Category Archives: Lists

January 24, 2016 · 9:33 AM

5 Life Hacks for Productivity

Let’s face it… humans are creatures of habit. That phrase often has a negative connotation; in a conference that lasts several days, people will tend to sit within a few chairs of the seats they sat in on the first day, whether they like the location or not; once a person starts hanging the loo roll on the dispenser either top or bottom, the other way is just wrong. But habits can also work to our advantage, if we form good ones: Cleaning up after ourselves should have been a habit formed in our childhoods; brushing our teeth, pushing a chair in after we leave the table, and dozens of other little habits are hygienic, energy-saving, and contribute to more harmonious relationships within our social and environmental landscapes.

Those of us who express ourselves through creative media (such as writing, arts or crafts) might tend to see ourselves or the expression of our craft as outsiders, or at least mavericks, when it comes to business practices. However, there are many tools (such as the SWOT) and principles for increasing productivity in the business sector that we can and should apply to our creative streaks (if the intention is to take them beyond the level of hobby to a more serious endeavour). One of those principles involves forming good habits. Below, I’ve listed five things that I do to keep my creativity fresh, and thus keep the time that I spend writing more productive than it would otherwise be (I know from experience). For practical purposes I’ll refer to the expressions from the perspective of a writer, but these hacks apply to any creative discipline.

I’ve taken the liberty of making a “cheat sheet” as a reminder of these principles; if it’s helpful for you, feel free to print it out and hang it up where you work or write.

1) Find your most productive time.

Are you an early bird, or a night owl? Or are you a late-afternoon type? Most people have 9-to-5 jobs that dictate when they have free time; but when you are looking for time to write, try to schedule it in your most productive time of the day. I am an extreme night owl; I need very little sleep and work at home, so my time is flexible; yet my most productive time of the day is between 01:00 and 04:00, with the second-most productive period being late-afternoons. I know this about myself, so I use the less-productive times to get other things done that are no-brainers (housework, shopping, etc.).

2) Use time management apps to focus your energy.

I have two (android) apps that I use: “Clear Focus” and “aTimeLogger”. The first app counts down from the time I set, with a five-minute break following; every three sessions, it encourages me to take a longer break of fifteen minutes. The second app allows me to log how much time I spend in a particular activity; I have added customized activities such as editing and blogging. I use these apps especially when I’ve got a dozen incongruous tasks on my to-do list – it helps me focus on the task at hand, thus being more productive.

3) Learn a new skill.

That may sound a bit odd; after all, it takes time to learn a new skill, right? But bear with me a moment: The current thinking of today is that one should become a specialist; the thinking goes that if you focus your energy into learning one skill to a high degree, you will be successful in it. But I have one word in answer to that: Renaissance. During the Renaissance it was considered ideal for one to pursue multiple disciplines; a gentleman of the time was expected to speak several languages, be well-versed in various scientific disciplines such as astronomy, botany, or medicine, and be eloquent with words through writing poetry, play a musical instrument, study philosophy, theology, and so on. The standard was set, and met – think of all that was accomplished, discovered, and invented during that age! Variety is the spice of life, and I find that iron sharpens iron – that one skill hones another. So take some time to learn something new; it will stir the creative juices and get them flowing much more productively than if you stagnate in specialization. And in gathering new skills, you will add to your arsenal of personal experience from which to draw on when fleshing out characters, worlds, scenes and dialogues.

4) Create a music playlist.

Spotify is a great invention! I have dozens of playlists, and depending on what I’m working on, I’ll turn on music to set the mood for a scene I’m writing (for me, it has to be just right or it can be counter-productive), or to speed me up or slow me down. Music stimulates our creative energy, and helps our minds become more curious and more imaginative. It affects our moods, and thus can influence the way we approach a particular scene or dialogue. Just for the record, as I write this, I’m listening to the album Grace by Steven Sharp Nelson (of the Piano Guys).

5) Take breaks.

This is another habit that runs counterintuitively to conventional wisdom, but being “so close to the forest that you can’t see the trees” is never a good thing; staring too long at a problem, or a blank page, will get you nowhere fast. Frustration builds, making any mental block that much thicker. Set it aside; get some fresh air and exercise, airing both your mind and body. By putting space between ourselves and the issue, we often gain fresh perspective. Think of it as a backward approach to moving forward. As Steven Spielberg advises, contemplation time is essential in the creative process – don’t fill it with brain work that distracts. Take a bath. Do the laundry. Draw; doodle; do a craft. Some of my best solutions or plot twists have come while doing a craft. By the way, crafts encourage abstract thinking, problem solving, and creative perspectives. To apply this, take a 20-30 minute break after you complete a particular element; sometimes it actually helps me to start that new element before taking a break – it gives my mind time to percolate away from the computer, yet gives me a starting point when I return to work.

I hope these hacks encourage you in developing and honing your craft. Keep writing!

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Filed under Articles, Lists, Nuts & Bolts, Plot Thots & Profiles, Writing Exercise

Tagged as Crafts, Creativity, Honing your Craft, Life Hacks, Productivity, Renaissance, Steven Spielberg, SWOT, Writer's Block, Writing Skills, Writing Sparks, Writing Tips, Writing Tools

October 5, 2015 · 4:23 PM

The Pitfalls of Analogies

These are priceless examples of creativity gone awry. I don’t know who originally wrote these gems or compiled them; if you know, please tell me so that I can give credit where credit is due!

