.

Botton line? Plot meant for a clearly defined group will lead to a page-turner experience for those readers. Once the audience profile is understood and the ideal plot developed, then magic will happen.

Monday, April 29, 2013

Ghost of Lost Eagle...cover decisions.

At long last, my western/romance/paranormal GHOST OF LOST EAGLE is done! Edited five times, signed off by my beta readers and scheduled for release in May, this is book ONE in the Sweetwater Canyon Series.

I'm thrilled. This book was fun to write and challenged every writing rule I follow. Now, it's time to hand it over to readers and pray for the best. Am I confident? Hell no. I'm scared to death. I went out on a limb, blending western historical fiction with romance, by pairing an unlikely couple in a love-hate relationship. Then, I dragged them through attempted murder, a deadly accident and the emotional drain of a terminal illness.

Where's the paranormal? All this happens under the strange influence of the ghost who haunts nearby Lost Eagle Canyon. The Indian apparition and his minions, a lone wolf and a Cayuse Indian pony, change the lives of the main characters forever. Likewise, Mason Tucker, the butcher turned cowboy, discovers his destiny is somehow linked to the ghost through a shared spirit guide that he did not know he had.

All I need now is to settle on the cover art for my story. It's proving difficult. How do I summarize a complex story in a single cover picture? Pick one scene? Nope. A single scene leaves so much out . . . it's just not enough. How about a collage? Never was a fan of a bunch of mixed up pictures. They confuse me. Which theme do I promote? Western? Romance? Paranormal? How about all in a single picture?

Why is this cover so important? To me, a cover is like the first wink between strangers that will, hopefully, lead to a relationship. It needs to be special, to hint at possibilities. If it works, the immediate followup is the title, in essence, the title is a pick-up line. Sounds a lot like dating, huh? Title MUST be great. It is the author's first chance to impress a potential reader-mate with the writer's voice. Imagination expressed through the title suggests a theme and stimulates an image at the same time.

My final task on Ghost of Lost Eagle is to find that special cover art before my story takes the gut-punch jump into readerville. I worked with two graphic artists today without finding the magic. One said her idea was "good enough." Wrong! Compromise on the cover is not an option. It MUST meet my demand to "showcase" the story in a snapshot. Problem is, the release date is closing in like the due date on a pregnancy. It's going to happen.

Therein lies the theme of this blog. Authors wear many hats. Ultimately, it will be the personal drive of an author, me in this case, that produces the final cover. A writer's last, and possibly most critical, artistic decision is cover art. Beware, graphic artists, I am on a mission.

What ideas do you have for finding a good graphic artist? Any recommendation for one? And, what about selecting a scene? Collage? Critical scene? Setting scene?

Wednesday, April 24, 2013

Sense of Humor - Writers Need It!

This morning began at 5AM on two hours of sleep. I spent last night editing until 3AM when my eyes crossed, and I fell asleep with a finger on a keyboard. One letter repeated for three pages. Thank God I woke up when I did.

Why get up at such an un-Godly hour with only two hours of sleep?

I had received a request yesterday from a good publisher for one of my manuscripts. They wanted it ASAP, so I set my bedside alarm on rooster time to get up early. Then, I returned to editing and became so engrossed in another story that I lost track of time until my run-in with the “s” key at three in the morning.

This is my real life as a writer. Obsessed, focused, meeting deadlines—always jumping through hoops, most of which are self-imposed deadlines. But, that is how I managed to complete four manuscripts in the past year.

Writing is a marathon, not a sprint. Gut checks, milestones to measure progress and sheer willpower combine over time toward one goal . . . the book. I started this day exhausted but forced myself to chug along the road toward that distant finish line. I was on a literary mission and ran headlong into "the wall" in my literary marathon.

One of those gut-checks came as I franticly printed, collated and prepared that special manuscript for the waiting editor. I record such character-testing experiences in my “Life Lessons” diary and you might get a kick out of my notes for today:

Life lesson # 3439: While printing a 425page manuscript for an acquisition editor, do NOT eat leftover pepperoni pizza. Greasy fingerprints screw up one’s professional image. Messed up several pages. Must reprint.

Life lesson # 3440: Dachshunds are great pets until you set a pepperoni-stained manuscript on the couch while washing hands. Dachshund tongues ERASE ink-jet print as they franticly lick pepperoni oil off paper. (Am I the only writer who did not know that?)

Life lesson # 3441: After discovering 420+ pages of the manuscript spread randomly across the living room floor, put Dachshunds outside immediately. Delay results in paper-trained puppies living up to their training. Yes, one piddled on the scattered manuscript. “Life, I've enjoyed enough of your lessons today. Please go educate someone else! Thank you, D.”

