Category: Editing

Overcoming Rewriting Paralysis

~ The Regal Writer ~ Leave a comment
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Whenever I get to the end of my first draft of whatever novel I’m working on, I’m filled with a range of emotions: joy, relief, satisfaction and pride. After spending weeks and months crafting a story I hope readers will love and creating characters I care about, I’m ready to celebrate.

The celebration is short-lived, however. Because I know there’s more work to do. A LOT more work. Being an intuitive writer, I don’t do much planning beforehand except sketching out the initial scenes. By the end of the drafting phase, my manuscript is a mess. That’s when I come face to face with the monster in the room – the rewrite.

For me, revision and rewriting is a daunting process, much like getting my wisdom teeth pulled. I usually spend hours staring at my pages wondering what to do next.

Recently, I came across a term for this. It’s called rewriting paralysis, defined by a state of being stuck and unable to move forward with a writing project because you’re frozen by the daunting task of revision.

For more information, check out this excellent piece by creativity coach Anne Carley who explains what rewriting paralysis is all about. There are several signs that you’re experiencing rewriting paralysis (sometimes called analysis paralysis because you’re over-analyzing a writing problem).

* You experience brain freeze. Or what others might call writer’s block. After looking at so many scenes, your mind goes numb. You wonder if you’ve covered every aspect of your story. Even if you do sense you’re missing a scene or two, your brain stops working. When you try to finish your story, the words won’t come.

* You feel emotionally spent. You’ve poured so much of your emotional energy into writing the first draft that you have nothing left for the rewrite.

* Your inner critic takes over the creative process. Maybe it berates you for sloppy work or keeps reminding you that you’re wasting your time. The critic’s non-stop chatter discourages you from finishing the rewrite.

* Self-doubt creeps in. Now that you’ve finished the draft, you’ve given the manuscript time and space to breathe. But in that space, the critic’s cousin Self-Doubt makes its presence known.  The more you doubt yourself, the more you wonder if you’re doing the right thing or if you should start over.

* You feel overwhelmed by the task ahead. Paralysis sets in because the project suddenly seems too big and overwhelming to tackle on your own. You’ve created a monster, but now you wonder how to turn it into Cinderella. You’re not sure how or where to begin the rewrite process, so you set aside the manuscript and hope for inspiration.

Fortunately, there are remedies to re-energize your project and push through the rewriting phase. I’ve experimented with some of these with some success. They might help you too.

Strategy 1: If the project seems too big and overwhelming, it might help to attack the rewrite by breaking it down into smaller sections, working through each Act or several scenes at a time. Author and book coach Janice Hardy suggests creating an editorial map that lets you see how your story is progressing. She also recommends creating a revision plan to organize each edit and check them off as you finish them.

Strategy 2: Draft a synopsis of your current work-in-progress. The end of the first draft may be the perfect time to draft a synopsis to make sure the story is progressing the way you imagined. The synopsis can reveal problem areas that need to be fixed. For example, when I drafted a synopsis for my current project, it revealed part of my protagonist’s backstory that explained why she felt so conflicted toward her deceased mother. Up to that point, that backstory had been a mystery to me.

Strategy 3: Review story structure. Paralysis might occur because you haven’t worked out the plot of your story, or it might be missing certain elements. The end of the drafting phase might be a good time to review story structure. There are multiple structure types, and it’s not always easy to choose the best one that fits your story. For information about story structure, check out this guide from Reedsy or this blog series and book, Structuring Your Novel by author K. M. Weiland.

Strategy 4: Study the revision process or take a course in revision. Author and book coach Jessica Brody teaches an online self-study course The Complete Novel Revision course which breaks down the process into three levels: story edits, scene edits and page edits. Whether you follow Brody’s process or use someone else’s, it takes time to review, reassess and rewrite your story to whip it into shape. Be patient with yourself and with the process.