21 Analogies Used by High School Students in English Essays

“When she tried to sing, it sounded like a walrus giving birth to farm equipment.”
“Her eyes twinkled, like the moustache of a man with a cold.”
“She was like a magnet: Attractive from the back, repulsive from the front.”
“The ballerina rose gracefully en pointe and extended one long slender leg behind her, like at dog at a fire hydrant.”
“She grew on him like she was a colony of E. Coli and he was a room temperature Canadian beef.”
“She had him like a toenail stuck in a shag carpet.”
“The lamp just sat there, like an inanimate object.”
“Her face was a perfect oval, like a circle that had two sides gently compressed by a Thigh Master.”
“Her eyes were like the stars, not because they twinkle, but because they were so far apart.”
“His career was blowing up like a man with a broken metal detector walking through an active minefield.”
“The sun was below the watery horizon, like a diabetic grandma easing into a warm salt bath.”
“From the attic came an unearthly howl. The whole scene had an eerie, surreal quality, like when you’re on vacation in another city and Jeopardy comes at 7:00 p.m. instead of 7:30.”
“It was as easy as taking candy from a diabetic man who no longer wishes to eat candy.”
“She had a deep, throaty, genuine laugh, like that sound a dog makes before it throws up.”
“Their love burned with the fiery intensity of a urinary tract infection.”
“It’s basically an illusion and no different than if I were to imagine something else, like Batman riding a flying toaster.”
“If it was any colder, it would be like being in a place that’s a little colder than it is here.”
“Joy fills her heart like a silent but deadly fart fills a room with no windows.”
“The bird flew gracefully into the air like a man stepping on a landmine in zero gravity.”
“He felt confused. As confused as a homeless man on house arrest.”
“The revelation that his marriage of 30 years had disintegrated because of his wife’s infidelity came as a rude shock, like a surcharge at a formerly surcharge-free ATM.”

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Filed under Cartoon, Grammar, Humor, Lists, Nuts & Bolts, Writing Exercise, Writing Prompt

Tagged as Analogies, Creative Writing, Dilbert, Grammar, Humour, List, Scott Adams, Syntax

September 20, 2015 · 7:36 AM

Truth into Fiction

Sometimes truth is more fascinating, more adventurous than fiction. Sometimes a news article becomes a spark for a fictional story. One of the greatest films of all time, Titanic, took its cue from real life; many books and films are based on real life stories, mysteries, narrow escapes, historical events and experiences. The best kinds of story sparks are those things which capture our imagination; not only best for the reader, but also for the writer – for if you are not excited by and captivated by what you’re writing about, researching and investigating, how do you expect a reader to be excited or captivated by it? Personally, history has always fascinated me; I wonder, “What would it be like to walk among them?” or “What would it be like to discover these events as a modern archaeologist?” I explored such a theme in my novels, “The Cardinal“.

Here are a few historical sparks that might capture your imagination; just click on each image to link to the article:

Artifacts from the Battle of the Egadi Islands, ca. 240 BC

The City of Heracleion, Plunged into the Sea

China’s Atlantis: Shi Cheng

The Skulls of Sac Uayum

An Ancient Roman Shipwreck Reveals Medicinal Remedies

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Filed under History, Images, Lists, Nuts & Bolts, Plot Thots & Profiles, Research, Writing Exercise

Tagged as An Ancient Roman Shipwreck Reveals Medicinal Remedies, Ancient History, Artifacts from the Battle of the Egadi Islands, China's Atlantis, Plunged into the Sea, Sac Uayum, Shi Cheng, The City of Heracleion, The Elongated Skulls of the Yucatan Underwater Cave, Writing Sparks

January 26, 2015 · 12:49 AM

7 Steps to a Powerful Opening

A powerful opener…

Anyone who writes novels worth reading can tell you that, as with any relationship, the first impression you make is the most important. You know that you need to get your character from A to Z through the story, but how you introduce A is more important than B through Z – in other words, if you lose your reader’s interest from the get-go, they might not stick around long enough to find out where you want to lead them. Here are 7 steps to remember that will lead you to that great first impression:

Dive in! Hit the ground running! Begin your story in the middle of an action scene, or in the middle of a conversation. Let your reader feel like they’re eavesdropping on a decisive moment in your character’s life. Make them wonder, make them ask questions they want answers to! Who’s speaking? What’s the context? Why is there X problem / challenge / discussion?
Make your character human: Give them sympathetic traits, a relatable nature, and attitudes that readers can identify with. Do this through dialogue and actions, or by internalization (getting inside the character’s head, an “inner dialogue”). It will help you to prepare your main characters by writing out a biography for them. Give them memorable names (not complicated ones, or names that are difficult to work out how to pronounce). The main character must be somewhat larger than life (more interesting than the average person in some way); do this through giving them idiosyncrasies, habits, a quirky sense of humour, etc.
Romance: If your character is real, there will be romance – some kind of heart-to-heart relationship that touches that key human emotion. I’m not talking about slutty romance novels; I’m talking about real human connection and rich emotional landscapes, whether it’s a small-town story, a science fiction planet, or a war zone.
Supporting character: This might be a sidekick, a friend, partner, companion, or even an object or pet. It is someone or something for the main character to share their experiences with. The supporting character should contrast your main character – perhaps someone who asks the reader’s questions, or wants explanation of terms or concepts the reader might not be familiar with, without becoming “teach-y”. They might be the voice of reason to an impulsive main character, or the voice of adventure to a staid hero/heroine.
Antagonist: This opponent is an obstruction to the main character’s goals. They create problems, sometimes danger. They may be human, or non-human (e.g. man vs. nature), or may be an internal struggle of the main character (haunted by their past, or an addiction, a weakness such as impatience, etc.).
Emotion: Build an emotional landscape (this links closely with # 3). Show the main character as life-like, and develop relationships, or show struggles the character has with particular issues that give them depth and breadth.
Style: Bring it all together in a style unique to your character’s voice and biography. Show their feelings, conflicts, adding complications and subplots to take it deeper. In your first chapter the goal of your character should come out – what their desires are, their determination, problems to solve, etc. – without making the arrival at that goal all too obvious!

