Tag: editing & proofreading

So you’ve just written your first draft. Congratulations! Getting words onto the page can be one of the most painful parts of the writing process.

Unfortunately, you’re not done yet.

As every seasoned writer knows, your first draft is just the first step. Rarely (if ever) does a piece move from the writer’s brain to the page in a single flawless leap.

So how does a writer go about editing their own work?

Keep reading for a step-by-step guide that will help you turn your so-so copy into powerful prose.

The Elements of Editing

When we use the term “editing,” we’re referring to the high-level reading and revising all writers must undertake to ensure their ideas are communicated clearly, succinctly, and with maximum impact.

This includes casting a critical eye toward the following:

• Structure: Is the piece organized in a logical way that allows readers to easily follow the thread of your ideas?
• Content: Have you provided the reader with all the information they need to understand the intended message? Have you defined unfamiliar terms and concepts, provided background when necessary, deleted extraneous information, and checked for redundancy?
• Consistency: Are the facts and details you provided consistent throughout the document? Have you unwittingly introduced any contradictory information?
• Sentence construction: Are your sentences worded clearly and without clumsiness? Are there places where readers misinterpret your meaning? Do your sentences vary in length and use the active voice?

The Elements of Proofreading

In contrast to the deep dive of developmental editing and copyediting, proofreading is a more straightforward undertaking that involves looking for surface-level errors.

Proofreading involves reviewing for the following:

• Spelling and grammatical errors, such as misspelled words, subject-verb disagreement, misplaced modifiers, etc.
• Correct use of punctuation, including periods, colons, dashes, and apostrophes
• Formatting and typesetting mistakes, such as consistent use of bolding, italics, and bullets
• Stylistic inconsistencies, particularly as they pertain to the chosen style guide (Chicago Manual of Style, Associated Press Stylebook, etc.)

A Step-by-Step Guide to Editing Your Own Writing

Now that you’re familiar with the two levels of editing, let’s talk about how to go about it.

All writers have their own way of approaching the editing process. The longer you write, the more likely you are to land on a method that works best for you.

Until then, below is a step-by-step guide to help you get from first draft to final draft as painlessly as possible.

1. Take a Break  

Editing your own writing requires fresh eyes.

Never try to start editing immediately after completing your first draft. At minimum, give yourself 24 hours between completing a draft and starting the editing process to give your brain time to rest and reset.

Even better, wait several days before diving in.

2. Know Your Audience

What type of person do you intend to reach through your writing? Is your work designed to entertain or to educate?

The tone of your writing—casual, formal, or somewhere in between—should also be decided based on your intended audience.

3. Plan for Multiple Rounds of Editing

Trying to find all the mistakes in your writing in a single sitting is a recipe for disaster—not to mention exhaustion.

Instead, plan to do multiple rounds of editing. Each one should focus on a specific purpose.

How many rounds are necessary? This will vary depending on the length and complexity of your writing, as well as external factors like deadlines.

Nevertheless, try to plan for at least three rounds.

The first round of editing should focus on big-picture elements, like the structure, tone, and flow of the piece as a whole.

Next, read your writing sentence-by-sentence, editing for elements like syntax, word choice, clarity, and redundancy.

For the third and final round of editing, proofread your almost-final draft to catch any surface-level errors like misspellings or formatting mistakes.

4. Zoom Out for a Big-Picture Edit

On your first round of editing, avoid reading too carefully. Instead, do a “big picture” edit to assess the structure and flow of your piece.

Is any information missing? Is all the included information serving a purpose?

Take notes as you read, then make revisions as needed.

5. Zoom In for a Closer Look

After you’ve done your big-picture edit, it’s time for a deep dive. On this second round of editing, you will examine your writing sentence-by-sentence.

Here are some common mistakes to look out for:

Check for passive voice: Passive voice construction means that the subject is the receiver of the action. Rewriting these sentences in the active voice—i.e., making the subject the performer of the action—will almost always result in a stronger, more direct statement.

