Editing
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The Second Draft
Level 10:
“Round Two;
1. Alpha Readers.
After reading through your first draft, prepare your second draft (your rough MS or Manuscript) for your Alpha Readers. Alpha Readers can be anyone, and should preferably view your manuscript from a reader's and writer's perspective.
2. Critique Partners.
After your Alpha Readers provide some initial feedback then revise your manuscript, and send your third draft to your critique partners who are there to provide you with feedback from a fellow writer's perspective.
3. Feedback.
If you do not have Alpha Readers or Critique Partners then work on building up connections within the writing community, whether on a social media platform, in a local café, bookstore, or library. When reading feedback about your work keep in mind that all art is subjective.”
Words Ending In...
Level 11:
“Trimming Words;
1. Certain Adverbs.
Do your best to avoid writing too many words that end in -ly. Often reducing or trimming certain adverbs will help increase the quality of your writing.
2. But And.
If possible avoid starting sentences with 'but' or 'and'. Note that this is a style of writing, and not a best fit for every writer or every book.
3. Gerunds and Certain Participles.
To increase the quality of your writing try to avoid starting sentences with words ending on '-ed' or '-ing'. Once again, similar to most of the writing to marketing tips given in my The Author's Playground, this is a style of writing and not a best fit for every writer or every book.”
Mixed Dialect (🇺🇸 & 🇬🇧)
Level 12:
“Mixed Dialect;
1. Spelling.
Pay attention to whether you are using British English or American English spelling. For those who write in a mixture of British and American English, select which market you wish to focus selling your book to first before deciding on the spelling to use consistently throughout your book.
2. Narration vs. Dialogue.
Your narration should be written consistently in either British or American English, however your dialogue depends on your character's background. Your character's thoughts, often written in Italics, should be written in the same dialect as your character's dialogue.
3. Languages.
If you choose to write using multiple existing languages, or a new language that you created, it can be useful for the reader if you provide the translation, transcription, and/or transliteration form of each word, and/or that you provide a glossary at the back of your book.”
Overuse, Repetition, & Trimming
Level 13:
“Word Count Reduction;
1. Overuse.
Remove or change those words that are overused throughout your book. If you have written a story which includes profanity, make sure the same swear words are not overused, and that the placement accentuates the narration and/or dialogue and does not replace it.
2. Repetition.
Read through and make sure you have not written the same word consecutively, (unless done so intentionally, for example if your character stutters) .
3. Trim.
Trim as much fluff and unnecessary language as possible. If you are skipping over certain words, sentences, paragraphs, and even pages during a read-through then that typically is a good indication a trim may be required. You should be able to read through your story over fifty times and be as entertained as when you first wrote and read your story.”
Sensitivity Read
Level 14:
“Triggers;
1. Politically Correct.
A highly debated topic, and for many a personal choice to use or avoid politically correct words.
(When working with a group, especially in an anthology, Lead Writers and the group of Writers involved should be in communication amd agreement of the terms used.)
2. Awareness.
Even if a writer chooses not to use politically correct wording, it's beneficial to listen and especially hear what different groups require and appreciate reading, that way a stronger, better, and more respectful global community can be created for readers and writers alike.
3. Trigger Warnings.
Keep track of any potential triggers or parts of your story which might cause your readers to relive a traumatic experience. Another topic of debate, it is up to the writer to decide whether to provide a list of trigger warnings in their book, on the description page, or for example on their author website.”
World-Building & Setting
Level 15:
“Build & Set;
1. World Building.
When building your world for your story keep in mind the cultures, traditions, religions, architecture, and environment surrounding your characters as well as their every day lives. Be aware that if you have built an entire new world but use for example religions of our existing real world it can break the fantasy elements of your story. Also, more work goes into developing a new world than might be required when writing descriptions of your creation.
2. Setting.
When setting a scene be conscious of the details vital to your story and remove those details which neither add to your story nor aid in producing the correct imagery.”
Realism vs. Surrealism
Level 16:
“Real vs. Not Real;
1. Realistic vs. Realism.
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Realistic worlds accurately portray people and events.
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Realism focuses on facts and rejects the impractical.
Even when writing fiction it is important to make your world feel real, whether that means adhering to a certain set of rules or allowing your readers to connect on some human level with your aliens, superheroes, or monstrous creatures.
2. Magical Realism vs. Surrealism.
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Magical Realism involves worlds set in realistic settings.
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Surrealism involves worlds which are dream-like.
Stories involving the unreal can be strengthened by making sure the mental links to something recognizable are clear and easy to follow.