Of course, before starting any rewriting or revising, it’s helpful to set aside the draft for a few weeks or months. Then print out the manuscript and read through it as a reader would. The time away from your story will clear your head and you’ll see the story with fresh eyes.

Armed with these strategies, you can easily overcome rewriting paralysis and create the novel of your dreams.

When You’re Stuck in the Middle of Your Story, Here’s How to Dig out

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Ever watch a golf tournament when a player hits the ball into a sand trap, or worse, in a deep ravine or thick weeds? The player then has to figure out how to dig the ball out with his club so it lands back onto the fairway.

I understand exactly how that player feels. I’ve been editing my tennis-themed sports romance (for the fourth or fifth time), and I keep getting stuck in the same middle chapters. Each time I edit them, I feel like I’m making the story worse. I wonder if they make any sense or even if they fit properly in the story any more. Part of it is my perfectionist nature, my need to get things “just right.” It’s my version of a writer’s sand trap, and now I’m trying to figure out how to dig myself out of it.

In fiction, publishing experts often talk about the muddling or sagging middle, that dark and dreary place that writers occasionally get lost in. My initial instinct is to rework and revise the scenes to find the “magic” of the story again—and it’s just not happening the way I see it in my head. So now I’m muddling through the middle chapters. And it always seems to be the same chapters, the same scenes that don’t seem to work the way I envision.

Perhaps you’ve had similar experiences with your own writing where you go over the same terrain over and over with nothing to show for your efforts. Even if you haven’t gone through this dark and lonely place in your writing, you might one day.

So I thought I would share with you some of the tactics I’ve tried to dig out of this rut. I’m hoping one of them will eventually work for me—and for you as well. Here are my tips for getting yourself “out of the weeds.”

  • Write the same scene from a different point of view. You could try writing it from another character’s perspective or switch from third person to first person. For example, in my romance novel, I alternate between the female and male characters. I’ve rewritten the scene from both perspectives to see which one works best. Writing from a different point of view can sometimes open you up to a new way of writing that scene that you hadn’t considered.

  • Skip over the scene and work on the next one. This is especially useful if you’ve already written the first draft. Since I was working on a completed draft, I had other chapters I could edit. This made it easier for me to skip the one I was struggling with and move ahead in the story. Working on those subsequent scenes might help you see where there are plotting or character arc issues.

  • Go to the end of the manuscript and work on the final chapters. Work backward from the last chapter until you get back to the middle scenes. This tactic worked for a few chapters until I got stuck and overwhelmed again, so I went back to editing the middle chapter. Again, by working on a later chapter, you might see something in the plot or character that needs to be fixed.

  • Work on something else entirely different. Sometimes switching gears and working on a different project can clear your mind of the problem. It can help you relax and get your creative mojo back. When you’re ready to tackle the weeds again, you can go back with a clearer mindset and more confidence. Sometimes taking a step back allows you to see the problem in a new light.

  • Abandon the project altogether. I have not reached this point yet, but the thought has crossed my mind that the story, as written, is simply not working and it might be better to stuff it back in a desk drawer and forget about it. But I don’t want to quit on this story. I’ve spent too much time on it, nearly three years, and I still believe in it. I also want to feel that sense of accomplishment when I get to The End. That said, abandoning a story after getting stuck in the middle is an option too, but not one I would recommend.

These are the tactics I’ve tried, with mixed results, but there are other alternatives you can try.

  • Interview your protagonists or have a discussion with them. This exercise entails putting on a journalist’s hat and interviewing your main characters. Ask them what is bothering them, where they’re headed in the story, etc. Get inside their head for a moment. Caroline Leavitt of the Center for Fiction blog says she uses this approach every time she gets stuck in her story. You might not be able to use all of what the characters tell you, but you might find a nugget or two that may be useful.  They might even provide some solutions you hadn’t considered.

  • Print out the sections that you’re stuck with and read them out loud. Make notes about what isn’t working. Or print them out in a different font, Leavitt suggests. Sometimes seeing the scene in a different font can open up new ideas you didn’t see before.