• NO: Our services are offered by dedicated professionals.
• YES: Dedicated professionals are on-hand to deliver our services.

Avoid generalities: Good writing is in the specifics. Whenever you spot a generality, try to replace it with specific information.

• NO: Our products save you time.
• YES: Using this patented system, customers report saving almost two hours a day.

Crush your clichés: Clichés are a waste of space, plain and simple. Whenever you spot one, replace it with a specific example or delete it altogether.

• NO: At our company, we think outside the box.
• YES: The Better Business Bureau ranked our company among the best for small business innovation.

Use positive language: Rewrite negative statements using words like “can’t,” “never,” “not,” “hardly,” “barely,” and “none” so that they use positive language instead.

• NO: We would not be successful without our dedicated customers.
• YES: Our dedicated customers have made our success possible.

Keep it simple: Don’t go out of your way to use obscure words and phrases when more common choices will suffice. While the thesaurus is your friend, you don’t want to alienate your readers by using words they’re unlikely to understand.

• NO: We offer a variety of delectable accoutrements to complement our small-batch ice cream.
• YES: We offer an assortment of delicious toppings for our small-batch ice cream.

Use modifiers sparingly: Adverbs and adjectives can often be eliminated by opting instead for vivid verbs and strong nouns.

• NO: This difficult problem was in need of a solution.
• YES: This challenge was in need of a solution.
• NO: He looked intensely at the flyer.
• YES: He scrutinized the flyer.

There are also certain overused and/or superfluous phrases to be on the lookout for. In most cases, sentences containing the phrases below can be rephrased to be more concrete and concise:

• That’s why…
• Our goal is to…
• Our mission is to…
• We believe…
• Our vision is..
• We pride ourselves on…
• The fact that….
• In order to…
• There is…/There are…
• It is necessary/important/crucial that…

Here are a few examples of the above sentences that can be re-phrased:

• NO: Our mission is to cut costs.
• YES: We cut your costs.
• NO: Our team lost revenues owing to the fact that we were understaffed.
• YES: Our team lost revenues because we were understaffed.
• NO: There are roses on the patio.
• YES: Roses grow on the patio.

One final tip: In his book On Writing: A Memoir of the Craft, Stephen King declared that a writer should aim to reduce the word count of their first draft by at least 10 percent during the editing process.

While 10 percent is not a hard and fast rule, don’t be afraid to be ruthless.

Here are a few things to look out for when it comes time to slash and burn:

– Redundancies: If your ideas are communicated clearly, you only need to explain them once. Scour your text for places where you may have restated the same idea or concept multiple times. Choose the best one and delete the rest.

– Digressions: Every piece of information included in your work should serve a purpose. Check your writing for areas where you may have descended into tangents or included information that’s unnecessary or irrelevant.

– Needless transitions: Words like “indeed,” “however,” “nevertheless,” “likewise,” and “similarly” are often unnecessary and can interrupt the flow of your writing. Reading your work aloud can help guide you on when these transition words should be deleted.

4. The Final Step: Proofreading

Nonetheless, there are certain best practices you can follow that will make you more likely to catch glaring, potentially embarrassing errors in your own writing.

For our list of proofreading tips, visit A Proofreader’s Checklist.

Jonathan Culver, an author renowned for challenging the foundations of the English language, once stated, “The English language is a work in progress. Have fun with it.”

Indeed, the English language is a magnificent living organism. And unlike other languages, there is no “right” way of using it. Quite the contrary, English can lend itself to specific purposes and transform itself to suit the needs of its users.

That being said, while there is no “correct” way of speaking or writing English, it is essential to adopt a standard style when producing content. After all, defining a particular writing style is crucial to maintaining a consistent level of quality in the content you’re producing.

In this article we will explore the various style guides content producers can use to adapt English according to their purposes.

How to Pick a Style Guide for your Writing

Often, writers and content producers ask themselves, “What is the best writing style?” The answer to that question largely depends on the type of content and target audience. As such, it is worth looking into both elements.