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Filed under Lists, Plot Thots & Profiles, Writing Exercise

Tagged as Antagonists, Character Development, Emotional Landscape, First Chapter, Main Characters, Novel Writing, Novels, Nuts & Bolts, Openers, Romance, Style, Supporting Characters, writing, Writing Tips, Writing Tools

December 9, 2014 · 3:01 AM

Creative Writing over Christmas Holidays

I don’t know about the rest of you, but Christmas has snuck up on me this year! Between publishing two books in November and all of the work involved in that process and the aftermath (promotion, etc.), I came up for breath last weekend, as I wrote about last week. I took a short break, and now I’m beginning work on the next project (diving into research and scene layout). But with Christmas coming up, it’s time to shift down a gear or two, and enjoy the season. If you are a writer like me, writing can be addictive; it’s a good habit to write something every day. But who says it needs to be a book manuscript, or whatever your next project or usual format is? If you write poetry, try your hand at calligrams; if you write short stories, try writing an ambigram. If you write constantly, take a break and read a book that has absolutely nothing to do with research or preparation for your next project!

Here are a few different styles to choose from, just to shake things up a bit:

Flash fiction (300-1,000 – word stories)
One of my first calligrams; not very neat, but cathartic!
Short stories (fiction or nonfiction – limit yourself, e.g. to one page)
Nonfiction
Anecdotes
Jokes
Profiles
Travel writing
Children’s books
Screen writing
Play writing
Poetry
Freelance
Novel
Novella
Memoir
Autobiography
Biography
Song writing (lyrics, if you can’t write/read music)
Calligram (do a Google Image search to see examples)
Asemic writing
Book report
Fan fiction
Letter
Journal
Dialogue
Creative doodles (with or without words)
Cartoon strips
Ambigram
Micography (Microcalligraphy)
Concrete poetry (or any number of poetry styles – check out a small list here)
Haiku

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Filed under Images, Lists, Nuts & Bolts, Writing Exercise

Tagged as Ambigram, Anecdotes, Asemic writing, Autobiography, Biography, Book report, Calligram, Cartoon Strips, Children's books, Christmas, Concrete poetry, Creative Doodles, Dialogue, Fan fiction, Flash fiction, Freelance, Google Image Search, Haiku, Jokes, Journal, Letter, Links, lyrics, Memoir, Microcalligraphy, Micrography, Nonfiction, Novel, Novella, Play writing, Poetry, Profiles, project, Screen writing, Short fiction, Short stories, Song writing, Travel writing

November 10, 2014 · 1:34 AM

20 Writing Sparks

Once in a while, we need to get our creative juices flowing; here are some ideas to spark your imagination! Pick one, get a pen and paper, and start writing! See where it leads!

20 Writing Sparks

1. What is it that you are absolutely sure you will never forget?

2. doorbell rings

3. perfect family

4. zombie packing list

5. flight vs. invisibility

6. two animals into one hybrid

7. Describe each day of the week as if it was a person.

8. you fly but you lose a minute every time

9. design and describe the perfect bedroom

10. library, museum, zoo

11. which friend will become the most famous?

12. you give a personal concert

13. complain about kids these days

14. glow in the dark tattoo

15. magical mailbox

16. I deserve a day off school

17. average of five people

18. celebrity, famous person, character as sibling

19. describe daily life in 2045

20. honesty room

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Filed under Lists, Writing Exercise

Tagged as Creative Juices, Creative Writing, Sparks, start writing, Writing Exercises

October 11, 2014 · 5:01 PM

Anonymously Bad Grammar

The following sentences are taken verbatim from comments on unwitting websites; I’ve collected them as I’ve come across them since Autumn of 2013. Sometimes I couldn’t help myself and put my comments in parentheses; other comments there are simply reference to the context. I have dozens more, but certain things in life are better in small doses…

“Don’t look like you like didn’t eat it all” (man, late-50s)
“I just havta buy some…” (woman, 18)
(Headline): “Welfare Check Leads to Homicide Investigation” (Referring to a response of officers to check on a suspicious situation, and not a monetary cheque…)
“I love London. Especially the countryside.” (face palm…not strictly bad grammar; just ignorance…)
“Now this statement I like – we are Ameica and our language is English – you want6 to live hear learn our language. And go by our rules.” (Concerning a sign that said, “Welcome to America. Press 1 for English; Press 2 to disconnect until you learn English.” Clearly they missed grammar and spelling lessons.)
“Lively up yourself.”
“Who’s agree with us?”
“Sorry hand finger bad cut bleeding after topaz scared and did it. sorry it not up in the morning. Sorry sorting it I hope” (Whaaat??)
“I think it gonna b 2 these 4 me 2nite.” (Clearly.)
“That is the days I go shopping even if I don’t buy nothing hoping the family left at home do something.” (Hopefully the family is learning better grammar than this mother did…)

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Filed under Humor, Lists, Nuts & Bolts, Quotes

Tagged as Editing, English, Grammar, Humor, Humour, Mistakes, Sentence Structure, Spelling, Syntax, writing

