“Grammar is to a writer what anatomy is to a sculptor or the scales to a musician. You may loathe it. It may bore you. But nothing will replace it, and once you’ve mastered it, it will support you like a rock.” — B.J. Chute
The English language has its nuances. Well, some of those nuances can get quite tricky. In some cases, they can be downright frustrating. Take “affect” and “effect.” They look so similar, yet they mean completely different things.
But how can you tell the difference?
In this article, we’re going to explore five tricks never to use the wrong one again. So, sit tight because we have lots of information coming your way!
5 Tricks for Using Affect and Effect Correctly
Trick #1: Know the difference.
Let’s start by focusing on the difference between both words. On the surface, they appear to mean the same thing. So, it’s worth keeping things simple.
Affect is a verb meaning “to produce an effect upon” or “to influence.”
For instance: “Her words affected him deeply.”
In this example, “her words” produced an effect upon him.
Effect is a noun meaning “a change that occurs when something happens” or “the result of a change.”
For example: “The report had a major effect on the investors.”
In this example, we see that the report produced a change in the investors’ mindsets.
So, please remember that affect indicates an action while effect refers to a result.
Trick #2: Effect is an action, too.
All right, so effect can be a verb, too. This exception is easy to spot.
Let’s start by looking at an example:
The new government regulations effected changes in company policy.
In this context, effect is a verb meaning to cause to come into being. In other words, effect, as a verb, means to accomplish something.
In our example, the company policy change came into effect because the government issued new regulations. Therefore, one action caused the other to occur.
So, the next time you think about how one event impacts another, consider using “effect” as a verb.
Trick #3: Affect can also be a noun.
Affect, as a noun, refers to an emotional response. Think about it this way: it’s your attitude or demeanor when facing a person or situation.
Consider this example:
Her affect did not seem to change when John gave her the news.
In this example, affect refers to her emotional response. Specifically, she didn’t seem to react when John told her the news.
So, when you want to talk about someone’s reactions, you can use “affect” as a noun.
Here’s a neat little trick you can use to remember the difference between affect and effect.
Think about cause and effect. Thus, “effect” is the result of an action.
Consider this example:
Increasing levels of carbon dioxide in the atmosphere have had a significant effect on climate change.
In this example, the cause is “increasing levels of carbon dioxide in the atmosphere.” So, the effect is “a significant effect on climate change.” As you can see, climate change is the result of increased levels of carbon dioxide. This statement indicates a cause-and-effect relationship.
Now, here’s a pro tip: “Cause” ends in an “E,” and “effect” begins with an “E.” So, a cause leads to an effect. This memory trick can help you remember that an “effect” is the result of an action or change.
Trick #5: Affect is an action that starts with an “A.”
This trick uses an easy memory trick. Since affect is a verb, you can think of it as an action. Affect is a verb because it starts with an “A.” While that’s not the actual grammatical rule, it certainly helps differentiate affect’s proper usage.
Here’s an example to consider:
I don’t know how the new company policy will affect employee morale.
In the example above, affect is an action. So, we shouldn’t use effect because effect starts with an “E,” not an “A.”
Can you see how this pro tip helps you spot the difference?
So, the next time you’re thinking about which one to use, please remember that affect, as an action, starts with an “A.”
Bonus Tip: Keep things simple.
Getting the hang of effect and affect takes a little time and practice. So, it’s always best to keep things simple at first. Think about your daily routine and ask yourself, “How can I use affect and effect in my daily tasks?”
Here’s a simple but effective four-step plan:
Try to imagine real-life situations in which you could use effect and affect.
Then, write out phrases you can use to communicate your ideas.
Next, review your phrases to ensure you have the proper usage.
Lastly, read them aloud. Reading phrases aloud will help them stick in your memory more easily.
Writing out sentences may seem somewhat boring, but here’s the low down: Getting grammar right is about finding your groove. And, what’s the best way to find your groove? Yup, you guessed it, practice!
Practicing and internalizing phrases helps you become more comfortable with grammar. Over time, you don’t need to think about the right usage. You’ll get it automatically. Ultimately, you’ll become more confident with your speaking and writing skills.
One Final Thought
Taking the guesswork out of language is always the best way to go. The less you need to think about using the right words and expressions, the easier it will become for you to speak and write effectively.
Please remember that taking time to practice grammar, even if it bores you, will help you master it. Eventually, grammar will support you like a rock. Mastering grammar is one of those skills that boost your self-confidence. Tackling tricky grammar points can put a little extra swagger in your step!
The other day, I overheard my kids having a passionate debate about the plural of “octopus.” My son insisted that the correct word was “octopi,” while my daughter argued that it was actually “octopuses.”
This debate brought to mind an article that TWFH’s Office Manager, Kathy Rinchuiso, recently shared with us about the general rules of pluralization in the English language. The article starts by explaining that plurals of most English words are formed by adding an “s” to the singular. For example:
Car becomes cars
Dog becomes dogs
Flower becomes flowers
However, if the noun ends in -s, -x, -z, -ch, or -sh, an extra syllable must be added in order to pronounce the plural. In these cases, -es is added, as follows:
Crash becomes crashes
Lunch becomes lunches
Blitz becomes blitzes
And, if a noun ends with a -y, it must be changed to an -i, with -es added to the end to make it plural. For example:
Party becomes parties
Fairy becomes fairies
Baby becomes babies
Of course, this is English, so it can’t always be that simple. And “rules” don’t always apply. Let’s get back to the debate my kids were having, as a perfect example of this.
Following the general rules of English, we would conclude that the plural of octopus is octopuses. However, depending on what dictionary you are consulting, the “correct” pluralization could be octopuses, octopi, or even octopodes.
Confusing, right?
This is because most English words have roots in other languages, primarily Latin and Greek. And some people believe that words with Latin roots should have Latin endings, while words with Greek roots should have Greek endings. If we follow this ideal, these Latin-rooted words would be pluralized the following ways:
Alga becomes algae
Vortex becomes vortices
Analysis becomes analyses
Similarly, these Greek words would follow the Greek rules for pluralization:
Stigma becomes stigmata
Criterion becomes criteria
Ganglion becomes ganglia
As you can see, some of these words are actually what are commonly used as plurals in English. Yet, other words that are based in Latin and Greek follow the English rules for pluralization.
But where does octopus end up in all of this?
Since “octopus” ends in a ‘-us’, most people assume it comes from Latin and thus spell the plural “octopi.” However, “octopus” actually comes from Greek, so the correct plural would be “octopodes.”
But we are speaking English here, so shouldn’t we use “octopuses?”
I think the real answer is that there is no exact answer. And the only thing we can really count on is that English will never fail to keep us on our toes!
“I’ve always loved writing; I really had a passion for it all my life,” says Wintress Odom, owner and editor-in-chief at The Writers for Hire (TWFH), a Houston-based writing agency with clients across the U.S. and the world.
When she started out as a solo freelance writer over 20 years ago, Wintress Odom didn’t know that both adversity and success lay ahead. She would need to meet challenges and make changes during those years to grow her writing business and keep it growing.
http://thefreelancewriter.com/
A Writer by Nature
Wintress Von Mayer graduated cum laude from Rice University in 2000 with a Bachelor of Arts in Evolutionary Biology. She’d considered other majors and had excelled in language early on.
Throughout high school, Von Mayer had stayed at the head of her class in English, and her early ambitions involved becoming a science fiction writer. “I have a few half-baked books still hanging around,” she muses.
During college, she says, writing was the only part of the science labs she enjoyed:
I kept messing a lab up so badly that we had to keep redoing it. It was a big deal because we had to refill the pipettes and re-centrifuge them. Eventually, I asked my very brilliant lab partner if I could just stop touching things and write the report instead. I think she was relieved. She finished the lab perfectly and I got to write the report, which she seemed more than happy to get out of.
Getting Started, Becoming a Writing Agency
Unsure which career direction to take, the new graduate searched for an answer with her fiancé Sean Odom while she worked as a bartender and waitress.
“We were young,” muses TWFH’s owner, “and we talked about [owning] vending machines. At one point [he] wanted to be a talent scout for baseball, or we were going to inherit his family farm and run that. We were all over the place.”
Even as they worked through the options, her penchant for writing was never in question.