The type of content defines the writing style. Writers often mistake this process by allowing the writing style to define content. For example, academic papers must use a formal writing style. In this situation, a different type of writing style would cause the paper to lose credibility.

Additionally, the target audience defines the type of written discourse. A highly technical topic intended for a general audience must have a digestible writing style. Therefore, content producers must strive to make complex material user-friendly.

Once the target audience and type of content are clear, there are three additional factors to consider. These factors encompass the content creator’s specific characteristics. Therefore, these elements must reflect the intended writing style.

• House style. When working with publishing houses, they may have specific style guides. Moreover, private corporations may have a particular style guide they follow. Therefore, these guidelines should determine the text’s writing style.
• Medium. The medium of publication is highly important. For instance, academic journals may require a specific writing style. In contrast, mainstream media outlets may espouse a journalistic style. Also, fiction publishers may have specific conventions that writers must follow.
• Niche. There are times when material corresponds to a particular niche. In such cases, a distinctive writing style would be necessary. This concept is especially true for fiction content. Nonfiction content may also need to follow specific guidelines based on the type of content. For instance, a how-to guide may need simple language, while a marketing manual might employ a more conversational tone.

In addition, writers and content producers should avoid the following key mistakes.

• Attempting to sound “smart.” A common mistake lies in attempting to impress the audience. This strategy may backfire, particularly if the target audience is a general one. Attempting to sound smart implies using highly sophisticated language that clouds the text’s message. As a result, sounding smart may result in giving the wrong impression.
• Making mistakes in style. Beyond spelling and grammar, style mistakes entail tone, style, and voice. For example, writing in the first-person singular (“I” statements) may seem too informal for a serious publication. In contrast, an impersonal, third-person narrative may seem distant to a general audience.
• Neglecting a consistent style. Maintaining a consistent style provides uniformity to a text. It also reflects a high degree of professionalism. For instance, mixing the active and passive voices may give off the wrong impression. Consequently, writers should avoid the passive voice as much as possible.

Renowned novelist Stephen King once said, “Good writing is often about letting go of fear and affectation.” Certainly, adopting a writing style will help avoid the self-consciousness that comes with writing. Maintaining a coherent writing style is the ultimate confidence booster.

So, here are the top four writing style guides successful writers and organizations use to drive home their message, straight to their target audience.

Top Four Writing Style Guides

Associated Press Stylebook

The Associated Press (AP) Stylebook is a collection of writing guidelines intended primarily for news media. As such, it contains a clear journalistic tone.

Usage of the AP style is predominant in newspapers, online news media, and blogs. Additionally, content marketers tend to use the AP style when seeking a more natural tone.

Many European publications also use the AP style when publishing content for American audiences.

The AP style is useful when producing content for general audiences. This style focuses mainly on economic writing. Consequently, long and elaborate sentences are deemed superfluous.

Ideally, writers using the AP style should be as clear and concise as possible. Over-embellishment is not advisable within the AP style. Furthermore, standard terms are preferable over complex and obscure words.

Content marketers, bloggers, and nonfiction writers all find the AP style appealing. In particular, it facilitates communicating information to a broad audience. Therefore, the AP style is not advisable for a niche publication or academic journals.

The AP Stylebook goes through frequent revisions, every other year at the end of May. Its most recent updates took place in 2020. The official guide goes by the name “The Associated Press Stylebook.” Plus, the AP Stylebook Online contains a solid overview of style and form. AP editors gather to review the Stylebook at the annual conference of ACES: The Society for Editing.

Chicago Manual of Style

The Chicago Manual of Style (CMOS) is a staple of English-language writing. From journalistic to academic writing, the CMOS is a standard in the world of literature. The CMOS first saw publication in 1906. And in 2006, it went online for the first time.

The CMOS contains a set of guidelines on appropriate writing. It focuses on nonfiction writing. As such, it is most common in commercial texts (manuals, guides, and whitepapers) and academic writing.