If you ever thought it would be “fun” to be a writer, you’re right. Euphoria at completing a full novel rivals any other high I have enjoyed. Perhaps the prize in the writing marathon is made all the sweeter by overcoming obstacles. What other choice do we have? It is the authors that grind out the marathon who reach the finish line. Bring on the next hill! I love the challenge, even if I have to reprint fifty pages.

Tip:  It helps for a writer to keep a sense of humor.

Monday, April 15, 2013

Get Well Boston...

Bombing of the Boston Marathon raises emotions ranging from fear to empathy, anger to insecurity. It's easy to be tempted . . . to succumb to the lure of hatred.

Who did this horrific act?

We don’t know so far. Yet, I already recognize the single most important trait about this killer. Hatred. Somebody’s core being contains so much hate that he, or she, is capable of murder with cold-blooded planning and single-minded lethality.

But, this blog is not about the killer. It is about the survivors. Families have lost loved ones. Others have been wounded, from minor injuries to life-changing amputations. They are also survivors. But, it doesn’t stop there. I care about the event participants and fans that were traumatized. They, too, are survivors.

Ultimately, televisions and the internet spread emotional trauma across my country. We all share pain and suffering with those people in Boston who were directly targeted. Should we be angry? Sure. Should we demand justice? Of course.

What about fear? Should this experience make us fear future terrorist attacks? Not me.

Fear is the goal of terrorism. If we succumb to fear, then terrorism wins. Hatred is their lesser goal. If they can get us to hate and retaliate, then they bring us down to their level and our generalized response breeds the next generation of terrorists.

Reject fear. Personally, I will never bow to the threats of terrorism. Likewise, I will not let my anger over this attack in Boston prejudice me toward any religious, cultural or political group. This attack was the final outcome of hate, nothing more. To prevent such events in the future, we must defeat hatred. That war begins in our own minds. It’s our choice.

Sorry this blog is not about writing, but I thought this needed to be said. Please, my friends, demand justice, but resist hate. If we hate, they win.

Monday, April 8, 2013

Fact or Fiction?

“Readers suspend reality when they read works of fiction.” Nonsense!

Some people think writing fiction means the writer can conjure up any old notion, and the reader will blindly accept it. I’m sorry, but that is just not true.

I used to enjoy Superman comic books when I was a kid, never questioning how he breathed while in space or deep under the sea. Old cowboy movies showed shoot-outs where one guy’s “six-shooter” fired an endless string of bullets without reloading.

Why didn’t this lack of realism ruin the stories for me?

Andre Norton wrote a wonderful sci-fi story called Galactic Derelict. It’s one of my all time favorite books. Travis Fox, a young Apache Indian, wanders into a top secret government technology race between competing American and Russian scientists. Swept back in time to the recovery site of an alien spaceship, Travis hides inside the vessel and is transported back to the future. A technician inside the vessel accidentally triggers a homing navigational program. The alien ship takes off, but is twenty thousand years past its real space time. Travis and the technician experience numerous hostile environments as the ship stops in strange worlds across the galaxy. Former advanced civilizations that created the space ship have long since devolved into sub-intelligent species living among ruins of ancient technology.

Her story is wildly exciting as Travis relies on his Indian skills and sharp senses inherited from his genetic lineage to deal with strange new animals. Throughout the tale, the technician works to get them home while Travis explores and hunts with the reader at his side. It is a wonderful juxtaposition between advanced technology and primitive culture.

Suspend reality? Sure, that's part of fantasy. How did the alien space vessel cross vast distances when physics tells us nothing can exceed the speed of light? Don’t know. I don’t care. What was the scientific foundation for the time transportation? Again, I don’t need to know. There are lots of areas where the reader MUST suspend reality to enjoy this story.

So, what about this story kept my interest?

Facts, not fiction, made this story compelling to me. The Apache Indian used skills and knowledge unique to his heritage to survive. The author did her homework. Travis Fox came across as real . . . as believable. The technician deconstructed the alien ship’s control systems using familiar technical and scientific principles. Again, I could believe this character. And, the interaction between the men ranged from friendship to frustration, yet, mutual respect never waivered. While the setting was fantasy, the characters were real.

I just wrote a western-romance <with a secret subset> story. Of course, the plot is fictional, but I studied Native American lore and real history of the old west in the 1870’s to make sure my plot is completely believable. Old photos of the region provided me amazing descriptive detail. History research surprised me with accountings of a small gold rush that happened shortly before my story’s setting. I even studied classic Mexican weaving designs so my written accounts of old blankets in the story come across real.