While his future wife had finished her degree, Sean had taken courses in Search Engine Optimization (SEO).
After her graduation, he landed an internship in the emerging field of attracting customers via the internet.
“He had just started in SEO,” she remembers, “so I put up a little website, and it kind of coincided with me graduating. I didn’t really intend to start a writing business. I intended to freelance while I was figuring out what to do with my life. So instead, what happened was I started to get busy with writing.”
The two were married in September of 2001, as the new writing business was taking off.
Ranking on search engines was “a lot easier” in those days, Odom reflects, “so I put up all sorts of stuff and I was getting leads all over the place from the Internet.” Enhanced by Sean’s knowledge of SEO, one website had become two: thewriterforhire.com and thefreelancewriter.com.
“He was absolutely instrumental in getting the business going,” Odom says of her husband’s role. “It was because of the websites and the fact that he was able to get me leads that started the whole thing, really.”
Too busy with writing to keep her bartending and waitressing gigs, she gave them up. When a satisfied client had to be told there would be a three-month wait for a newsletter, he took his business elsewhere. Odom decided it was time to get some help.
Posting an ad in her alma mater’s newspaper, she found fellow Rice graduate Meghan Whitmore and hired her as a co-writer. Soon, she also hired Julianna Amim and Holly McReavy as copywriters, planting the seeds of a writing agency.
Writing Excellence and Customer Service
An early TWFH homepage told prospective clients: “I believe any piece of writing is worthy of perfection, be it a three-hundred-page company handbook, a vacuum cleaner manual, or the back of a box of macaroni and cheese.”
On the same page, Odom added, “I have always gone the extra mile for my clients. You will find that I am meticulous, that my work is original, and that I will consistently produce above and beyond expectations.”
The young writing agency’s site became thewritersforhire.com, and TWFH blossomed, adding more writers as it added more clients.
Happily, Odom remembers, “one of our largest customers for a while, one that I was super excited to get, a huge customer for me … was a serial entrepreneur [who] would put up websites on all of these crazy things. I wrote all of his websites on funny products like deer whistles and covert coolers and emu oil.”
Growing the Agency, Writing Through the Challenges
From 2003-2005, the writing agency’s client base grew to more than 50, including firms like Mitsubishi and Caterpillar Forklift Trucks. Its writing and office staff grew, too.
Kathleen Kimm had worked as an auditor at Yellowstone National Park, where she met her husband before moving to his native Houston and Odom’s neighborhood.
The women became friends, and then co-workers when Kimm-Rinchiuso took over bookkeeping and accounting at TWFH as Administrative Assistant.
She is still with the agency as Office Manager.
Rinchiuso remembers those early years: “We had hired several full-time, on-staff employee writers and we had a house we were using as office space, and everybody was coming in person.”
Much of that would change with the coming economic storm that crushed many U.S. businesses.
Economic Crash Brings Changes
“The economy was just doing awesome up until about 2007/2008 when we had that big financial crash,” Odom recalls. “When that crash happened, it was like the phone wouldn’t stop ringing with clients who just weren’t doing business with us anymore.”
Some clients didn’t even notify TWFH about dropping its writing services, she says, “Like [when] the entire department of a Fortune 100 financial company that we were working with got canned. We had some really exciting accounts, and then everybody just left. It was rough.”
The economic downturn meant that Odom would need to make some tough decisions. “We put everybody on contract except for two people,” she remembers. A lot of people didn’t want to be on contract. It was a heartbreaking ordeal. Some people found other work.
“We got rid of the office; everyone went back to their homes. I always thought we would go back to the office, but after a few months, I was able to get a little bit of perspective and rethink it. I’d talk to people, and they’d say, ‘I’d rather stay home,’ so I said, ‘Well, just stay home then.’”
A bright spot appeared in the darkness of the failing economy when TWFH was awarded the 2007 Better Business Bureau Gold Star Award (it would again win in 2012).
Despite the poor economy, the writing agency grew. “We have really grown organically,” says Odom. “It seems like every year we add two or three more writers.”
A 2008 webpage offered “copywriters, ghostwriters, editors, proofreaders, scriptwriters, journalists…writers.”
The same page described the company’s uniqueness:
Amazing, but true: The Writers for Hire is one of the only firms in the nation to offer writing as its sole service. Writing and information marketing are our core focuses—that means we build your projects around thoroughly researched, solidly planned, no-filler-fluff content. We craft the words that quarterback your ideas, close your sale and do the legwork for your branding.
Building Client Relationships, Refining the Team Approach
The collaborative approach that began to take shape when Odom hired her first co-writer became central to the writing agency’s methods. TWFH began using writing teams and objective proofreaders and editors to complete and refine each project.
From its beginnings, the agency was versatile, offering a variety of writing services for businesses and individuals. Its versatility grew as the writing staff grew in size and diversity—writers’ prior specialties in various industries enabling them to speak the professional “languages” of their clients or pick them up quickly.
Teamwork and versatility have been important pieces of TWFH’s customer-oriented viewpoint since the early years.
“I’ve really worked hard to keep the clients happy, and that’s been really important to me,” Odom reflects. “I don’t understand not having good customer service. I care too much. We still actually have one client that’s been with us for about 20 years. In general, we try to build lasting relationships with our clients.”
The writing agency’s website affirms: “The vast majority of our business comes from repeat customers, many of whom we’ve worked with for more than 10 years.”
With about 25 current writers and staff, TWFH writing teams produce an array of writing projects for individuals and businesses. Odom says she likes tackling her favorites in both categories:
On the personal side, I really love doing the family histories and autobiographies. I love the genealogical work; it’s just so much fun. And the autobiographies are great because you really get to hear about people’s lives and experiences, and oftentimes you get to learn really neat stories. We’ve had some fascinating clients from different cultures, and different heritages. One of our stories was about a lady who was in the Nazi Youth, and after the war, she fell in love with a soldier. She didn’t speak any English and came to New Mexico. She was tough. That is completely different than the other thing I love doing, which is solving big, complex problems like campaigns. I like putting together thought leadership campaigns with all of the moving parts to achieve a goal with a lot of different types of content. I like solving problems with content.
For her part, Rinchiuso’s role at the writing agency has expanded. While still handling invoicing, collections, HR, and payroll, she says she also manages certain writing projects:
I do a lot of project management as well, especially anything involving programming or website design projects—I will often manage that portion of it, and I kind of work with the website developers to make sure they’re doing what the client wants. Also with the bigger projects I help coordinate and make sure all of the writers are hitting their deadlines.
Odom and Rinchiuso have shared the writing agency’s successes and challenges through the years while ensuring it’s delivered consistently for clients.
The owner’s unintentional “decision” to start a writing business as a new college grad seems to have been the right one. As she explains: “I like the journey, I love the clients, I love the work, I love the team. I’m happy with the organic growth. I don’t necessarily want to run a venture capitalist start-up, a massive-growth company. That doesn’t sound like fun to me.”
Summing up the reasons she loves her business 20 plus years down the road from its small beginnings, Odom says:
I think it’s just the fact that I always loved the written word; writing is like a puzzle to me, I like putting concepts together in the most optimal fashion for whatever the format is. I just like learning about stuff; I find so many things fascinating, so really, it’s kind of the perfect job for somebody that couldn’t decide what to major in. You get to major in all of them.
We’ve said it before, and we’ll probably say it again:
Editing is an essential part of the writing process. Every writer — from the
bestselling novelist to the complete novice — can benefit from a thorough
review by a critical, impartial eye.
Of course, it’s hard to be critical and impartial about your own work. This is also true for every writer, which is why professional editors exist.
This doesn’t mean it’s impossible to become a skilled
self-editor. Like writing, editing is a skill: The more you practice, the
better you get — and the easier it is to approach your own writing with a set
of fresh eyes.
Want to sharpen your editorial skills? Here are a few questions to ask as you review your draft:
1. Is each sentence as clear as it could be?
Each sentence in your writing should say exactly what you want it to say.
Vague details, confusing descriptions, or meandering run-ons can cloud your meaning and confuse your reader.
Hands down, the best quick reference to concise writing is (still) Strunk and White’s The Elements of Style.
2. Are there any sentences that feel clunky or awkward?
A good way to check: If you suspect that a sentence is a bit unwieldy, read it aloud. Nine times out of ten, you’ll know if you need to revise.