Colleges frequently ask their students to use CMOS style while writing their papers. In fact, in the academic realm, the CMOS is the predominant citation style. Additionally, it is not uncommon to see text with the AP writing style use CMOS citation styles.

Linguistically, the CMOS uses American English as its base and offers its recommendations for grammar, spelling, and punctuation.

The most distinctive aspect of the CMOS is its manuscript formatting guidelines. For instance, the CMOS recommends the use of the Times New Roman font, 12 pt. Also, the text should contain double line spacing with a left-justified alignment. Moreover, the page should contain one-inch margins all around.

Writers and content producers looking to publish formal, scientific, or academic works should employ the CMOS. Specifically, the humanities make extensive use of the CMOS guidelines. Nevertheless, long-form blog posts and non-journalistic articles commonly utilize the CMOS.

The CMOS’s last revision took place in 2017. It is available online as the Chicago Manual of Style Online and its companion Chicago Style Q&A. This manual is a handy quick-reference guide.

American Psychological Association

The American Psychological Association’s (APA) style guide has become a go-to writing reference guide in recent years.

On the whole, the APA manual’s purpose is to simplify academic writing. As such, its core lies in document formatting and citations. Citations vary considerably from the CMOS, as citations are in-text, instead of being listed as traditional footnotes.

Standard American English conventions are the basis for the APA style guide. Additionally, grammar, punctuation, and spelling follow generally accepted guidelines. For example, the APA format allows the passive voice, unlike the AP Style. However, writers should be wary of overusing it.

Overall, academia appears to prefer the APA style. More and more colleges, journals, and even high schools encourage writers to use the APA style.

It is worth noting, however, that the APA writing style is not as common in commercial, marketing, or informational materials. Moreover, the medical profession favors the Vancouver citation style which uses numbers within the text that refer to numbered entries in the reference list . Consequently, the APA style is more common in humanities, social sciences, and some natural sciences.

The APA guide does not undergo frequent revisions. A new guide reaches publication roughly every 10 years. The latest guide has been available since 2019.

Modern Language Association of America

The Modern Language Associate of America’s (MLA) writing guide has been a stalwart in the academic world for decades. While not the oldest, the MLS guide quickly caught on within academic circles.

The MLA’s first publication was released in 1951 as the “MLA Style Sheet.” Then, the MLA Handbook first saw publication in 1977 and has been available online since 2009.

Initially, the MLA Handbook intended to serve academic writers and college-level students. However, it now caters to writers of all areas since 2016.

The MLA style guide primarily focuses on citation and paper formatting. So, the bulk of its recommendations center on manuscript creation more than writing mechanics. As such, grammar, spelling, and punctuation all follow general American English conventions.

For example, the MLA style calls for 8 ½” by 11” paper, one-inch margins on all sides, and the first word of every paragraph with a half-inch indentation. Also, the font size should be 12 pt. There are no specific recommendations on the font type.

On the whole, easily legible fonts are preferable. The most common font types are Times New Roman and Arial. Additionally, academic papers should have double-spaced lines.

As for citations, the MLA style uses footnotes. Endnotes are also prudent, though this decision largely comes down to individual preferences. Publications such as journals and magazines may have specific guidance on citation location.

In general, the MLA style is predominant in the humanities within the language field. Some social sciences may use the MLA style over the APA. However, these decisions depend on individual schools and faculty members. On the whole, most schools prefer the MLA over APA.

The last MLA updates hit widespread publication in 2016. There are revised print editions every three to five years. In addition, there is an Online MLA guide available that provides key insights into formatting and citation.

Conclusion

Implementing and sticking with a specific writing style is a must for content production. Adopting a writing style helps portray professionalism, stemming from the consistency in written materials and promotional items.

Therefore, it is crucial to choose a writing style that falls in line with the target audience and publication medium. Most importantly, a writing style should reflect the spirit of the content presented.