It is true, readers must suppress reality to some extent when they read fiction. But, they also need realism to make characters and settings come alive. That’s why research is so important in fiction. Facts make fiction real!

Friday, March 29, 2013

Platforms are NOT shoes!

Writers need a "platform" when their work is being presented to mainstream publishers. There are many parts to a platform, but this blog is about one simple thing we can do to enhance our attractiveness to potential publishers. KLOUT.

What IS a platform? Our platform is all the things about us and our experiences in life that will help us sell books. Education, training, special skills, achievements...all these are part of our platform. In truth, it's all about marketing.


Pro Bass boat and sponsors
For example, I was a pro bass fisherman for many years. What does catching a little green fish have to do with selling my stories? I had pro-staff positions. I represented sponsors. They required me to do public speaking, write articles, attend expos to work in the sponsor booths and carry myself in a professional manner, always being careful to maintain a good image. Mainstream publishers like to see those kinds of things. Marketing skills and sales experience in authors are highly desired, so I make sure my prior sales related training and results show up on my "bio" as part of my platform.

But this blog is not about building a platform. Rather, it is about one tool an aspiring writer can use to help sell the platform. Social media exposure.

Publishers know that a lot of books are promoted and sold through social media, but anyone can claim to be active on social media. How do publishers KNOW that a person does indeed actively participate in social media and on a regular basis?

Klout! This website tracks each member's social media activity. They use an algorithm to assign numeric values to all our activity on Facebook, Twitter, Google+, LinkedIn, Blogger and several other sites. If this value is low, they know the aspiring author is not very active in those resources and portends poorly for future sales efforts online. If the value is high (above 60), then publishers can be pretty sure the aspiring author is familiar with and active in this most important marketing tool for new authors.

The other nice thing about this Klout score is that it changes daily. Why is that nice?

Klout ratings are weighted over a 90-day period. If you are trending up, publishers will see it. If ratings have been on a downward trend...not so good. However, there is one more outstanding benefit of this service. It imposes self-discipline on members. You must maintain regular activity on several sites to keep your rating steady. This is a great habit to develop if one expects to have a successful book sales career.

So, check out Klout. If you're not on there, you might want to consider it. Here is their website:

http://klout.com/home

If you decide to sign up, look up my account and feel free to add me as one of your "Influencers" if you want. Good luck with your platform!

Thursday, March 21, 2013

Feeding Your Chickens – Subliminal Writing

When I was a boy, my aunt sold fresh eggs out of her country home. I liked accompanying her through the three long, chicken coups, helping to collect eggs and feed the birds. She taught me the connection between feeding hens and having eggs for Easter decorating or meat for family barbeques. I even learned the difference between dry and wet sh . . . well, let’s say she taught me where NOT to step. It was a good education in real life.

“Everything we get from the chickens,” she would say, “begins with proper feeding.”

One of my daughters lives near several small family farms. Recently, during a mother/daughters walk, they came upon some hens and a lady feeding them. My granddaughter got to hand feed chickens for the first time. When I looked at that picture, it dawned on me, feeding chickens is a great metaphor for the subliminal creative process.

If we writers want a steady supply of literary eggs, we have to feed the writing hens. How do we do that?

Humans have a remarkable tool between our ears called subliminal processing. It’s a part of our mind that constantly, even when we sleep, thinks about ideas. It creates those really cool waking-moment epiphanies when problems we struggled with a day before suddenly become clear. And, this subconscious processor never stops. It solves issues long after conscious thought gives up. Those Eureka-moments, when the thrill of discovery pops out seemingly from nowhere, that’s our subliminal mind at work.

How would you like to influence the output of your subliminal mind?

You’re probably thinking, “Wait a minute, Dean. You just told me this is a subconscious thing. How can I manage to control something over which I have no control?”

The answer? Feed your chickens!

Subliminal processing needs content . . . mental food. The more information you have floating around your subconscious, the more inventory it has for solving problems. Imagine painting a picture with only black and white soft paint. Your art can only show shades of gray. No color. No texture. But, if you have an entire pallet of colors, the possibilities are endless.

Ideas are the food pellets for a writer’s mind, both consciously and subconsciously. They say good writers should be avid readers. Why is that? Because, the more we read, the more inventory we add to our idea pool—the more pellets we are throwing to our mental chickens.

What color is a rose? Many people immediately say, “red.”  A writer should say, “white, yellow, red, orange, pink, blue, peppermint . . .” The writer’s list is almost endless. In addition, roses can be mixed colors. The point is a writer’s mind uses lots of options from which to paint our literary pictures. That old computer adage, “garbage in, garbage out” applies to the mind, too. Images percolating to the mind’s surface come from the input we put in. That content is the key to controlling our subliminal processing results. By controlling the input, we shape the output. Even though the unconscious mind works independently, its output will be limited to the choices we gave it.