3. Have I varied my sentence length?
Too many short sentences can make a piece of writing feel choppy. Too many long ones can feel rambly. Ideally, your writing should have a good balance of short and long sentences.
Passive sentences are almost always a no-go. Rewrite them. Here are a few examples:
Passive: “The book was written by a ghostwriter.
Active: “A ghostwriter wrote the book”
Passive: “The patient was examined by the doctor.”
Active: “The doctor examined the patient.”
Passive: “Each component is designed and built by an experienced engineer.”
Active: “Experienced engineers design and build each component.”
5. Does every paragraph begin with an interesting sentence?
The first sentence of each paragraph should make you want to keep reading. As you review each paragraph in your draft, look for opening sentences that surprise, raise questions, or build suspense.
6. Does every paragraph “flow” into the next?
Look for a logical progression of ideas.
Does each paragraph feel connected to the one before it? The one after it?
Are there any paragraphs that seem like they don’t “fit” together? Any jarring or abrupt shifts in time, subject matter, point of view, or tense?
7. Does it “sound” like you wanted it to?
When you started writing, you probably had an idea of the tone, or “voice,” you were aiming for.
Read your writing aloud.
Do you want your writing to sound more casual and conversational, like you’re chatting with a friend? Use lots of contractions, start sentences with “and” and “but,” and don’t be afraid of sentence fragments.
Want something more formal? Stick to English-class grammar rules and sentence structures instead.
The English language has two “voices” used in speaking and writing. It is quite common to hear references to these voices, but what do they truly mean? And when should each voice be used?
What is voice?
English uses the term “voice” to refer to the connection between the subject and the object of a sentence.
This connection is possible through the use of verbs. As such, verbs and their voice tell readers and listeners the relationship between the subject and the object of the sentence.
There are two voices: the active and the passive.
The difference between these two voices focuses on the subject.
Thus, the subject plays a more prominent role in one voice and a less prominent one in the other.
Writers choose to use one voice over the other to highlight the importance of the subject in the sentence.
What is the active voice?
In the active voice, the sentence’s subject plays a prominent role. The subject clearly states who does the action. The verb indicates the action, while the object is the “recipient” of the action.
Consider the following examples:
Tim went to the grocery store.
Mary and I play basketball on the weekends.
The CEO will address the staff later this week.
In the examples above, the subject represents the “doer” of the action. For instance, Tim is the person that went to the store. The sentence shows this point.
Please note that the active voice drops the use of subjects only in the imperative form, as the “you” subject is implicit. For instance:
Pick up your toys.
Go to your room.
Eat your vegetables.
Imperative statements are commands and assume the use of “you,” whether singular or plural.
What is the passive voice?
In general, the passive voice is the opposite of the active voice. How so? The passive voice essentially switches the subject and the object so that the object occupies the subject’s position and vice-versa. Here is an example:
Active: The girls fixed the car.
Passive: The car was fixed by the girls.
In the active example, the subject “the girls” states who did the action.
The verb “fixed” indicates the action, while the object “the car” shows the recipient of the action.
In the passive example, the subject and object trade places.
Now, “the car” occupies the subject’s position as it comes before the verb. While “by the girls” denotes who did the action, the doer is often omitted in the passive voice.
Why use the passive voice?
There are three main reasons why English speakers use the passive voice.
To denote a formal tone. Generally speaking, the passive indicates a formal tone, giving its impersonal references. As such, the passive voice is a staple of formal academic and scientific writing. For instance, the sentence “It has been suggested that taxpayers oppose new hikes” denotes a formal, academic tone.
To maintain an impersonal tone. Often, English speakers use the passive voice to avoid accusation. For instance, “John Doe robbed the bank” may seem accusatory. In contrast, “The bank was robbed” does not directly state who did the action.
To signal an authoritative tone. Some English speakers utilize the passive voice to show an authoritative tone. For example, “Calls from company phones are prohibited.” This sentence states a prohibition but does not delve into who has issued it.
The use of the passive voice has been under scrutiny for many years. Specifically, calls to avoid the passive voice revolve around the ambiguity that may result from using it. For instance:
The bill was introduced to the Senate last week.
The sentence above lends itself to ambiguity as it is impossible to determine who introduced the bill without background knowledge. Therefore, the overall context must make clear who introduced the bill.
Also, the passive voice tends to be needlessly wordy. For some writers, using longer, more decorated expressions is acceptable. Nevertheless, mainstream writing methodology suggests that clear and concise writing should prevail as much as possible.
Consider this comparison:
Passive: The study was conducted last year by a research team out of the Netherlands.
Active: A research team from the Netherlands conducted the study last year.
The passive statement may be confusing or hard to follow, particularly for a general audience. The active statement shows the writer’s intent much more clearly.
This is why use of the passive voice continues to fall increasingly out of favor, especially when writing for mainstream or general audiences.
5 Reasons to Use the Active Instead of the Passive Voice
Considering that the passive voice has a tendency to be ambiguous and needlessly wordy, using the active voice is usually more favorable.
Generally speaking, the active voice helps promote communication by emphasizing effective writing.
Here are five key reasons why the active voice is more suitable for effective communication than the passive voice.
1. Clarity
Earlier, this discussion pointed out the tendency toward ambiguity when using the passive voice. Indeed, the passive voice can create issues with clarity. Therefore, using the active voice provides a much simpler way of delivering a clear and unequivocal message.
Consider the following example:
Passive: According to research, it is suggested that millions of people will lose their homes as coastal cities are flooded.
Active: Research suggests that millions of people will lose their homes when oceans flood coastal cities.
In the passive sentence, a formal, academic tone indicates the risk of flooding in coastal cities. Moreover, the sentence states that research suggests this phenomenon will occur. However, the wording can become confusing and hard to follow.
In the active sentence, there is a direct statement regarding how research suggests flooding will be an issue. Moreover, the sentence states that oceans will flood coastal cities. Including “oceans” in the sentence removes any doubt regarding the cause of flooding.
On the whole, the active voice allows messages to come across directly. It reduces the likelihood of information becoming jumbled amid a complex articulation of ideas. Ultimately, clear writing facilitates comprehension while reducing the time needed to go through a text.
2. Economy
The passive voice requires more words to communicate a message.
Economizing words may not be a concern when word counts are not constrained.
However, most publications (journals, newspapers, blogs) have specific word counts.
Hence, writers must find a way to say as much as possible in as few words as possible.
The active voice allows writers to cut down on needlessly wordy sentences. Additionally, the active voice reduces the likelihood of inflated phrases. While creative writers use over-the-top wording to create an effect, nonfiction writers must stay on point at all times.
Consider this example:
Passive: It was earlier shown by this defense that the defendant was not present at the scene of the crime at the time of the murder.
Active: The defense showed earlier that the defendant was not at the crime scene when the murder occurred.
The first sentence utilizes the passive voice to create an effect. In particular, the defense attorney wishes to draw attention to the facts and not necessarily the defense.
This style may work during oral arguments in a courtroom but may take up unnecessary space in a written document. Moreover, the passive sentence may become confusing to some readers.
In contrast, the active sentence states clearly that the defense showed the defendant’s whereabouts at the time of the murder.
This sentence not only economizes words but also facilitates comprehension, particularly for non-legal observers.
Also, please note that the first sentence uses 25 words, whereas the second sentence uses 17. Over a full text, writers can communicate much more information within the same space using the active rather than the passive voice.
3. Consistency
Using the active voice promotes consistency throughout a text. Consistency is an essential part of writing logical and coherent texts. As such, using the active voice facilitates maintaining a consistent writing style. Conversely, using the passive voice is not conducive to a consistent style, and creates extremely ambiguous and hard-to-follow texts.
Moreover, jumping between active and passive voice can create a disjointed narrative that readers may not grasp.
Consider the following examples:
Passive: A new policy was introduced this week asking workers to report defects following their shifts. The company intends to centralize reporting in order to locate production problems. The policy has been supported by managers but criticized by workers.
Active: The company introduced a new policy this week asking workers to report defects following their shifts. The aim is to centralize reporting to locate production problems. Managers have supported the change, but workers have criticized it.