Most brands opt for the AP writing style, particularly if they publish across various platforms. Nevertheless, the MLA or APA styles work well when publishing white papers or research materials.

As for writing conventions, the CMOS provides appropriate guidance on spelling, grammar, and punctuation, especially in conjunction with the MLA format.

Overall, style decisions boil down to ensuring that the right message reaches the right audience across the proper platforms.

Legendary novelist Stephen King once said, “To write is human, to edit is divine.”

Indeed, nothing is perfect the first time. Writing is no exception. Effective writing requires a progressive approach. No matter how good writing is the first time, a good edit can take a text from good to great.

When readers lay their eyes on a finished piece, they see the result of writing, editing, proofreading, and fact-checking. These processes all play a significant role in producing great literary pieces. The trick is recognizing how editing could improve good writing.

In this article we will explore the six types of editing. We will also discuss how writers and editors can take advantage of these editing types to take great writing to the next level.

The Six Types of Editing

1. Developmental Editing

Developmental editing refers to an arduous process of producing major edits on a partially or fully completed manuscript. As such, this type of editing also receives the name of “substantive” or “line” editing.

Developmental editing entails “significant structuring or restructuring of a manuscript’s discourse.” Therefore, developmental editing significantly alters the text’s nature and composition. In some instances, these edits can shift storylines or transform the prose itself.

In Scott Norton’s comprehensive guide to developmental editing, editors “provide broad direction by helping the author to form a vision for the book, then coaching the author chapter by chapter to ensure that the vision is successfully executed.”

Consequently, editors may choose to work closely with a writer to guide them throughout the writing process. This coaching support does not suggest the editor will act like a schoolteacher. The author may lean on the editor in terms of “big picture” items such as themes, storylines, or character creation.

Additionally, developmental editors may choose to “get their hands dirty with the prose itself, suggesting rewrites at the chapter, section, paragraph, and sentence levels.” This approach is akin to the editor taking a red marker to highlight the changes needed. The extent of the changes depends on the editor’s willingness to drill down on the prose itself. Thus, major rewrites may stem from detailed developmental editing.

In fiction writing, developmental editing generally focuses on plotlines and character building. Editors may suggest specific changes to the story itself or request major rewrites to fix plot holes or inconsistencies.

In nonfiction writing, a developmental edit focuses on reviewing cohesion among concepts, themes, and topics. Also, editors may suggest rewrites to match tone, voice, or style (academic, casual, or general).

The outcome of a developmental edit is an annotated manuscript. It consists of notes made directly on the manuscript, either directly on a hard copy or an electronic one.

Also, an editor may produce an editorial report. This report contains general notes on the manuscripts with some specific examples. Editorial reports generally emerge from finished drafts, whereas annotated manuscripts best serve a chapter-by-chapter review.

2. Editorial Assessment

An editorial assessment is a great option for works in progress. Writers looking for feedback can turn to an editor to get a bird’s-eye view of a working manuscript. Thus, an editorial assessment intends to provide general guidelines on the main plot lines or thematic issues.

A solid editorial assessment can reveal early plot issues, character contradictions, thematic inconsistencies, or even factual inaccuracies.

Editor and writing conference founder Rebecca Faith Heyman describes an editorial assessment as a “tough-love letter from an editor to an author.”

This concept emerges from the premise that an editorial assessment is an unbiased critique of the manuscript. In consequence, this critique opens the door for some unpleasant feedback. Nevertheless, feedback is necessary to ensure the overall quality of the work.

The most significant advantage of an editorial assessment is timely feedback. Since the manuscript is still in progress, the writer can go about making changes without significantly altering the manuscript. Timely feedback allows writers to save time and effort moving forward.

Conversely, edits on a final manuscript would constitute a developmental edit. Naturally, major edits on a finished draft would be more time-consuming and laborious than on a work in progress. Hence, writers should always be open to the notion of an editorial assessment.

Editors produce a report in a letter format stating their recommendations following their assessment. This report generally contains broad points on the main aspects of the manuscript. While specific examples may serve to highlight an issue, an editorial assessment does not focus on details.