April 4, 2014 · 7:00 PM

The 3 Levels of Editing

Writing is not just about stringing words together to express a coherent thought; at that level one might say it’s primary school basics. The deeper I delve into the written world of words, the more I recognize the shades of colour, light and moods, and the fact that when I am telling a story, I am really painting a picture. But to get to that depth, besides the fundamental skills of telling a good story, every writer needs to be familiar with what I consider to be three basic levels of editing; there’s a wide palette for discussion, and the order below is not chronological but often simultaneous phases of editing. Here are a few points to keep in mind:

1: The Matrix Level

I call this the “Matrix Level” because it really is the foundation – without it, don’t even think about giving up your day job. This level includes things like spelling, vocabulary (choosing the best word or phrase in a given situation) and punctuation. At this level you might also include things like formatting (being consistent in usage of fonts; spacing; size and heading styles; margins; indentations; double-or single-spacing after a full stop; capitalizations; abbreviations [e.g. Mr. or Mr {that choice depends on whether or not you’re using American Standard English, or British Standard English}]; and consistent use of italics, bolds and underlines).

2: The 3-C Level

This is what I call the 3-C level because it’s just that: Coherency, Consistency, Conciseness. This is the level you work on things like clear expression; showing, not telling (re-writing those scenes that tell into a scene that shows the action or the purpose of that scene); assessing what your demographic target is (teenagers, women, men, children, intellectual readers, pulp-fiction readers, genre-specific groups, etc.) and writing with them in mind as you make choices of expression and complexity.

This level includes things like pacing/timing/rhythm of the overall script; logical connections, organic changes, filling in the “holes” in the plot, the building of action or tension (again, in an organic way to the story—don’t just slap in a sex scene or a car chase because you need to pick up the pace in a dragging scene!), and keeping an eye out for things like vocabulary repetition (if it’s there, it needs to be organic, e.g. perhaps a character likes to use a phrase as a “trademark”) or filler words (actually, really, etc.).

3: The “Cutting Room Floor” Level

This is the level where tough decisions come in; here you need to ask yourself some basic questions: Does scene XYZ support the plot in more than one way? [Plot, by the way, applies whether you’re writing a novel, a business case plan, or a newspaper article.] If not, can I glean the core sentiment or information that needs to be conveyed and splice it in somewhere else? Does the purpose / goal come through or remain clear in this scene? If not, how can I change it, trim it, or chop it? Are paragraphs unified (i.e. one main goal / thought each)? This process is very similar to film editing, and you can learn a lot from that process by listening to good film commentaries (the best I’ve come across are films with commentaries by Steven Spielberg – he’s a natural teacher in that respect!).

In the current novel I’m writing, a fantasy-history spanning from first century AD Scotland and Norway to modern-day Scotland, an earlier draft had too many characters; there are still enough to warrant a Cast of Characters section at the end (due to the complex structure that will be woven together in the next draft), but the general rule is to not tax the reader with more than four characters in any given scene. So even though each character was well-developed and interesting, I had to let some heads roll.

The way I write works for me: If I’ve written a scene that somehow doesn’t sit right with the tone/mood but I know it conveys something necessary to the construct as a whole, I will paste that scene to the end of the document and title it “Scene to Salvage: —” with a brief description. Later I can go back to the core of that scene and salvage it, or decide that it no longer fits and delete it—it’s nonetheless served the purpose of helping me solidify the plot by hashing out certain elements. I may really like one key sentence or idea, so I’ll cut it out and drop it in where it works well organically to the story. I might also add that each of these levels is vital in this story as each section (Pictish; an otherworldly kingdom; Norse settlements; and modern archaeology) has its own colour palette: Stone, rain and sea; mist, sky and whispers; leather, smoke and wood; and technology, pubs and peat mire. Each sections’ dialogue and prose need to reflect those palettes, and that’s the secret of showing, not telling!

The more structured you work, and the more confident you become with each level, the better and faster the writing process will become. I hope this inspires you, and spurs you on to greater writing!

60 Uncommon Things Men Find Attractive About Women

Here’s a list that proves attraction is just weird, and that beauty really is in the eye of the beholder! I find this interesting especially because of the possibilities for finding that quirky element for building fictional characters. Enjoy, and be inspired to write depth and breadth! Click on the image below to view the article:

From the 1867 Sailor’s Word-Book: Nautical Orders

First Rate ship at Anchor, and Frame of Second Rate Ship. Steel engraving.

As part of my research for novels, I came across the 1867 “The Sailor’s Word-Book: An Alphabetical Digest of Nautical Terms, including some more especially military and scientific, but useful to seamen; as well as archaisms of early voyagers, etc. by the late ADMIRAL W. H. SMYTH, K.S.F., D.C.L., &c.” It’s a massive document, but below is a gleaning of the orders listed in the word-book. It’s a fascinating insight into life and demands at sea in the 18th & 19th centuries especially. Enjoy!

Nautical Orders

ABOUT. Circularly; the situation of a ship after she has gone round, and trimmed sails on the opposite tack.—Ready about! and About-ship! are orders to the ship’s company to prepare for tacking by being at their stations.

ADVANCED SQUADRON. One on the look-out.—Advance, or vanguard, that division of a force which is next the enemy, or which marches before a body.—Advance fosse, a ditch of water round the esplanade or glacis of a fortification.—Advance! the order to marines and small-arm men to move forward.

AFTER-ORDERS. Those which are given out after the regular issue of the daily orders.