Indeed, both paragraphs show a considerable contrast. In the first paragraph, switching back and forth between active and passive voice creates inconsistency. As a result, the paragraph may be confusing to follow. In the second paragraph, the use of the active voice throughout creates a much smoother text. It is also much easier to read and follow.
4. Simplicity
The active voice greatly simplifies texts by using shorter and clearer sentences. This approach is highly useful, especially when the text is a general, nonfiction one.
Additionally, writing for general audiences requires a simpler approach to avoid confusing readers with complex sentences or terminologies.
Please note that this point is not about assuming readers are unintelligent. It is about ensuring that everyone can easily understand a text’s message.
Consider the following sentence:
The entrance exam to college has been failed by more than one-third of high school students aged 18 and older.
This sentence, in the passive, provides general information about a college entrance exam. However, it is too complex to be part of a general information sheet. Thus, simpler wording would be more effective in a general information text.
Consider this alternative:
More than one-third of high school students 18 and older have failed the entrance exam.
While the message is the same, the sentence flows more naturally, making it easier to follow. It is, therefore, worth considering the active voice over the passive when producing texts for general audiences.
5. Formality
Those who believe the active voice is not appropriate for formal writing may be surprised to find it is. The active voice can be as formal as the passive voice. The difference lies in wording and tone. Consider this sentence:
Passive: It is estimated that 10 percent of parents support the school board’s new initiative.
The use of the passive denotes a formal tone. The sentence is also clear, but it could be simpler and more concise.
Consider this alternative:
Active: Approximately 10 percent of parents support the school board’s new policy.
In this example, the tone is formal, but the sentence is much simpler and concise.
Why is this approach important?
Please bear in mind that formal writing values the reader’s time. Therefore, economizing words and expressing ideas concisely gives readers what they need to know without overburdening them with inflated texts.
Summing it Up
The active voice helps deliver a clear and concise message to readers. Considering the need to economize text and time, writers using the active voice give readers everything they need to know.
Please remember that it is not a mistake to use the passive voice. However, overusing the passive voice can lead to confusing and hard-to-follow sentences.
Therefore, writers should value the active voice over the passive voice as much as possible. In doing so, writers can give readers the information they need without overburdening them with long and complex sentences.
Conciseness is a valuable commodity in the English language. Using the active voice can help writers exploit conciseness to the fullest.
It’s no secret that we writers love good words. After all, putting words together in an elegant fashion is what we do. Given our affinity for the written language, it should come as no surprise that we frequently geek out over fun new dictionaries, thesauruses, and encyclopedias.
Recently, a few of our writers shared some awesome online dictionaries that they stumbled across, and we just had to share them with you. We hope you find them as helpful as we did!
The Free Dictionary
If you’re looking for a one-stop-shop, The Free Dictionary is the site for you. This great site gives you the option of choosing a dictionary, thesaurus, medical dictionary, legal dictionary, financial dictionary, acronyms, idioms, encyclopedia, and Wikipedia encyclopedia.
It also has options for dictionaries in 14 different languages, including:
Spanish
German
French
Italian
Arabic
Chinese (both Mandarin and Cantonese)
Polish
Portuguese
Dutch
Norwegian
Greek
Russian
Turkish
Hebrew
On top of its incredible dictionaries, The Free Dictionary also provides links to interesting articles, information on “this day in history,” a “word of the day,” and more.
In other words, it’s a writer’s paradise!
Describing Words
For those of you looking for great descriptive words, describingwords.io is a dream come true.
Just plug in the noun you want to describe, and the site will give you a ton of fantastic descriptive words to choose from.
For example, if you plug in the word “Summer,” you get a lengthy list of adjectives, ranging from “feverish and destructive” to “luminous, fragrant.”
Just think of all the fun you could have with these words!
OneLook
Like The Free Dictionary, OneLook Dictionary Search gives you a lot of bang for your buck.
This simple platform allows you to plug in whatever word you would like to search for, and then provides you with the dictionary definition(s) of the word. Additionally, it gives you the option to see the following:
The word’s origin
Similar words
Related words
Usage examples
Popular adjectives describing your word
Words that often appear near your word
Rhyming words
Invented words related to your word
And, if you scroll all the way to the bottom of the page, you can find mentions of your word used in everything from pop music to quotes and Shakespearean plays.
“The secret to editing your work is simple: you need to become its reader instead of its writer.” — Zadie Smith
Editing is a critical component of the writing process. After all, a well-written document needs polishing to ensure high quality. A common misconception is that editing involves “correcting” mistakes.
While proofreading takes care of typos and linguistic issues, editing is not about “correcting” issues. Editing involves fine-tuning texts to ensure they clearly communicate their intended message.
Editing, therefore, must become another tool that allows writers to get their message out there exactly as they intend.
When it comes to family history books, self-editing is a crucial first step in ensuring the best possible manuscript. Self-editing allows writers to see areas for improvement and refinement.
But how does one go about self-editing their own family history book?
Read on, as we discuss the essential elements to the editing process, as well as five effective tips for self-editing a family history book.
What is the editing process?
Writers consistently edit their writing. There is an ongoing process of modifying words, sentences, and paragraphs throughout the text. This editing process may cause writers to get stuck while attempting to phrase their ideas appropriately.
Generally speaking, most people believe that editing pertains to correcting grammatical and style mistakes.
While editing certainly involves these tasks, reviewing linguistic elements is just one of the steps in the overall editing process.
The overall editing process involves four main areas:
Content and Developmental Editing. Content editing can happen at any time during the writing process. This part of the process involves reviewing the flow, organization, tone, and pacing of the material. This edit is crucial for family history books as it ensures the book includes the information needed to represent the family’s true identity accurately. Thus, content editing may involve verifying the accuracy of the information and sources to avoid factual errors.
Line Editing. Line editing is highly useful to ensure the smooth flow of the narrative. Mainly, this edit seeks to eliminate repetitious phrases and run-on sentences, clarify meaning, and spruce up boring passages. Line editing reviews paragraph structure so that the entire text matches its intended tone.
Copy Editing. In this edit, a review of linguistic conventions is key. A good way to ensure consistency throughout the text is to follow the rules contained in a style manual such as the Chicago Manual of Style or the Associated Press Style Guide. Also, this review must ensure the text follows American or British English conventions to avoid mismatching them.
Proofreading. Proofreading is generally the last step of the process. This edit focuses on spelling, punctuation, prepositions, extra spaces, and synonyms.
Please bear in mind that content and line editing do not aim to highlight grammatical and styling mistakes. While the content and line editing may signal issues, copy editing and proofreading must weed out these issues to ensure high quality text.
Why Editing is a MUST
The editing process is paramount to any successful family history book. It allows the writer’s message to surface throughout the text. Moreover, readers will get the most out of the information contained in the text.
In contrast, a lack of editing may cause a family history book to fail its purpose.
Furthermore, the people depicted in the narrative may become misrepresented due to a lack of adequate language use. Therefore, the editing process must become a crucial element of all family history book projects.
5 Effective Tips for Self-Editing a Family History Book
Family history book writers must ensure a high quality product. Thus, editing their manuscripts is an essential part of the entire process. While self-editing may sound a bit daunting, there are five things family history book writers can implement to ensure a top-notch editing process.
1. Automate proofreading.
The proofreading process can be painstaking and time-consuming.
In particular, proofreading long manuscripts may consume a significant chunk of time. In some instances, proofreading might even lead to significant delays in a family history book’s completion.
Fortunately, technology has facilitated proofreading through the use of automated tools. Automated proofreading tools such as Grammarly or Hemingway can greatly reduce the time needed to review grammar, spelling, punctuation, and major style issues.
While by no means perfect, these tools allow writers and editors to spot superficial issues, thereby freeing up time for more in-depth analysis and review.
Please remember that automated tools use artificial intelligence to review texts.
Therefore, one cannot expect these tools to replace the human eye.
Nevertheless, automated tools help save brainpower for line and content editing tasks.
2. Become the reader.
One of the biggest mistakes that writers make is to edit texts using a writer’s mindset. This writer’s mindset entails thinking about a text from the writer’s perspective as opposed to the reader’s perspective.
Indeed, the reader’s perspective is much different as the reader does not usually think about intent. The reader sees words in black and white. If the words do not convey their meaning adequately, the message will not get through to the reader.