  • Focus on the supporting characters. According to NY Book Editors blog, sometimes we focus so much on our lead characters that we forget about the minor ones that might have a significant detail to contribute or an undeveloped backstory that can re-shape your plot.

  • Refer to your outline. Or if you never created an outline for your novel, take the time to do it before you progress much further in your editing. The outline can give you an idea of where your plot points should be hitting, and if you are hitting them in the right time and place.

Getting stuck in the middle of your story, whether writing the first draft or editing it for the fourth time, can be frustrating. But it’s a normal part of the creative process. There are ways to dig out of those ruts. You might have to experiment with a few of these review methods before you find one that works for you.

What to Do When a Client Asks for a Rewrite

~ The Regal Writer ~ Leave a comment
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For this week’s post, I had planned to write about how to use rejection to fuel your next writing project. In an uncanny coincidence, when I checked my email, I found I had received feedback on an article I wrote for a client. Imagine my disappointment when I learned they wanted a rewrite including an interview with a new source.

Talk about rejection!

I felt more frustrated than angry. After all, this is part of the editorial review process. Fortunately, rewrites don’t happen very often for me.

That said, I realize that not everything I submit will be accepted on the first go-around. I felt frustrated this time because the client had provided new information that I did not have previously. If I had been provided this additional information up front, it would have saved me the time and trouble of a doing rewrite later. 

I should note that this story was assigned to me; it was not a story I pitched to the client. The assignment came with a writing sheet outlining the details and sources I needed to interview.

So how do I move past the initial disappointment and tackle a rewrite? Here are my tips for dealing with rewrite pressure:

  1. Take time to cool down. If you are upset by the feedback, take time to calm yourself. Go for a walk, meditate, take a nap—anything to help you relax. You don’t want to rework the story when you’re  upset because you may not put forth your best work. Nor do you want to respond to the editor in anger.  Simply thank them for the feedback and tell them you’ll get back to them if you have any questions. That buys you time for your emotions to settle down.

  2. Review the manuscript carefully. After you’ve settled down, take a long look at your manuscript to figure out what went wrong. What does the client want revised, and why? If they don’t offer an explanation, or the explanation is vague, ask the editor to clarify. Ask: what do readers need to know about this subject?

  3. Fix the problems. Do the best you can to fix the story and make it as strong as possible. If you need to interview another source, interview them. If you need to do more research, do more research. If you have to rewrite entire paragraphs, rewrite them so they are crystal clear. By sending back a better, stronger story, you show that you have the maturity to deal with adversity and not let negative feedback bother you.

  4. Learn from the experience. There’s always something to learn from every writing experience, no matter how positive or negative the experience might be. In my example above, the instructions for the writing assignment were vague. I decided to push my way through it the assignment rather than stop and ask for clarification. What this experience has taught me—and what you can learn from it too—is to ask pointed questions of my editor about the assignment so I understand exactly what her client wants. And I need to do this before I begin doing research or setting up interviews. Getting the most important details up front will prevent rewrites later on. 

  5. Don’t take the feedback personally. Rejection happens all the time. Requests for rewrites happen too. That’s part of working as a freelancer.  Remember that the editor or client has the readers’ interests in mind, and they want to produce a high-quality magazine that their readers will enjoy. It’s your job to help them achieve that. You may not like getting negative feedback from them, and you may not like having to rework an assignment, but without it, you won’t have a chance to prove yourself to the client.  

    Most important, keep a positive attitude. Feeling depressed or angry or frustrated won’t help your cause, and it won’t impress the client/editor. Don’t hold a grudge either. As soon as you submit the revised article, let go of any negative feelings you have and move on. I know that’s not always easy to do, but it’s necessary for the sake of your sanity and your freelancing career.