Therefore, this assessment does not constitute proofreading or fact-checking. These elements are part of the developmental assessment or specific proofreading and fact-checking procedures.

Writers should seek an editorial assessment if they feel unsure about their manuscript’s quality. As such, an editor can help the author transform their vision into a coherent piece. Writers could employ an editor themselves for a fee. Also, editors may work on a publisher’s behalf as part of a book development process.

Please bear in mind that editorial assessments should yield positive feedback. Therefore, writers should not take observations personally. Hence, an editorial assessment is an exercise in “tough love.”

3. Structural Editing

As its name suggests,  structural editing focuses on a literary piece’s construction.

For fiction books, structural editing often centers around plot construction, narrative, and story elements. For instance, a structural edit focuses on ensuring that the sequence of events in a story line up appropriately.

Also, story elements need to match according to the main plot events. As such, a solid structural assessment provides writers with specific feedback on the story’s overall construction.

For nonfiction books, the structural edit focuses on the book’s organization and formatting. Particularly, nonfiction books must focus on coherence throughout their development.

This coherence pertains to the main theme and congruency among chapters. Hence, a solid structural edit should point out inconsistencies in tone (casual, academic, or general) and narrative (first-person or third person).

There is often confusion between structural editing and proofreading. While structural editing may underscore grammatical and spelling issues, it is not its main objective. A profound structural edit may reveal linguistic issues such as overuse of the passive voice, inconsistent punctuation, or common spelling mistakes. However, this editing would only highlight examples of such issues.

A structural edit may also tackle a writer’s tone and narrative in a fiction piece. Generally speaking, editors focus on a consistent narrative style. Also, the editor may suggest changes to pacing and overall tone.

For example, the narrator may lack engagement with a climactic scene in the story. Additionally, a character’s voice might not match its persona. Consequently, an editor would point out this issue.

Also, structural editing in fiction may lead to storylines broken up into different chapters or splitting the story into different volumes. Moreover, this editing may recommend specific parts be cut out from the story. While the aim is not to interfere in the creative process, these edits establish a cohesive story throughout the book.

Editors generally write a report that lists the major issues that require attention. The report might include specific examples to highlight the edits required. However, the editor may not go into greater detail until the developmental editing phase. Therefore, the structural edit should provide the author with guidelines to ensure the book’s structure adheres to the story or theme’s overall vision.

4. Copyediting

After completing developmental and structural edits (including an editorial assessment), the copyediting process is ready to begin. In general, copyediting reviews a finished manuscript for linguistic errors.

The copyediting process, also known as “line editing,” focuses on the areas of spelling, grammar, punctuation, capitalization, word choice, dialogs, narrative, and inconsistencies (character depictions, scenes, location). As such, copyediting is an arduous process that looks to address linguistic aspects in addition to story elements.

Copyediting is the next step following a developmental edit. Also, a thorough copyedit can stem from an editorial assessment.

Both developmental edits and editorial assessments address “big picture” issues. These assessments provide broad strokes on the working manuscript’s quality. Once finished, copyediting does a deep dive into the manuscript’s construction. Therefore, the copyediting process may reveal problems that may need a revision or even a rewrite.

The copyediting process does not constitute the final step before publication. Copyediting intends to refine a final manuscript so the author can put the finishing touches on it.

Moreover, copyediting is not “beta reading.” Beta readers are untrained audience members who provide feedback on the story prior to publication. Therefore, copyediting constitutes a quality assurance process meant to ensure a high-grade publication.

Also, please note there is a difference between line editing and copyediting. While line editing and copyediting are generally synonymous, copyediting encompasses a global review in which both linguistics and prose receive consideration. However, line editing hones in on text flow. As such, line editing involves improving the readability of text as opposed to focusing specifically on linguistic elements (grammar, spelling, or word choice).