Thinking like a reader also involves understanding the target audience. This understanding leads to using language, tone, and style that reflect the target audience’s thoughts and perceptions.
For example, a family history book intended for children and teenagers needs a more appropriate tone for a younger audience. In contrast, a scholars-oriented family history book would require a formal academic tone.
3. Think objectively.
Undoubtedly, a family history book project involves one’s emotions. These emotions are the “secret ingredient” that gives the family history book a unique flavor. However, writers must cast their feelings aside during the editing process.
How so?
When writers become too attached to their prose, it can be hard to rewrite some parts, move others, or eliminate sections.
Becoming overly attached to one’s writing can cloud judgment. Therefore, it is crucial to keep a level head.
Keeping a level head requires thinking objectively. Objective thoughts lead to a pragmatic editing process. Consider this common situation:
Family history books are laden with anecdotes. Nevertheless, anecdotes must contribute to the book’s overall narrative.
If an anecdote does not contribute to this narrative, it must go.
Making these decisions can be difficult, heartbreaking even.
The emotional attachment that comes with sharing a family’s most beloved stories may cause writers to face a dilemma. On the one hand, they are eager to include the most interesting stories in their family history book. On the other, it can be extremely hard to let go of stories that do not fit the book’s overarching theme.
Ultimately, maintaining an objective mindset can help determine what goes into the book and what does not. In the end, the material that does not make the cut can always become part of future projects.
4. Listen to others.
Self-editing often involves other people’s opinions. These opinions typically come from friends, family, co-workers, or colleagues.
Authors enlist third-party opinions in something akin to a beta reading project, where a group of people read the author’s manuscript and provide constructive feedback.
While this approach can yield some very good insights, it needs to follow a structured format. Otherwise, feedback may come haphazardly, essentially defeating the task’s purpose.
When enlisting third-party opinions from friends and family members, it is helpful to furnish them with a checklist they can use to provide structured feedback. This checklist can be as simple or as extensive as the author needs it to be.
The aim is to give the reader a framework they can use to hone their observations. Otherwise, broad statements and subjective valuations may overshadow the exercise’s purpose.
Consider this sample.
A family history book author used a Likert scale to gauge readers’ perception of specific elements. Here are the valuations:
1 = totally agree
2 = disagree
3 = neutral
4 = agree
5 = totally agree
The questions on the checklist looked something like this:
Do you feel the book’s pace is appropriate?
Do you feel the book provides enough information about the characters?
Do you feel the book provides enough information about its historical context?
Do you feel the book’s tone is appropriate given the topic and context?
Do you feel the book is easy to read?
Do you feel the book describes situations clearly?
Lastly, the checklist provides space for readers to fill in comments and observations. This space allows folks to shed more light on what they feel requires improvement, revision, or inclusion.
This exercise enables writers to harness feedback and tweak the narrative to accurately reflect third-party readers’ impressions. In lieu of a professional editor, getting real-life feedback from real people can prove to be a valuable source of feedback.
5. Follow a style guide.
Following a style guide is crucial throughout the editing process.
While the writing process may involve a free flow of ideas, the editing process must have as much structure as possible.
Therefore, implementing a style guide can help focus the editing process, thus maintaining consistency throughout the text.
Here are the three most common style guides in use today:
Associated Press Style Guide
Chicago Manual of Style
APA Style Manual
These style guides are the most common since they have stood the test of time. All three guides are highly useful in helping editors revise texts to meet the required criteria for publishing.
Please bear in mind that there is one monumental reason why self-editors must swear by a style guide: Using a style guide provides objective criteria.
Writers can take these objective criteria to mold linguistic and style elements. In short, using a style guide removes the guesswork from the editing process. It eliminates ambiguities and allows writers to structure prose carefully to match the tone and target audience.
Writing a family history book is a serious endeavor. The editing process is even more so. Consequently, authors may feel that outside help is necessary.
The question lies in knowing when to bring in outside help. So, here are five reasons why family history authors may choose to forego self-editing and enlist the help of a professional editor instead.
1. Content and Developmental Editing
It is often the case that authors find themselves with a massive manuscript but cannot seem to find an appropriate organization for it. In such circumstances, content editing is a must. A professional editor can take a manuscript to determine what should make the cut and what should not. From there, the author can refine the content to suit the book’s proposed content layout.
2. Lack of Editing Experience
When authors lack editing experience, it helps to bring in a professional editor.
Professional editors can tackle everything from developmental editing to proofreading.
By hiring a professional editor, authors can take the editing pressure off themselves and focus solely on researching and producing high quality content.
The professional editor will then ensure the content meets such high quality standards.
3. A Human Pair of Eyes
Even when automated tools save time and effort, a human pair of eyes is always welcome.
As of today, artificial intelligence cannot replace the value of the human brain. Therefore, family history book authors may choose to utilize automated tools for proofreading purposes but rely on a professional editor to review the manuscript.
This approach is highly useful when authors seek publication for their works.
4. An Objective Third Party
A professional editor is an objective third party. They can judge if information contributes to the overall narrative or not.
Moreover, professional editors do not have an emotional investment in the text.
While this does not imply editors are uncaring, they can see the forest for the trees. This objective insight is a valuable tool to ensure a top-notch product.
5. A Trusted Partner
Family history book authors do not have to go at it alone. Authors can enlist the help of a professional editor from the start.
In such cases, a professional editor can help an author produce a great text following a structured and measured method.
This approach is highly useful, especially for inexperienced writers. A professional editor’s expertise and guidance are crucial to seeing a family history project to fruition.
Final Thoughts
The editing process is just as valuable as the writing portion when producing a family history book.
While automated tools and style guides provide the fundamentals authors need to produce great texts, the role of a professional editor can take a great family history book to the next level.
A practical approach is to begin the self-editing process to refine a finished manuscript. Then, enlisting the assistance of a professional editor is important, particularly if the author plans to seek publication for their work.
It is pivotal for authors to view a professional editor as a trusted partner. In doing so, any family history book project will surely come to fruition regardless of how ambitious it may be.
“The life of an editor is not a glamorous one. You’re a fixer; you make things better.”—Courtney B. Vance
The work of an editor often goes seemingly unnoticed. When readers work their way through a book, they fail to realize an editor’s vital role in making that book outstanding. While writers get most of the accolades, editors sit in the background, doling out their indispensable labor.
In this article, we will explore 10 key ways a professional editor can improve the overall quality of any nonfiction text.
10 Key Reasons to Hire a Professional Nonfiction Editor
1. Professional editors have fresh eyes.
American author Thomas Wentworth Higginson once said, “Originality is simply a pair of fresh eyes.” Indeed, an editor can provide a valuable pair of fresh eyes. Writers often travel in circles attempting to improve a manuscript.
However, there comes the point where a fresh pair of eyes can spot issues writers cannot detect.
As a result, hiring a professional editor ensures that nothing falls through the cracks.
They can provide insight into even the most minuscule of elements.
Ultimately, a professional editor ensures originality by offering a third-party perspective.
It is worth noting that a fresh pair of eyes can spot a writer’s unconscious mistakes.
For instance, it is quite easy for nonfiction writers to allow their personal opinions to skew their representation of the facts. A professional editor can help ensure a writer maintains an objective view of the information as they build a clear and consistent argument.
2. Professional editors provide objectivity.
Objectivity is the perfect complement to a fresh pair of eyes.
As writers go through their manuscripts, they tend to get caught up in their particular voices. After all, writing a book is like raising a child. There is a significant emotional attachment between a writer and their work. Consequently, it might be challenging for a writer to spot areas for improvement.
That is where a professional editor can make a significant difference.
A professional editor can provide objective insight into a working manuscript. Most important, professional editors play a crucial role in nonfiction works.
Their objective viewpoint can help identify factual mistakes and unproven claims and provide support to the text’s overall argument.
3. Professional editors help save time and effort.
Writing requires dedication and commitment. Any good piece of writing demands a concerted effort in order to craft good-quality text.
However, the editing process can become time-consuming and laborious for writers, especially after spending a considerable amount of time and effort producing a working manuscript.
Indeed, automated tools can drastically reduce the time needed to proofread a manuscript.
However, hiring a professional editor is necessary to ensure the text’s quality.