If I am struggling with a plot issue or in a quandary about a character trait, I trust my hidden processing to find answers. I will sleep on the matter, sometimes waking in the middle of the night, excited about a solution to my writing dilemma. I keep a pen and pad in my nightstand for those 3AM inspirations. Often, I will be driving down a busy street when my subliminal processor hits the send button with its output. Yep, I keep a notepad and pen in my center console.

Trust your subconscious. It’s a magnificent tool as long as you feed it lots of raw material. Read, watch, listen, smell, taste, feel . . . use all your senses to stock inventory into your subliminal writing reservoir, and when you need it, it will serve you well.

Remember my aunt’s advice. If you feed those chickens, you’ll get a steady supply of eggs.

Monday, March 11, 2013

Oh No…Used the Wrong Word!

Every so often, I draw a blank about a common word while writing. The more I repeat the word, the more incorrect it sounds. Is it spelled “passed” or “past?” Soon, I find myself recasting a whole darn paragraph just to avoid one stinking word.

There’s got to be a better way!

Here it is . . . my personal master list of words I most commonly screw up. Or, more accurately, it’s my cheat sheet. Without this quick reference, I descend into a fat-inducing cycle of breaks for Pepsi and chips to deal with the frustration.

I hope my list provides you the same peace of mind I get when I know answers are at my fingertips. Feel free to copy it into your own Word document or reference it here any time.



accept/except – “accept” means to agree to do something or to terms// “except” is a preposition meaning to exclude something.
example:  I accept my wife’s suggestions most of the time, except when it involves fishing.

alright/all right – “alright” is not a word. In dialog, if a character uses that word, it should be spelled “awright.”

adverse/averse – “adverse” means unfavorable or undesirable// “averse” means reluctant or hesitant.
example:  An adverse credit report caused my loan denial. I was averse to her idea.

afterwards – “afterwards” is wrong in American English, should be “afterward."
example:  We went to the movies, afterward.

alot/a lot – “alot” is not a word.

beside/besides – “beside” means next to// “besides” means other than or moreover.
example:  Put the chair beside my desk.  Besides the expense, I don’t like the color.

bring/take – “bring” usually involves direction of an object to where you presently are// “take” involves moving something to some other place.
example:  When you come over, please bring that book. Take leftovers with you when you leave.

circle around – “circle around” is redundant. Avoid “around" in this context.

compare to/compare with – “compare to” shows similarities// “compare with” shows differences.
example:  My mother’s art has been compared to Norman Rockwell’s. I made less money this month compared with last month.

complement/compliment – “complement” supplements something else// “compliment” is a kind expression directed to someone.
example:  That tie complements your new suit. I appreciated her generous compliment.

criteria – “criteria” is plural of criterion.
examples:  We only have one criterion. Criteria for this position are listed below.

data – “data” is plural. The singular is datum.
example:  The data suggest a critical failure in three days. (note suggest, NOT suggests)

discrete/discreet – “discrete” means a distinct entity// “discreet” means tasteful, or prudent.
example:  Fair Oaks is a discrete part of Greater Sacramento. Be discreet when filing complaints.

effect/affect – “effect” as a noun means a result// “affect” is a verb that means to create a result.
example:  The effect of taking vitamin C for colds is amazing. Vitamin C affects colds in ways we don’t fully understand.

everyday/every day – “everyday” is an adjective that defines a noun// “every day” uses “every” as a delimiter to define the noun, “day.”
example:  I love to jog every day. Jogging is an everyday event in my life.

farther/further – “farther” refers to measurable distances// “further” relates to general lengths or measures.
example:  He can throw a football ten yards farther than Bill.  My hypothesis requires further study.

fewer/less – “fewer” refers to a countable number// “less” compares abstract amount.
example:  There are fewer tomatoes on my plants this year, so I have less marinara sauce.

in/into – “in” specifies location as inside or within// “into” shows movement from one place to another.
example:  I found the papers tucked in the book. Let’s go into the house before the rain hits.

infer/imply – “infer” offers to reach a conclusion// “imply” is to suggest a conclusion.
example:  The data infers a connection. Did her kiss imply more than I thought?

insure/ensure – “insure” is a legal act of making contractual guarantees// "ensure" is to offer assurances.
example:  The agent said they will insure our home. He ensured that my car was repaired.