The copyediting process may break down into two separate parts: line editing and proofreading. On the whole, proofreading is generally the final step in the quality assurance process. Therefore, line editing becomes an integral part of the review process. After all, a trained editor can provide valuable insight into the story’s overall flow and development. Consequently, line editing allows authors to capture anything that might fall through the cracks.

Lastly, copyediting does not provide any insight into creative issues. Recommendations on creative matters are the domain of developmental editing or editorial assessments. Therefore, the copyediting process should not yield any creative guidance.

If a copyeditor feels there are major creative matters to address, the copyediting review might become a developmental edit. Hence, copyediting should occur only after a developmental edit and editorial assessment have taken place.

5. Proofreading

Proofreading generally represents the final step prior to publication. At this stage, the manuscript is final. As such, the manuscript will not undergo any further developmental edits.

Since the story is complete, the manuscript must now undergo an exhaustive linguistic review. This review entails checking grammar, spelling, punctuation, voice, and any other linguistic items that comprise the book.

In fiction pieces, proofreaders check all linguistics components. In addition, proofreaders check to ensure consistent spelling in names of characters, places, and events. Moreover, proofreaders ensure that the prose is consistent with the convention of British or American English.

Proofreading tends to be a painstaking and time-consuming process. Therefore, proofreaders may work on a chapter-by-chapter basis. This approach reduces the overall time needed to check an entire novel.

Please bear in mind that authors should communicate any creative liberties in the text. For example, the uncommon spelling of names, fictional places, or slang should comprise notes submitted along with the manuscript. These notes receive the name of “style sheet.” A style sheet is quite common in fantasy novels.

For nonfiction works, proofreaders go over additional aspects such as graphs, illustrations, tables, font, and citations.

Authors should disclose their citation format. For instance, the author must indicate the use of MLA, APA, Harvard, or Vancouver citation styles. Therefore, proofreaders must be familiar with these citation styles. It is worth noting that a copyediting review may reveal citation errors. Thus, authors may enlist a proofreader’s services to review citations specifically.

Proofreading also addresses specific formatting issues. Formatting includes font type, font size, margins, spacing, page numbering, line counts, or paragraph alignment. Some publishers may have very specific requirements. Consequently, an experienced proofreader can help meet those specifications, thereby ensuring the final draft meets publication requirements.

Additionally, more than one proofreader may participate in this process. For example, one expert may check citations and formatting while another may focus solely on linguistic issues. In other instances, several proofreaders may go over stylistic and linguistic issues to double-check edits. This process is common when major rewrites occur in a working manuscript.

6. Fact-Checking Review

A fact-checking review may be required, particularly in nonfiction works. Fact-checking reviews focus exclusively on verifying the accuracy of information presented in the text.

While the author may be a renowned expert on the subject matter, fact-checkers dig deep into the claims presented in the text. This approach ensures 100 percent accuracy of the information provided in the book.

There are various reasons why fact-checking is immensely important. First, fact-checking ensures complete accuracy in the text. Thus, total accuracy builds the author’s credibility. Naturally, a recognized authority on a subject cannot afford criticism for inaccurate claims.

Second, a fact-checking review ensures the accuracy and reliability of sources. This process is particularly important in academic works.

When authors present their sources, fact-checks make sure these sources are precise and contain updated information. When authors fail to disclose sources, fact-checkers may do some digging to find support. If no support is available, then fact-checkers may recommend editing claims. In some instances, authors may have to remove claims altogether.

Third, fact-checking verifies figures and dates. In particular, a developmental editor may request a fact-checking review in the manuscript’s early stages. This recommendation may occur on a chapter-by-chapter basis to avoid any major rewrites at the latter stages of the book’s production.

Fiction works may also require a fact-checking review. Novels based on real historical events may need a fact-checking review to determine if any plotlines conflict with facts.

Of course, novels do not necessarily need to ensure accuracy. Nevertheless, a developmental edit might pick up story elements that make the plot implausible. For instance, stating that John Doe fell asleep in a hotel in Singapore, but then met a friend in a café in New York early the next morning would hardly be possible. Therefore, a fact-check edit would suggest that the author re-think his or her timeline.