While writers can go through their own work, it may require additional time and effort. A professional editor’s expertise enables them to review a working manuscript in the fraction of the time it would take writers themselves.
Professional editors ultimately play a crucial role in ensuring a book is up to publishing standards.
It is worth mentioning that foregoing the intervention of a professional editor can lead to mediocre results.
Sadly, this reality permeates the self-publishing domain. Aspiring writers view self-publishing as a means of cutting corners. Consequently, they bypass the editorial process in hopes of accelerating the publication of their book.
This approach, however, leaves the door open to a host of mistakes, sub-par materials, and even inaccurate information. These potential shortcomings underscore the main reasons why self-published nonfiction texts do not get the same degree of attention that traditionally published materials receive.
4. Professional editors keep the writing process moving.
All writers go through some form of “block” or “get stuck” during the writing process. Nonfiction writers may find it difficult to build their book’s argument or have trouble articulating their thoughts. In such cases, a professional editor can take a deep look into a working manuscript.
A solid editorial assessment can often remove roadblocks, thus allowing the writer to continue developing the text.
Professional nonfiction editors are experts in helping writers unpack their thoughts. As a result, a professional nonfiction editor aids writers in keeping the writing process moving, thereby saving substantial amounts of time and frustration.
5. A professional editor is a professional.
By definition, a professional editor is a professional. They have the experience and training needed to take diamonds in the rough and polish them into magnificent pieces.
As American novelist Karen Thompson Walker once stated, “Working as an editor was like being a professional reader, and the better I became at reading, the better I became at writing.”
Professional nonfiction editors are undoubtedly professional readers. They are are often professional writers, as well.
Consequently, they have a keen sense of what works and what does not.
While it helps to have friends, colleagues, and family read through working manuscripts, the feedback a professional editor can provide is unparalleled.
6. A professional editor is human.
Nowadays, automated editing tools receive a great deal of attention. Automated tools can indeed help reduce the time needed to proofread documents.
But no machine, however well-designed, can replace the human brain. That is why professional nonfiction editors are very much in demand today.
Artificial intelligence cannot replace the understanding, feeling, and voice that the human mind can bring to writing. Perhaps, at some point in the future, automated tools may be able to replace humans. In the meantime, there is no substitute for the valuable input a professional nonfiction editor can deliver.
Best-selling novelist Stephen King once remarked, “To write is human, to edit is divine.”
There is no doubt that professional editors endeavor to take writing to a sublime level. A professional editor can help writers unlock their most profound thoughts and feelings. That is something no machine could ever achieve.
7. A professional editor is a multifaceted expert.
Most folks typically view professional editors as proofreaders.
Naturally, editorial duties do include proofreading for linguistic issues.
However, reducing professional editing to merely proofreading is unfair.
The truth is, professional editors are generally multifaceted experts. And professional nonfiction editing requires individuals to possess a number of skills.
To begin with, professional nonfiction editors must have an expert-level understanding of the English language (or any other language they edit) in addition to a substantial knowledge of the text’s subject. After all, one cannot expect a professional editor to adequately review a text if they have no idea what it means.
Additionally, professional editors must play a dual role. They must understand both writers and readers.
First, professional nonfiction editors need to comprehend the writer’s voice and message. Second, a professional editor must also understand what the reader seeks to gain from the text. The challenge, then, becomes to mesh both positions into a coherent discussion that properly negotiates meaning among all parties.
The best part is that professional editors make such tasks look easy.
8. A professional editor improves the overall product.
American actor Sam Rockwell once said, “An editor is like a painter. There is a magic in that.” This profound statement encapsulates two key elements.
First, editors must handle a work of art with the utmost care. The thought of editors ruthlessly hacking through manuscripts is short-sighted and disrespectful.
A professional editor ensures that the text in their possession receives the care and attention it deserves. It is quite common for editors to view a text like a delicate flower in need of nurturing. The text can blossom in the reader’s eyes with the right touch.
Second, editors work their magic in a myriad of ways. Professional editors must sometimes have mind-reading skills. They must transport themselves into the minds of the readers. In doing so, nonfiction editors can translate the information into a text that resonates with readers.
Even when information is perfectly accurate and arguments well-structured, professional editors can bridge the gap between the author and reader. Metaphorically, editors can take the Mona Lisa and somehow make it better. This seemingly magical ability is the result of knowledge and experience.
9. A professional editor is flexible.
A common misconception surrounding editors describes them as judgmental and intransigent. The thought of an all-knowing editor makes some writers shudder. Some writers feel wary of editors out of fear that an editor might slice their work into pieces.
This idea is nothing more than an unfounded myth.
Professional editors are flexible people who are willing to listen.
A reputable nonfiction editor takes the time to sit down with writers. They go over the writer’s ideas to gain insight into the vision impregnated in the text.
Without this understanding, a nonfiction editor’s job would become extremely complex.
Professional editors often develop close relationships with writers. As the relationships become closer, a writer and editor can develop an intuitive understanding of each other’s individual styles.
A professional editor knows they do not have all the answers.
They are aware that producing a high-quality text requires mindful interaction.
The best editors know they must be sensitive to a writer’s thoughts and feelings. Ultimately, a writer’s thoughts and feelings should leap out of every page. A professional editor is the subject matter expert that can help clear obstacles along the way.
10 A professional editor is a coach.
Professional editors often work with inexperienced writers. Many novice writers have raw talent. However, these writers find it challenging to articulate their ideas into a seamless narrative. This situation is especially true in the nonfiction domain.
Nonfiction writers often have a wealth of knowledge in their area of expertise. Nevertheless, they lack the skills and experience to articulate that expertise into a fruitful reading experience. In these circumstances, professional editors become coaches. They help writers find their unique voice and style.
In some instances, professional editors may sit down with a writer to go over areas for improvement. In other cases, editors can help writers through a developmental edit. This type of edit allows writers to see how far they have taken their manuscript and where they could go with it.
It is worth noting that professional editors do not have all the right answers. Professional editors have insight that comes from experience. Like sports coaches, editors know what it takes to become a champion. Thus, professional editors aim to turn writers into champions in their own right.
What A Professional Editor Is Not
Professional nonfiction editors are many things. They wear many hats, often simultaneously. They play a number of key roles throughout the writing process. They may even become mentors for some writers. However, it is important to highlight what professional editors are not.
First, a professional editor is not the “boss.” Even when an editor-in-chief has a functional leadership position, they do not see themselves as the “boss.”
Even when an editor-in-chief has a functional leadership position, they do not see themselves as the boss.
Instead, a professional nonfiction editor sees themselves as the captain of a ship. Therefore, a professional editor must coordinate the efforts needed to ensure the ship gets safely to harbor.
Second, a professional editor is not a “fan.” While it may be true that editors enjoy reading manuscripts, they must maintain an objective mindset.
Fans generally have biased opinions. They judge texts based on their individual perception. Consequently, they may fall prey to confirmation bias.
A professional editor must, therefore, maintain a level head. They must ensure that information is factual and the narrative is coherent, even if they do not necessarily agree with the author’s position.
Lastly, a professional editor is not a “gatekeeper.” This idea is a misrepresentation of an editor’s job.
Unfortunately, some writers believe they must get past their editor in order for their manuscript to reach publication. The reason editors review texts is to ensure that the text is up to professional standards. Sub-standard texts generally fall by the wayside, defeated by criticism. A professional nonfiction editor can help authors construct their text so they can withstand the test of time.
“The life of an editor is not a glamorous one. You’re a fixer; you make things better.” —Courtney B. Vance
Typically, most people think editors are folks who wield big, red pens. However, a professional editor is far more than someone who corrects written content.
An editor needs to dabble in mind-reading. For starters, an editor needs to glean what is in the writer’s mind and understand what the writer wishes to convey. This is necessary because the editor’s goal is to adequately transmit the writer’s message in the best possible manner.
Secondly, an editor must read the audience’s mind to understand the reader and what they expect to get from the text. Consequently, an editor must have one foot on each side of the writing equation.
That is certainly not an easy task.
With the advent of computer-aided tools, many writers and even publishers have increasingly turned to automated online editing tools. However, there’s no doubt that an old-school approach is more appropriate in professional editing.