(Your world, your rules, but try to add logic behind each rule, which can later be used as the foundation for a lore book.)”
Cliché
Level 17:
“Boredom;
1. Cliché.
Deja vu can prove useful to add to a story, and can contribute to some good humor. However, clichés and common tropes are sentences, ideas, and concepts that are overflowing the market and potentially boring readers. Even if a writer does use a cliché or trope, the story itself should be more of an original thought. For example, retellings can revitalize old legends if told in a new and exciting manner.
(Try coming up with new ways of sharing commonly known idioms such as 'kill two birds with one stone'. For example, if writing a cyberpunk story one can use 'kill two laptops with one virus' or if writing a fantasy story 'kill two werewolves with one silver bullet').”
Stakes
Level 18:
“Consequences of failure;
1. Stakes.
What does your character stand to lose if they fail their mission or are unable to achieve their goal? The answer need not be a world or globe ending phenomenon, but more intimate and personal to the main character. The best goal will speak to your reader, make them fear whether the main character wins or loses in their battle, and make them question how they would feel in a similar situation.
(A lot more emotion can be found behind the feeling of failure to properly care for a loved one that has given their life for you than failing to protect an entire world. A world of people that likely would not respond well to someone having a 'savior' complex.)”
Flow & Pacing
Level 19:
“Pace Your Flow;
1. Flow.
A story with good flow will often be a page-turner that holds the reader's interest. If a reader has to stop and look up a word, cannot follow what is happening, or simply loses interest then the story lacks flow. Perfect flow allows a reader to become so consumed with a writer's story that they lose track of time. Aim to engross readers and leave them wanting more.
2. Pacing.
Flow and pacing are quite similar, but pacing tends to focus more on placement and timing within a story. Authors who write a combination of short and long sentences, depending on whether they wish to build suspense or allow the mind to drift, are literary composers. The words become almost musical, and the right combination can transport a reader to another time and place.”
Writing Style
Level 20:
“Style With Flair;
1. Writing Style.
A person's writing style is specific to their personality, background, experiences, skill level, and uniqueness. Each person, as they write, develops a formula or manner of writing befitting their voice and beliefs. Styles may be similar, but generally speaking no two styles of writing should be exactly the same.”
Voice
Level 21:
“You;
1. Voice.
To find, write, and maintain one's voice takes practice. A writer elevates their story when they can write from their characters' perspective as an actor or actress does when they portray a specific character for their audience.
(A writer loses track when they assume the identity of their characters and/or uses their characters to preach their personal beliefs in a manner that does not and would not fit their character's background and personality.)”
Consistencies
Level 22:
“Consistency & Names;
1. Consistencies.
A writer's manuscript should be consistent in choice of dialect, spelling, style, voice, world-building rules, and names (as well as spelling) of characters, landmarks, creatures, and places.
(When writing 'don't' in narration or if a particular character uses 'don't' in their dialogue, make sure not to uncharacteristically switch to 'do not'.)
2. Names.
Be consistent in the use and spelling of nicknames as well as names. Also, when coming up with names the shorter the easier to remember. If you have a name over three syllables try to use nicknames to make it easier for your reader's to remember.
(Try to ensure that the starting letter of characters' names are not all the same. For example, if there are three characters and their names are Joshua, Josh, and Joe, it can be difficult for reader's to follow along, especially if the characters have similar personalities. It can also be tough for reader's to keep track when a hero and villain have similar names such as Ren and Ron.)”
Grammar & Capitalization
Level 23:
“Literary Rules;
1. Grammar.
There are basic rules in language and literature, which when followed, allow for better communication across the globe. Even swearing has correct usage and placement, for example, one would write "I don't give a damn" as opposed to "I don't a damn give." It's possible a character might dialogue speak in such a way or say for example, "It's a damn I don't give", but it's helpful for readers when at least the narration adheres to basic grammar rules and structure.
(Generally speaking, the easier a writer makes it for readers to read a story, the more likely readers are to enjoy reading and become fans.)
2. Capitalization.
Double check the capitalization of pronouns, and that there are no similar sounding words used instead of the intended word and correct meaning. For example, 'there is an apple", and not "their is an apple.
(When using a screen reader, spell out the words with spaces between each letter to double check the spelling of a word.)”
Punctuation, Commas, & Quotations
Level 24:
“Dots & Lines;
1. Punctuation.
The incorrect use of punctuation or missing punctuation can aggravate a reader. An overuse of exclamation marks does little for a story and em-dashes (whether a writer is for or against their use) should be used correctly and as sparingly as one would with commas.