A-LEE. The contrary of a-weather: the position of the helm when its tiller is borne over to the lee-side of the ship, in order to go about or put her head to windward.—Hard a-lee! or luff a-lee! is said to the steersman to put the helm down.—Helm’s a-lee! the word of command given on putting the helm down, and causing the head-sails to shake in the wind.

ALL. The total quantity; quite; wholly.—All aback, when all the sails are taken aback by the winds.—All ahoo, or all-a-ugh, confused; hanging over; crooked.—All-a-taunt-o, a ship fully rigged, with masts in and yards crossed.—All hands, the whole ship’s company.—All hands ahoy, the boatswain’s summons for the whole crew to repair on deck, in distinction from the watch.—All hands make sail! the cheering order when about to chase a strange vessel.—All hands to quarters! the call in armed merchantmen, answering to the Beat to quarters in a man-of-war.—All in the wind, when a vessel’s head is too close to the wind, so that all her sails are shivering.—All over, resemblance to a particular object, as a ship in bad kelter: “she’s a privateer all over.”—All overish, the state of feeling when a man is neither ill nor well, restless in bed and indifferent to meals. In the tropics this is considered as the premonitory symptom of disease, and a warning which should be looked to.—All ready, the answer from the tops when the sails are cast loose, and ready to be dropped.—All standing, fully equipped, or with clothes on. To be brought up all standing, is to be suddenly checked or stopped, without any preparation.—Paid off all standing, without unrigging or waiting to return stores; perhaps recommissioned the next day or hour.—All’s well, the sentry’s call at each bell struck (or half hour) between the periods of broad daylight, or from 8 P.M. to 4 A.M.—All to pieces, a phrase used for out-and-out, extremely, or excessively; as, “we beat her in sailing all to pieces.”—All weathers, any time or season; continually.

ARRAY. The order of battle.—To array. To equip, dress, or arm for battle.

ASSEMBLY. That long roll beat of the drum by which soldiers, or armed parties, are ordered to repair to their stations. It is sometimes called the fall-in.

AVAST. The order to stop, hold, cease, or stay, in any operation: its derivation from the Italian basta is more plausible than have fast.

AVAST HEAVING! The cry to arrest the capstan when nippers are jammed, or any other impediment occurs in heaving in the cable, not unfrequently when a hand, foot, or finger, is jammed;—stop!

AWAY ALOFT. The order to the men in the rigging to start up.

AWAY SHE GOES. The order to step out with the tackle fall. The cry when a vessel starts on the ways launching; also when a ship, having stowed her anchor, fills and makes sail.

AWAY THERE. The call for a boat’s crew; as, “away there! barge-men.”

AWAY WITH IT. The order to walk along briskly with a tackle fall, as catting the anchor, &c.

AYE, AYE, SIR. A prompt reply on receiving an order. Also the answer on comprehending an order. Aye-aye, the answer to a sentinel’s hail, from a boat which has a commissioned officer on board below the rank of captain. The name of the ship in reply from the boat indicates the presence of a captain. The word “flag,” indicates the presence of an admiral.

BACK-HER. The order, in steam-navigation, directing the engineer to reverse the movement of the cranks and urge the vessel astern.

BACK OFF ALL. The order when the harpooner has thrown his harpoon into the whale. Also, to back off a sudden danger.

BADGER, To. To tease or confound by frivolous orders.

BEAT TO QUARTERS. The order for the drummer to summon every one to his respective station.

BECKET, The Tacks and Sheets in the. The order to hang up the weather-main and fore-sheet, and the lee-main and fore-tack, to the small knot and eye becket on the foremost-main and fore-shrouds, when the ship is close hauled, to prevent them from hanging in the water. A kind of large cleat seized on a vessel’s fore or main rigging for the sheets and tacks to lie in when not required. Cant term for pockets—”Hands out of beckets, sir.”

BELL. Strike the bell. The order to strike the clapper against the bell as many times as there are half hours of the watch elapsed; hence we say it is two bells, three bells, &c., meaning there are two or three half-hours past. The watch of four hours is eight bells.

BOUT. A turn, trial, or round. An attack of illness; a convivial meeting.—‘Bout ship, the brief order for “about ship.”

BRACE UP AND HAUL AFT! The order usually given after being hove-to, with fore or main top-sail square or aback, and jib-sheet flowing, i.e. haul aft jib-sheet, brace up the yards which had been squared, for the purpose of heaving to.

BRAIL UP! The order to pull upon the brails, and thereby spill and haul in the sail. The mizen, or spanker, or driver, or any of the gaff-sails, as they may be termed, when brailed up, are deemed furled; unless it blows hard, when they are farther secured by gaskets.

BREAK-OFF. (See Broken-off). “She breaks off from her course,” applied only when the wind will not allow of keeping the course; applies only to “close-hauled” or “on a wind.”—Break-off! an order to quit one department of duty, to clap on to another.

BRIGADE-ORDERS. Those issued by the general officer commanding troops which are brigaded.

BRING-TO, To. To bend, as to bring-to a sail to the yard. Also, to check the course of a ship by trimming the sails so that they shall counteract each other, and keep her nearly stationary, when she is said to lie by, or lie-to, or heave-to.—Bring to! The order from one ship to another to put herself in that situation in order to her being boarded, spoken to, or examined. Firing a blank gun across the bows of a ship is the forcible signal to shorten sail and bring-to until further pleasure.—Bring-to is also used in applying a rope to the capstan, as “bring-to the messenger.”