All About Automated Online Editing Tools
Good editing requires a careful and deliberate process. After all, there is an evident reason why publishers hire professional editors. They have the necessary skills to sift through literary works to uncover any needs for improvement.
Contrary to popular belief, the job of an editor is not to simply “correct” mistakes.
Editors must interpret texts so they can ensure the content is clear and transmits the message it intends.
Generally speaking, an editor should be able to polish up a book.
Here is one way to think of it:
A master craftsman produces a beautiful table. The table goes into a showroom for customers to purchase. The sales staff polishes the table one last time before customers buy it.
This example underscores the need to make sure books are as neat as possible. Editors can catch minute details that may get past an author or beta readers (non-professional test readers who read a manuscript before publication).
However, the increasing trend toward automation has naturally crept its way into the literary field. The case for automated editing tools lies in their simplicity and efficiency. After all, using automated online editing tools can seamlessly “replace” an editor– or so some might believe.
Automated tools cost a fraction of what an editor would charge. Most online tools offer a free basic subscription. Extra features can be obtained with premium packages which cost more depending on the application.
The NY Book Editors group offers this insight into what an automated editing tool can provide:
“This type of tool proofreads your writing, checking for grammar, spelling, and a host of other errors. While your text editor will probably have built in spelling and maybe a grammar check, a dedicated editing tool can find hidden errors that are easily missed on a standard text editor.”
This statement encapsulates the purpose of an automated editing tool. Consequently, automated tools are a great way to catch spelling, grammatical, and some relatively basic style errors.
However, the NY Book Editors also drop this small dose of truth: “Remember that no automatic editing tool can ever take the place of a human.”
Indeed, there is no way to replace a human editor. There is a reason why publishers still hire professional editors. They can check for style, voice, and messaging in the writing. They can determine the appropriate tone for the subject matter.
Moreover, professional editors can intuit what readers want to get out of the text.
These services are things no automated editing tool can do.
Nevertheless, there is no reason to dismiss automatic online editing tools entirely. These tools can drastically facilitate the editing process and provide further support to the author.
As such, it is worth taking a look at the most popular text editing tools on the market.
The Most Popular Automated Online Editing Tools
Cyberspace contains various automated online editing tools. With such an array of options, choosing the right one might be somewhat confusing.
To help you make the decision, we have compiled a list of the most popular online editing tools available, focusing on their pros and cons.
Grammarly has taken the automated editing market by storm. This app has quickly become a fan favorite across the board. This is because Grammarly is quite comprehensive, even with its free version.
Basically, Grammarly is a turbo-charged proofreading tool. It can capture spelling, grammar, subject-verb agreement, and clarity errors.
Its artificial intelligence (AI) engine can adapt to various writing styles. For instance, its AI can check text using an academic approach.
Other settings include business, casual, and creative. The main difference lies in how strictly the writing adheres to convention (academic, business, casual, or creative styles). For example, the academic setting will strictly enforce all grammatical and style conventions such as contractions, personal pronouns, and passive voice.
Grammarly.com
Another of Grammarly’s interesting features is its word choice and sentence structure check. These features are part of the premium package. Nevertheless, they are worth the money for professional writers and editors.
The word choice feature provides suggestions on synonyms and related terms. This feature is useful, particularly when writers get in the habit of overusing a single term. The structure check offers helpful hints on improving clarity and removing “wordiness.” However, wordiness is a relative term as some authors prefer more complex sentence structures.
Grammarly offers suggestions on four specific areas: correctness (spelling or grammar), clarity (logic and coherence), engagement (engaging and interesting), and delivery (connotation or meaning of words). Correctness pertains to fundamental mistakes such as grammar and spelling. Clarity and engagement are not mistakes per se.
However, these suggestions may constitute mistakes depending on the degree of formality. For instance, the use of passive voice may not be suitable for formal writing. In contrast, the passive voice would be acceptable for informal writing. Furthermore, delivery focuses on style issues such as adverbs, adjectives, and word order such as prepositions ending a sentence.
Also, Grammarly offers various levels of formality. There are three levels: formal, neutral, and informal. These three levels determine how strictly the writing should adhere to writing conventions. The formal setting requires the strict observance of all related American English spelling, grammar, and style conventions.
Perhaps Grammarly’s best feature is checking text based on “audience.” There are three types of audiences: general, knowledgeable, and expert. Naturally, each type of audience sets Grammarly’s AI to sniff out terms that may be too infrequent for a general audience. By the same token, the AI may suggest more formal terms for common words and expressions.
On the whole, Grammarly is a wonderful tool. Many will find the paid subscription is worth it, especially for writing and editing pros.
However, Grammarly is not perfect. Its AI tends to confuse terms from time to time. For instance, Grammarly’s AI may not recognize technical or legal terms. Additionally, text that makes consistent use of a specific term trigger constant suggestions for synonyms. But there are times when synonyms do not make sense within the material’s context.
The good news is that Grammarly’s AI continues to improve as writers and editors feed its engine. Nonetheless, writers and editors must be wary of accepting suggestions on auto-pilot. Grammarly is not perfect and thereby requires attention when editing texts. Grammarly easily installs onto Microsoft Word as an add-on and it easily facilitates editing for those working directly in Word.
Named after the Nobel laureate, Hemingway is a no-nonsense online editing app.
Its most interesting feature is its color-coded system.
Essentially, Hemingway identifies various types of errors by highlighting them with different color schemes.
For instance, blue indicates adverbs, green is passive voice, purple points out simpler phrases, yellow shows hard to read sentences, and red points out very hard to read sentences.
Hemingway’s main purpose is to encourage simplified writing. Therefore, its suggestions aim to make writing short and sweet. Mainly, this app looks to reduce the use of adverbs and wordiness as much as possible.
Hemingway also assigns a grade level for texts. Thus, writers and editors can assess the reading difficulty of their materials. This feature enables writers and editors to simplify or increase the complexity of their texts to meet their target grade-level reading.
One of the great things about Hemingway is that it is also free. Anyone can use it directly from its website. A relatively recent desktop app has also been created.
The verdict on Hemingway is that it is a good app for shorter pieces of content. Texts around 1,000 to 2,000 words work very well with Hemingway. But the app is less suitable for full-length book manuscripts. Nevertheless, blog posts, articles, or shorter materials work very well with it.
CorrectEnglish is essentially a proofreading app. It works very well by sifting through texts for grammar and spelling errors. Also, it helps with readability and overall flow. However, this app is not capable of full-fledged editorial work. As a result, authors and editors should proofread a text before conducting a deep and detailed read.
AutoCrit is specifically made for fiction writers. It aims to reduce redundancy, passive voice, filler words, and adverbswith a goal of improving overall pacing and dialog. It is very good for weeding out common writing mistakes. These features make AutoCrit great for authors looking to clean up a manuscript. The app carries a $5 monthly fee.
WordRake is a great proofreader. It works in tandem with Microsoft Word. Specifically, this editor seeks to reduce confusing prose by avoiding redundancies and highlighting mistakes such as subject-verb agreements, incorrect tense use, and misspelled words. It is great for tightening up texts. WordRake is quite popular with lawyers and students. However, there is one major drawback. WordRake does not do a deep dive with grammar and spelling. Therefore, users may need to rely more on Word’s built-in spellcheck capabilities to cover these areas.
When to Hire a Professional Editor
Automated editors are wonderful tools to have. They can facilitate the proofreading process by doing most of the heavy lifting. However, the truth is that there is just no substitute for a human editor.
Indeed, there limitations to what automated tools can achieve. And there are times when the best option is to hire a professional editor.
As such, here are five specific areas where hiring a professional editor is better than only relying on automated editing software.
1. Developmental Editing
At its essence, a developmental edit is a “significant structuring or restructuring of a manuscript’s discourse.” In other words, a developmental edit looks at a manuscript’s structure, whether or not the text accomplishes its purpose, and if there are any missing pieces.
A good developmental edit requires using an experienced editor familiar with the subject matter.
The result should be an editorial assessment that publishers and authors can use to improve a manuscript’s quality. In some cases, the recommendations from an editorial assessment may lead to significant rewrites.
This type of assessment is suitable at all stages of the writing process. But developmental edits are best for finished and proofread manuscripts undergoing the initial editing process.
2. Fact-Checking
In the non-fiction domain, some editors specialize in fact-checking.