(Make sure every em-dash is the correct length and consistently the same length throughout the manuscript.)
2. Commas.
A writer needs to avoid the overuse of commas no matter how tempting it may be to decorate a manuscript with them. Also, watch out that every comma is the same font throughout a manuscript. When zooming in on a Word Document one can check wether the comma is a straight line or has a slight curve.
(The Oxford Comma is highly debated in its use. Personally, I find the Oxford Comma adds clarity, but whether for or against, a writer should be consistent in using or not using the Oxford Comma throughout their manuscript.)
3. Quotations.
Once again, watch out that every single and double quotation is consistently either a straight line or has a slight curve throughout a manuscript.
(There are instances where one might use slight curly curved quotations, but now and then a straight line quotation is required. If uncertain check with a Professional Editor on the correct use and placement for straight vs. curly commas and quotations.)”
Extra Spaces & Head Hopping
Level 25:
“The Hidden;
1. Extra Spaces.
Be kind to your readers and editors. Pay attention to the use of extra spaces between letters, words, and after punctuation. Select the paragraph mark ¶ sign, zoom in, and remove the extra spaces and any space forced indents.
(More of a formatting tip, but to indent your paragraphs properly use the correct settings under Paragraphs > Indentation and Spacing.)
2. Head Hopping.
Remove head hopping when writing in third person.
(Generally speaking, unless a writer is working on a memoir or an auto-biography, the main character would not know or speak about those details that only the writer could possibly know about.)”
Text Reader, Synonyms, & Clarity
Level 26:
“Clear As Crystal;
1. Text Reader.
Audio or any other sensory available method is a great way for a writer to double check their writing and manuscript. The more senses a writer can engage the better.
2. Synonyms.
Sometimes a better word exists than the one used, but careful not to lose the meaning befitting the story when looking up variations.
(Write as if a thesaurus and the internet do not exist.)
3. Clarity.
A full read-through after a major edit helps given a lot can get lost and shift during countless edits and with multiple drafts.”
Text Color
Level 27:
“Text;
1. Text Color.
The use of color to highlight, color code, and use track changes can be immensely helpful for writers.
(After editing a manuscript, even if the text appears black and without any highlights, it helps to select all of the text and choose the correct default color as well as no highlights.)”
Visual Style & Friendly Font
Level 28:
“Style & Font;
1. Visual Style.
More of a formatting necessity, but it does not hurt for a writer to check during the editing stage that the manuscript visually looks and overall fits the theme of the book.
(Keep an eye on font choices, font sizes, title and subtitle placement, consistency regarding paragraph spacing, and the resolution of any artwork included to better illustrate the story.)
2. Friendly Font.
Different fonts work for Kindle vs. Paperback, for example. The same fonts can be used for both Kindle and Paperback if the artistic font is in an image form, but the resolution must be of a high enough quality.
(Keep in mind that even though images might give the right look, it is unlikely that text on an image will be read by a screen reader.)”
Beta Readers
Level 29:
“The Team;
1. Beta Readers.
Whether a paid professional or volunteering to read your story, beta readers are essential. Beta readers not only test the readability of a manuscript but also its marketability. Beta readers that provide writers with constructive criticism can help ensure that standards are met in terms of book quality, which serves the writer as well as the writing community.
(Building up a strong network of beta readers can be a challenge, but it is worth the time and effort. A few red flags for writers to watch out for; beta readers that plagiarize, give criticism rather than constructive feedback, and/or only provide positive feedback. A few red flags for beta readers to watch out for; authors that consistently ignore feedback, attack the feedback given, and/or assume any reviews given after publication will somehow automatically be better than the feedback given by a beta reader during the editing stage. Equally respectful writers and beta readers, working together, can create unforgettable stories).”
Professional Editors
Level 30:
“Editors;
1. Professional Edits.
After a writer edits their work and receives feedback from beta readers, it is time to send their manuscript to a professional Editor. There are different types of Editors who will focus on different parts of a manuscript. Personally, I find it useful to request the help of a Professional Editor that focuses on grammar, punctuation, and spelling.
(If a manuscript goes through drastic edits and changes to the story itself then the manuscript may need another round of beta readers and professional Editors before completing the formatting stage. Thought tedious, it does not hurt to run through the steps of editing again as accidental changes can be made during the incorporating of feedback. Make sure to save each draft as a new file name and hold off on saving the file name under the title 'Final' until the manuscript has entered the publishing stage).”