irregardless – “irregardless” is not a word. It is often confused with regardless and irrespective. This non-word is used commonly in American English vernacular and may be used in dialog IF the character would likely use such wrong vocabulary.

its/it’s – “its” (no apostrophe) is the possessive form of “it”// “it’s” means “it is.”
example:  Its nose was red and warm to the touch.  It’s better to win.

lay/lie – “lay” as a verb needs a subject and direct object// “lie” as a verb does not use a subject or object. “Laid” is the past tense of “lay."
example:  Lay your books on the table. I lie down every day at the same time.

led/lead – “led” is past tense of “to lead” (pronounced “leed”)// “lead” is a malleable metal or a verb meaning to have someone or something following.
examples:  The town mayor leads the parade every year. He led it last year.

literally – “literally” means exact fact and is frequently used incorrectly. For example, “I am literally dying in this heat.” No. You are likely uncomfortable, but not going to die.

lose/loose – “lose” means that you lost something// “loose” means something is not tight.
example:  Don’t lose your lunch money. The bolt became loose when the nut fell off.

might/may – “might” implies uncertainty of an outcome// “may” implies consideration or permission.
example:  I may fire this homemade rocket, but it might explode.

passed/past – “passed” is the past participle of the verb “to pass”// “past” is a noun, adjective, adverb, or preposition depending on how it is used. Passed and past are NOT interchangeable.
examples:  We passed my aunt’s house on the way to the movie. (past tense of “to pass”)
My past finally caught up with me. (noun)  Past behavior finally caught up with me. (adjective modifying behavior)  I ducked past the low branch. (adverb modifying ducked)  I got sick after running way past my limits of endurance. (preposition)

premiere/premier – “premiere” is the opening night of a play, movie or similar production// “premier” means the first or best in status or a political head of state.
example:  I loved the premiere of the Godfather movie. Premier Loch demanded a vote.

principal/principle – “principal” means a sum of money, head of a school or a main owner in a business// “principle” is a basic accepted truth or generally agreed to scientific fact.
example:  Mr. Brown is a principal in the bank. The principle of “Do not harm.” is fundamental to the practice of medicine.

sight/site – “sight” has to do with vision// “site” means located of an internet page.
example:  I lost sight of the others. Have you seen the new site for my business.

sit/set – “sit” is a verb meaning to be seated// “set” means to put or place something.
example:  I set the picture on the mantle. John can sit over there.

than/then – “than” is used to show a comparison// “then” shows a sequence of time.
example:  She is taller than me. Let’s go to the store then head for the beach.

that/which – to understand the proper use of these two words, it is necessary to understand the difference between a RESTRICTIVE CLAUSE and an NON-RESTRICTIVE CLAUSE. Both clauses modify a noun, but the restrictive clause DEFINES the noun while the non-restrictive clause offers additional information about the noun but is not necessary to define the noun.

Restrictive clauses answer critical identifying questions about the noun. For example: The baseball bat that had his fingerprints on it was likely the murder weapon. In this case, the clause defines a specific bat.

Non-restrictive clauses add information that is not essential to the sentence or the noun. For example:  Any one of several knives, which rested in the knife block, could be the murder weapon.

IMPORTANT NOTE:

Restrictive clauses are never enclosed in commas, and their information is essential for understanding the sentence.

Non-restrictive clauses are always enclosed in commas, and their information is not essential to the sentence.

 
there/their/they’re/there’re – “there” is an adverb showing place// “their” is the possessive form of “they”// “they’re” is a contraction meaning they are// “there’re” is a contraction meaning “there are."
examples:  Let’s go over there. Their car ran out of gas. They’re going to the store. There’re more cookies in the cupboard.

to/two/too – “to” is a preposition that introduces information through prepositional phrases// “two” is the number 2// “too” is an adverb meaning “also."
example:  Too many people assume motorcycles are dangerous to ride. I’ll take two!

waive/wave – “waive” means to forego a right// “wave” is a hand gesture, usually a greeting.
example:  I waived my right to a reading of the will. She waved goodbye to me.

who/whom – “who” there is a simple way to determine whether who or whom is the right word. Simply put, answer the who/whom question with a he/him response. If “he” is the right answer, then “who” is the right pronoun. Same for whom and him.
example:  For who/whom did they raise money? Response…Money was raised for him. Therefore, “whom” is right.  Who/whom answered the door? Response…He answered the door. So, “who” is right.

your/you’re – “your” is a possessive pronoun, “you’re” means you are.
example:  Your story made me cry. You’re not going to get away with that.

 
Wikipedia list of most commonly misused English words.

http://en.wikipedia.org/wiki/Wikipedia:List_of_commonly_misused_English_words