Specifically, fact-checking ensures that the information, claims, and advice presented in the material is accurate. Furthermore, fact-checking helps writers avoid using misleading or partially true information. Naturally, authors and publishers must ensure accuracy to avoid legal consequences.
Also, fact-checking is an essential task that automated editors cannot carry out. After all, AI has yet to reach a point where it can differentiate between fact and fiction. Professional editors have the ability to cross-reference information to ensure they are on the right track.
3. Quality Assurance
Author Copilot founder J. Thorn believes “…an editor should be hired when the author believes the manuscript is as good as it can be.”
A professional editor plays a crucial role in quality assurance. After all, authors do not always have an objective opinion about their work.
Even when authors receive honest and constructive third-party criticism, an editor provides an impartial opinion on the manuscript’s overall quality.
Please bear in mind that this quality assurance role should not involve proofreading. Grammarly (or a professional proofreader) can take care of that.
A professional editor’s quality assurance role should focus on honestly assessing “big picture” items. In other words, a professional editor must ensure the manuscript’s cohesion, logic, and narrative.
4. An Expert Opinion
Publishers often take a professional editor’s opinion at face value.
Why?
Professional editors are seasoned veterans who can distinguish between a good manuscript and a subpar one.
Hiring a professional editor gives authors an expert opinion on their work. Professional editors know what makes good writing, and can help authors improve their manuscripts.
Authors and publishers should hire a seasoned editor to provide an unbiased appraisal. Editors can help writers refine their work and create the best possible manuscript.
When authors or publishers neglect to get an editor’s opinion, they are unlikely to publish the best possible version of the work. The publication may fail to deliver on expectations.
5. The Human Touch
There is one thing that AI will never be able to deliver: the human touch.
Automated tools may be great at sifting through the linguistic minutiae. However, automated tools do not have the human intuition that great writing requires.
Words can trigger emotions. Great prose can create images in a person’s mind as imagination soars. Only humans are capable of determining the impact of wonderful writing. Only a professional human editor can assess how effectively a literary piece is able to produce feelings in the reader.
At the end of the day, a professional editor provides insight that no machine can deliver. Perhaps technology may be able to supplant a human editor at some point. For now, the human touch will always be an important component of all great writing.
The Final Verdict
The debate between automated editing tools and professional human editors should focus on combining both approaches.
Automated editing tools greatly facilitate the proofreading process. These tools save time, allowing editors to focus on the most important aspects of the editing process.
Consequently, authors, editors, and publishers could consider adding automated online editing software as another arrow in their quivers.
It may be that AI will never be able to replace the human touch. Professional editors will likely always have a place in the literary world.
The decision to hire a professional writer ultimately boils down to wanting to produce the best possible manuscript. Automated editing tools can help make that aim easier to accomplish.
It’s arguably one of the vaguest requests heard in the world of editing and publishing.
That’s because there are multiple types of editing, and they often mean something very different to each party in the editing relationship – the writer and the editor.
A basic Internet search of “types of editing” can send you into a flurry of terminology controversies and confusion.
As an example, the Grammarly blog breaks apart developmental and substantive editing into separate definitions, while the Institute of Professional Editors uses another term for developmental editing (structural editing), and lumps substantive editing into that category.
The list goes on and on.
The growing popularity of self-publishing, has only served to contribute to the confusion.
Whether you’re an author seeking to self-publish a book or a corporate communicator finalizing a marketing brochure, determining what level of editing your project needs and effectively communicating expectations to your editor is key to a satisfactory process and end result, says Wintress Odom, owner and editor-in-chief at The Writers for Hire.
“I cannot tell you how many times we get a piece of copy and are asked to, ‘Just proofread it,’ or, ‘Please edit this,’” Odom says. “Most of the time, our clients have a very specific idea of what this means to them, but a lot of people don’t realize that those terms are used vastly differently by different people, so you really have to clarify, or you could get something back from an editor that was not what you expected at all.”
So how do you, as a writer, navigate the editing portion of the process to achieve your desired result?
Let’s explore the types of editing, consider overlapping terminology, and look at some ways to ensure you get what you want out of your editor.
Editing and Proofreading Are Very Different
First, let’s clear up some editing basics.
Editing is a process that shapes and modifies your manuscript or piece of copy to prepare it for publishing.
This can mean many different things, as we will go into below, but it typically involves fundamental changes to aspects such as flow, grammar and consistency.
This can mean many different things, as we will go into below, but it typically involves fundamental changes to aspects such as flow, grammar and consistency.
Proofreading, on the other hand, is a final step to review your copy as it will be printed, with the intent of catching any mistakes that may have been made during editing.
While proofreading is considered part of the overall editing process, having your piece proofread is not the same as having it edited.
Levels in the Editing Process
Most editing authorities use somewhere between three and five levels of editing, including proofreading as a final step in the process.
Let’s review the main categories and some of the terminology you may encounter.
1. Developmental editing
Developmental editing (also often called structural and substantive editing) is the most intense level of editing and could involve vigorous rewriting, so you may also see terms such as heavy editing or content editing used. This is a bigger-picture overhaul of your manuscript for style, structure and flow.
For nonfiction, you need developmental editing if your material is lacking logical flow. In fiction, you may need developmental editing if you need assistance improving plot and/or character development. Developmental editing will typically include reworking:
Book organization and topic flow.
Big-picture transitions.
Overarching stylistic choices.
Plotline and characterization (fiction).
2. Line editing
Line editing is sometimes lumped in with copy editing below, but it’s a more detailed, sentence-by-sentence edit.
Line editing isn’t focused on the big-picture aspects of the book as in developmental editing, but it may include sentence rewording to address areas such as:
Flow or pacing issues.
Removal of sections that may not fit.
Improving sentence content, style and voice.
3. Copy editing
Copy editing is also a sentence-by-sentence edit, but more technical in nature, focusing on cleaning up your copy to prepare it for publishing. If you are happy with the organization and flow of your piece and think it is ready for technical polishing such as grammar and punctuation, this may be the right level of editing for you.
Not all editors agree on what copyediting entails, but common services might include fixing:
Errors and inconsistencies in style (like the Oxford comma or hyphenation consistency)
Errors in dates, URLs, page numbers or other pertinent details.
Repeated facts.
Internal contradictions within the piece.
4. Proofreading
If you speak to a writer, proofreading often includes fixing typos and grammatical errors, as well as all or several of the items listen in copy editing (above).
However for a publisher, proofreading is very different. Proofreading for publishers occurs only after final layout, and is intended to catch any errors made during the layout process, such as:
Missing words or sentences.
Odd line breaks or picture formatting.
Missing pages or page numbers.
Determining Which Level You Need
As you can see, even within these four categories, there are many overlapping and interchangeably used terms within these levels, and your editor may break them down differently.
In his work with indie authors, Friedlander finds it useful to simplify by dividing editing into two areas of need – the information and the copy.
“If you think your book has problems with the way it flows, it isn’t quite complete and you’re not sure how it compares to other similar books … in the market, then consult with a developmental editor about what you need to shape your book,” he says. “If you’re already over that part, you know what should be in the book, you’ve written books before and you’re satisfied with the way the information flows, then talk to your editor about preparing the book for publication with a copy edit.”
Odom agrees that a consultation with your editor detailing your needs is the best approach.
The key is understanding the general terms out there, and clarifying what that means to your editor as it relates to your specific project.
To help guide your conversation, Odom recommends asking yourself these questions:
What are my goals with the editing process?
What are my biggest concerns?
Am I happy with the book’s overall chapter organization?
Does the logical flow need help (i.e. does it make sense)?
Does the stylistic flow need help (i.e. is it clunky to read)?
Am I comfortable with an editor rewriting large portions of my manuscript?
Would I prefer that the editor stick to fixing egregious errors, leaving the manuscript essentially as-is?
Do I want my editor to fix style inconsistences (such as writing out numbers or consistency in capitalization choices)?
Does the editor need to fact check for me? If so, what types of facts (e.g. spellings of places, historical dates, specific magazine quotes)?
It is true that the editing process can be confusing.
With an understanding of the nuances and variants that go into editing, though, you can arm yourself with the necessary tools to make the relationship with your editor a successful one.
This will, in turn, result in a more successful outcome for your project.