BRING-TO AN ANCHOR, To. To let go the anchor in the intended port. “All hands bring ship to an anchor!” The order by which the people are summoned for that duty, by the pipes of the boatswain and his mates.

CAPSTAN, To come up the. In one sense is to lift the pauls and walk back, or turn the capstan the contrary way, thereby slackening, or letting out some of the rope on which they have been heaving. The sudden order would be obeyed by surging, or letting go any rope on which they were heaving. Synonymous to “Come up the purchase.”

CAPSTAN, Surge the. Is the order to slacken the rope which is wound round the barrel while heaving, to prevent it from riding or fouling. This term specially applies to surging the messenger when it rides, or when the two lashing eyes foul on the whelps or the barrel.

CEASE FIRING. The order to leave off.

CLAP ON! The order to lay hold of any rope, in order to haul upon it. Also, to “Clap on the stoppers before the bitts,” i.e. fasten the stoppers; or, “Clap on the cat-fall,” i.e. lay hold of the cat-fall.—To clap a stopper over all, to stop a thing effectually; to clap on the stopper before the bitts next to the manger or hawse-hole; to order silence.—To clap in irons, to order an offender into the bilboes.—To clap on canvas, to make more sail.

CLUE UP! The order to clue up the square sails.

COME NO NEAR! The order to the helmsman to steer the ship on the course indicated, and not closer to the wind, while going “full and by.”—Come on board, sir. An officer reporting himself to his superior on returning from duty or leave.—Come to. To bring the ship close to the wind.—Come to an anchor. To let go the anchor.—Come up! with a rope or tackle, is to slack it off.—Comes up, with the helm. A close-hauled ship comes up (to her course) as the wind changes in her favour. To come up with or overhaul a vessel chased.—Come up the capstan. Is to turn it the contrary way to that which it was heaving, so as to take the strain off, or slacken or let out some of the cablet or rope which is about it.—Come up the tackle-fall. Is to let go.—To come up, in ship-building, is to cast loose the forelocks or lashings of a sett, in order to take in closer to the plank.

DEPRESS. The order to adjust the quoin in great-gun exercise; to depress the muzzle to point at an object below the level, in contradistinction to elevate.

DOWN ALL CHESTS! The order to get all the officers’ and seamen’s chests down below from off the gun-decks when clearing the ship for an engagement.

DOWN ALL HAMMOCKS! The order for all the sailors to carry their hammocks down, and hang them up in their respective berths in readiness to go to bed, or to lessen top-weight and resistance to wind in chase.

DOWN KILLOCK! Let go the grapnel; the corruption of keel-hook or anchor.

DOWN OARS! The order on shoving off a boat when the men have had them “tossed up.”

DOWN WITH THE HELM! An order to put the helm a-lee.

EASE, To Stand at. To remain at rest.

EASE AWAY! To slacken out a rope or tackle-fall.

EASE HER! In a steamer, is the command to reduce the speed of the engine, preparatory to “stop her,” or before reversing for “turn astern.”

EASE OFF! Ease off handsomely, or Ease away there! To slacken out a rope or tackle-fall carefully.

EASE THE HELM! An order often given in a vessel close-hauled, to put the helm down a few spokes in a head sea, with the idea that if the ship’s way be deadened by her coming close to the wind she will not strike the opposing sea with so much force. It is thought by some that extreme rolling as well as pitching are checked by shifting the helm quickly, thereby changing the direction of the ship’s head, and what is technically called “giving her something else to do.”

ELEVATE! In great-gun exercise, the order which prepares for adjusting the quoin.

EVERY INCH OF THAT! An exclamation to belay a rope without rendering it.

EVERY ROPE AN-END. The order to coil down the running rigging, or braces and bowlines, after tacking, or other evolution. Also, the order, when about to perform an evolution, to see that every rope is clear for running.

FALL IN, To. The order to form, or take assigned places in ranks. (See Assembly.)

FILL THE MAIN-YARD. An order well understood to mean, fill the main-topsail, after it has been aback, or the ship hove-to.

FIRE! The order to put the match to the priming, or pull the trigger of a cannon or other fire-arm so as to discharge it. The act of discharging ordnance.

FOOT IT IN. An order to stow the bunt of a sail snugly in furling, executed by the bunt-men dancing it in, holding on by the topsail-tye. Frequently when a bunt-jigger has parted men have fallen on deck.

FRESH HAND AT THE BELLOWS. Said when a gale freshens suddenly.

FULL FOR STAYS! The order to keep the sails full to preserve the velocity, assisting the action of the rudder in tacking ship.

FULL SPEED! A self-explanatory order to the engineer of a steamer to get his engine into full play.

GET-A-PULL. The order to haul in more of a rope or tackle.

GIVE HER SHEET. The order to ease off; give her rope.

GIVE WAY. The order to a boat’s crew to renew rowing, or to increase their exertions if they were already rowing. To hang on the oars.

GO AHEAD! or Go on! The order to the engineer in a steamer.

GO SLOW. The order to the engineer to cut off steam without stopping the play of the engine.

HALF-SPEED! An order in steam navigation to reduce the speed. (See Full Speed!)

HALF-TURN AHEAD! An order in steam navigation. (See Turn Ahead!)

HALT! The military word of command to stop marching, or any other evolution. A halt includes the period of such discontinuance.

HANDS REEF TOP-SAILS! The order to reef by all hands, instead of the watch, or watch and idlers.

HANG ON HER! In rowing, is the order to stretch out to the utmost to preserve or increase head-way on the boat.