Fact-checking, like proofreading, ensures that nothing slips through the cracks. Ultimately, these processes ensure high-quality materials.  

Conclusion

Editing is a crucial process in book production. Therefore, writers and publishers must be open to employing editors’ services throughout a book’s creation. Indeed, no manuscript is perfect right from the start. As such, writers need to be open to improvements.

The type of editing utilized depends on the stage of the book’s development. During its early stages, a developmental edit can help the author refine a book. In doing so, copyediting, proofreading, and fact-checking can take place uneventfully.

Ultimately, editing serves to ensure the writer’s vision comes to fruition by delivering high-quality content to readers. This process not only fosters credibility but also saves time and unnecessary effort. Timely edits can reduce the likelihood of major rewrites, thereby facilitating the overall publication process.

Have you ever heard a word, and found yourself thinking, “Wow! Now, THAT is a great word!”?

We’re not talking ordinary, everyday words here. We’re talking about words with meanings that perfectly describe certain situations or people.

Take the word “groke,” for example. You know that guy (or girl) who stares at you when you are eating, just hoping that you will share? That’s a groke!

How about people who suffer from “dysania” (extreme difficulty getting out of bed in the morning) and like to sleep in much later than necessary? Those are “slugabeds.”

I am positive that everyone knows at least one “grumbletonian” who is concerned about the “snollygosters” reducing us to a “kakistocracy.” (Translation: Person who is unhappy with their government and is concerned about the unprincipled people reducing us to a society governed by its least suitable or competent citizens.)

And, of course, we are all familiar with the “ultracrepidarians,” or, in other words, people who give opinions on subjects they know nothing about.

With words as amazing as these, (as well as the others we found in this fun blog from sadanduseless.com) one can’t help but wonder why they ever went extinct. I, for one, am all in favor of bringing these wonderful words back!

Who’s with me?!?

A writer’s work is never done.

When you’re writing, you can get so wrapped up in the proofreading and editing process that you miss a HUGE oversight or error in your copy. This goes for all writing — whether it’s a marketing letter, a web page, or a novel.

So, when you think you’re done writing and editing and proofreading everything, you’ve got one more milestone to go: Take a step back and examine your work from the 50,000-foot level.

Now isn’t the time to get bogged down by periods and commas: You need to look at the big picture. Check your work for consistency and make sure you address some of these issues:

• Does the organization need any work? Your copy should flow logically from Point A to Point B. Make sure you’re not missing any steps and that you have strong links connecting each and every paragraph.
• Have you effectively addressed your reader? You need to make it clear that your reader knows that you have exactly what he wants. This means that all of the features of your product or service need to have a clearly outlined benefit to the reader.
• Do your differentiators stand out? Be vigilant about making your company’s vital information clear and easy to understand. All of your paragraphs should lead off with a differentiator, and the first paragraph especially should explain and summarize to the reader why they can’t live without your product or service.
• Are there any logical errors? It can be easy to skip over vital information about something that you know very well — after all, you’re an expert on your company. Double check all of your explanations for clarity, making sure to spell out simply and concisely every aspect of your company (even if you think it’s silly, it could answer a reader’s question).

So, how can you ensure that your copy passes the 50,000-foot level test? A few strategies to try:

• Give yourself some distance. Step away from the computer for a few hours and let your mind relax. Come back to your copy in the morning with a fresh set of eyes.
• Let someone else read it. Don’t give it to your mom or your closest co-worker: Try to pick someone who can give you an honest opinion and preferably someone who doesn’t know anything about your product, service, company, or idea. Listen to any questions they may have or sources of any confusion — this is valuable information to a writer!
• Print it out. Everything looks different on paper than it does on a screen. Printing a hard copy of your work may bring to light something you missed earlier — no joke.

Know of any other strategies that can help in the final editing process? Leave a comment. We’re all ears.