HARD-A-PORT! The order so to place the tiller as to bring the rudder over to the starboard-side of the stern-post, whichever way the tiller leads. (See Hard-a-lee.)

HARD-A-STARBOARD. The order so to place the tiller as to bring the rudder over to the port-side of the stern-post, whichever way the tiller leads. (See Hard-a-lee.)

HARD-A-WEATHER! The order so to place the tiller as to bring the rudder on the lee-side of the stern-post, whichever way the tiller leads, in order to bear away; it is the position of the helm as opposed to hard-a-lee (which see). Also, a hardy seaman.

HAUL OF ALL! An order to brace round all the yards at once—a manœuvre sometimes used in tacking, or on a sudden change of wind; it requires a strong crew.

HAUL OUT TO LEEWARD! In reefing top-sails, the cry when the weather earing is passed.

HEAVE AND A-WASH. An encouraging call when the ring of the anchor rises to the surface, and the stock stirs the water.

HEAVE AND A-WEIGH. Signifies that the next effort will start the anchor from its bed, and make it a-trip. “Heave and a-weigh, sir,” from the forecastle, denotes that the anchor is a-weigh; it inspirits the men to run it to the bows rapidly.

HEAVE AND IN SIGHT. A notice given by the boatswain to the crew when the anchor is drawn up so near the surface of the water as to be seen by its muddy water surrounding it.

HEAVE AND PAUL. Is the order to turn the capstan or windlass till the paul may be put in, by which it is prevented from coming up, and is something similar to belay, applied to a running rope.

HEAVE AND RALLY! An encouraging order to the men at the capstan to heave with spirit, with a rush, and thereby force the anchor out of the ground. When there is a rising sea “heave and rally” implies, “heave and stand to your bars,” the pauls taking the strain, and the next wave probably lifting the anchor.

HEAVE OUT THERE! The order to hasten men from their hammocks.

HOLD-FAST. A rope; also the order to the people aloft, when shaking out reefs, &c., to suspend the operation. In ship-building, it means a bolt going down through the rough tree rail, and the fore or after part of each stanchion.

IN-BOATS! The order to hoist the boats in-board.

IN-BOW! The order to the bowman to throw in his oar, and prepare his boat-hook, previous to getting alongside.

KEEP YOUR LUFF. An order to the helmsman to keep the ship close to the wind, i.e. sailing with a course as near as possible to the direction from which the wind is coming. (See Close-hauled.)

LANE. “Make a lane there!” An order for men to open a passage and allow a person to pass through.

LASH AND CARRY. The order given by the boatswain and his mates on piping up the hammocks, to accelerate the duty.

LASH AWAY. A phrase to hasten the lashing of hammocks.

LAUNCH-HO! The order to let go the top-rope after the top-mast has been swayed up and fidded. It is literally “high enough.” So in pumping, when the spear sucks, this term is “Cease.”

LAY IN. The opposite of lay out. The order for men to come in from the yards after reefing or furling. It also applies to manning, or laying in, to the capstan-bars.

LAY OR LIE ON YOUR OARS! The order to desist rowing, without laying the oars in.—Lay out on your oars! is the order to give way, or pull with greater force.

LAY OUT. See Lie Out!

LET DRAW! The order to let the wind take the after-leeches of the jibs, &c., over to the lee-side, while tacking.

LET FALL! The order to drop a sail loosed from its gaskets, in order to set it.

LET GO AND HAUL! or Afore haul! The order to haul the head-yards round by the braces when the ship casts on the other tack. “Let go,” alluding to the fore-bowline and lee head-braces.

LET GO UNDER FOOT. See Under Foot.

LET RUN, or let go by the Run. Cast off at once.

LIE IN! The order to come in from the yards when reefing, furling, or other duty is performed.

LIE OFF! An order given to a boat to remain off on her oars till permission is given for her to come alongside.

LIE OUT! The order to the men aloft to distribute themselves on the yards for loosing, reefing, or furling sails.

LONG STROKE. The order to a boat’s crew to stretch out and hang on her.

LOWER HANDSOMELY, Lower Cheerly. Are opposed to each other; the former being the order to lower gradually, and the latter to lower expeditiously.

LUFF, or Loofe. The order to the helmsman, so as to bring the ship’s head up more to windward. Sometimes called springing a luff. Also, the air or wind. Also, an old familiar term for lieutenant. Also, the fullest or roundest part of a ship’s bows. Also, the weather-leech of a sail.

LUFF AND TOUCH HER! Try how near the wind she will come. (See Touching.)

MAIN-SAIL HAUL! The order given to haul the after-yards round when the ship is nearly head to wind in tacking.

MAIN-TOPSAIL HAUL! The order used instead of main-sail haul, when the main-sail is not set.

MAKE A LANE THERE! The order of the boatswain for the crew to separate at muster, to facilitate the approach of any one whose name is called. (See Lane.)

MAKE IT SO. The order of a commander to confirm the time, sunrise, noon, or sunset, reported to him by the officer of the watch.

MAKE READY! Be prepared.

MEET HER! The order to adjust the helm, so as to check any further movement of the ship’s head in a given direction.

MUZZLE TO THE RIGHT, or Muzzle to the Left! The order given to trim the gun to the object.

OARS! The order to cease rowing, by lifting the oars from the water, and poising them on their looms horizontally in their rowlocks.—Look to your oars! Passing any object or among sea-weed.—Double-banked oars (which see).

ORDER ARMS! The word of command, with muskets or carbines, to bring the butt to the ground, the piece vertical against the right side, trigger-guard to the front.—Open order and close order, are terms for keeping the fleet prepared for any particular manœuvre.

OUT-BOATS. The order to hoist out the boats.

OUT-OARS. The order to take to rowing when the sails give but little way on a boat.

PIPE DOWN! The order to dismiss the men from the deck when a duty has been performed on board ship.

PUMP SHIP! The order to the crew to work the pumps to clear the hold of water.

PUT OFF! or Push off. The order to boats to quit the ship or the shore.

READY ABOUT! or Ready Oh! The order to prepare for tacking, each man to his station. (See About.)

READY WITH THE LEAD! A caution when the vessel is luffed up to deaden her way, followed by “heave.”

RETREAT. The order in which a fleet or squadron declines engagement. Or the retrograde movement of any body of men who retire from a hostile force. Also, that beat of drum about sunset which orders the guards and piquets to take up their night duties.

RIGHT THE HELM! The order to put it amidships, that is, in a line with the keel.

RIG THE GRATINGS. Prepare them for punishment.

RODE OF ALL. Improperly so written for rowed of all (which see). The order to throw in and boat the oars.

ROUSE AND BIT. The order to turn out of the hammocks.

ROW DRY! The order to those who row, not to splash water into the boat.

ROWED OF ALL! The orders for the rowers to cease, and toss their oars into the boat simultaneously, in naval style.

RUN AWAY WITH IT! The order to men on a tackle fall, when light goods are being hoisted in, or in hoisting top-sails, jib, or studding-sails.

SENTRY GO! The order to the new sentry to proceed to the relief of the previous one.

SET ON! The order to set the engine going on board a steamer.

SHEET HOME! The order, after the sails are loosed, to extend the sheets to the outer extremities of the yards, till the clue is close to the sheet-block. Also, when driving anything home, as a blow, &c.

SHIFT THE HELM! The order for an alteration of its position, by moving it towards the opposite side of the ship; that is, from port to starboard, or vice versa.

SHOVE OFF! The order to the bowman to put the boat’s head off with his boat-hook.

SHOW A LEG! An exclamation from the boatswain’s mate, or master-at-arms, for people to show that they are awake on being called. Often “Show a leg, and turn out.”

SLACK OFF, or Slacken! The order to ease away the rope or tackle by which anything is held fast; as, “Slack up the hawser.”

SO! An order to desist temporarily from hauling upon a rope, when it has come to its right position.

SOAK AND SEND! The order to pass wet swabs along.

SQUARE YARDS! The order to attend to the lifts and braces, for going before the wind.—To square a yard. In working ship, means to bring it in square by the marks on the braces. Figuratively, to settle accounts.

STAMP AND GO! The order to step out at the capstan, or with hawsers, topsail-halliards, &c., generally to the fife or fiddle.

STAND BY! The order to be prepared; to look out to fire when directed.—To stand by a rope, is to take hold of it; the anchor, prepare to let go.

STAND CLEAR OF THE CABLE! A precautionary order when about to let go the anchor, that nothing may obstruct it in running out of the hawse-holes. Also, a warning when idlers obstruct quarter-deck duty.

STAND FROM UNDER! A notice given to those below to keep out of the way of anything being lowered down, or let fall from above.

STASH IT THERE! An old order to cease or be quiet.

STATIONS FOR STAYS! Repair to your posts to tack ship.

STEADY! The order given to the steersman, in a fair wind, to steer the ship on her course without deviating; to which he answers, Steady it is, sir.

STOP HER! An order to check the cable in being payed out. Also, a self-explanatory phrase to direct the engineer of a steamer to stop the action of the engines.

STRETCH OUT! In rowing, is the order to pull strong; to bend forward to the utmost.

STRIKE DOWN! The order to lower casks, &c., into the hold.

TAIL ON, or Tally on. The order to clap on to a rope.

THUS, Very well Thus, or Dyce. The order to the helmsman to keep the ship in her present direction, when sailing close-hauled. This truly sailor’s motto was adopted by the Earl St. Vincent.

TOE A LINE! The order to stand in a row.

TOP-SAIL HAUL! or Main-topsail Haul! When the main-sail is not set, this is the order given to haul the after-yards round when the ship is nearly head to wind in tacking.

TOSS IN YOUR OARS! The order to desist rowing, and throw the oars in out of the rowlocks.

TOSS THE OARS UP! Throw them up out of the rowlocks, and raise them perpendicularly an-end; the act is intended as a compliment to a superior officer rowing by. Also, the order to a boat’s crew to get the oars ready for rowing, and to salute the officer on his entering the boat.

TRICE UP—LIE OUT! The order to lift the studding-sail boom-ends while the top-men move out on the yards, preparatory to reefing or furling.

TRIM THE BOAT! The order to sit in the boat in such a manner as that she shall float upright. Also, to edge aft, so that her steerage becomes easier, and she does not ship heavy seas.

TURN AHEAD! A self-explanatory order to the engineer, in regulating the movement of a steamer.

TURN OUT THE GUARD! The order for the marines of the guard to fall in, on the quarter-deck, in order to receive a superior officer on board.

UP BOATS! The order to hoist the boats to the stern and quarter davits.

UP COURSES! The order to haul them up by the clue-garnets, &c.

UP SCREW! The order in steamers to lift the screw on making sail.

WALK AWAY! The order to step out briskly with a tackle fall, as in hoisting boats.

WALK BACK! A method in cases where a purchase must not be lowered by a round turn, as “Walk back the capstan;” the men controlling it by the bars and walking back as demanded.