Tips for Finding an Editor for Your Manuscript

~ The Regal Writer ~ Leave a comment
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Whether you’re just starting to write a novel or you’re on your fifth revision, at some point you’ll wonder if you need another pair of eyes to review your work. Perhaps you are stuck with a dead-end plot or you’ve been rejected by numerous editors or agents who weren’t impressed with your manuscript.

Maybe you’re on your tenth attempt at rewriting your current work-in-progress, and the story still isn’t quite coming together the way you imagined. Then it may be time call in an editorial expert to review your work. Having someone else review it and give you feedback might give you insights about where the story has gone astray.

According to writer and editor Susan De Freitas during an online workshop “Maybe It’s Not Your Plot,” there are eight telltale signs that it may be time to consult with a professional editor.

  1. Your novel is overwritten. You’ve written way more words that are required for your genre. For example, you’ve written 140,000 words for a story that should only be 80,000. As much as you love your own story, it’s filled with too many unnecessary scenes that don’t push the plot forward.
  2. Too many drafts or versions of the same story. Most novels typically go through an average of five to seven drafts, but you’re working on the tenth and the story still does not seem finished.
  3. You got lost in the world building. You’ve immersed yourself in a whole new world you created for your characters that you forgot about the plot and the characters.
  4. There’s no clear ending to the story. Every time you think of an appropriate ending, you draw a blank.
  5. The first draft is complete, but you’re not sure how to begin revising it.
  6. You didn’t plot out your story in advance so you “pantsed” your way through the first draft.  Now you have to figure out how to structure what you’ve written into a cohesive plot, but you don’t know how or where to start.
  7. You received a lukewarm response from your beta readers or critique partners, but you’re still not sure what’s wrong with the story.
  8. You’ve submitted it to agents and editors who have expressed little interest in publishing your story.

Once you realize that you need an editor, you’re not sure where to find a good editor. It helps to understand the four different types of editing that you might need.

  • Developmental editing (sometimes called story editing) which looks at the overall structure of your story.
  • Line editing looks at how the story is presented, such as language, pacing and how chapters end or begin.
  • Copy editing looks at spelling and grammar as well as the story’s timeline.
  • Critique/assessment reviews the manuscript and provides feedback about the story arc. It’s not as intensive as a full developmental edit, which can cost more money.

To find an editor for your work-in-progress, begin by asking for referrals. If you belong to a writer’s group or take writing classes, ask fellow writers, classmates and teachers for referrals. You can also search member organizations like the Editorial Freelancers Association to find someone who specializes in your genre. You can try searching the acknowledgment page in your favorite novels where authors usually thank their editorial team, then do a search for that editor’s background and previous work. Most editors have their own website and will describe at length the services they offer and pricing. If none of these ideas work, there’s always Google.

Before hiring an editor

There are several factors to consider when hiring an editor, said romance editor Jessica Snyder during her online workshop “How to Find Your Perfect Editor.” First, consider how much experience they have in your genre. If you’re writing a science fiction novel, your best bet is to hire someone who has edited other sci-fi novels. Someone who typically edits literary novels probably won’t be the best fit.

Ask for a sample edit. Provide the editor with a chapter and see how they review your work. What kind of suggestions do they offer? Are they positive and provide encouragement? Or are they too negative? Consider their communication style to see if it meshes well with your own.

Also ask about the editor’s process. How do they communicate criticism? What kind of timeline do they work with? Most editors require several weeks to review your novel or they may be backlogged with other projects and may not get to your manuscript right away. Pack your patience.

Cost is also a big consideration for many writers, especially those who want to self-publish. Know your budget ahead of time. Does the editor offer payment plans? How do they handle things like refunds and disputes?

If you’re on a tight budget, Snyder said it might be best to opt for a simple story assessment and copy editing pass by two different editors to keep costs down.

After reviewing the editor’s comments

Take a deep breath before reading through your edited manuscript. Feedback can often bring about strong emotional responses. You don’t want to respond to the editor with snarky comments or knee-jerk reactions. Remember, this is only one person’s assessment of your work.

Editors are guides in your writing process. Their suggestions are meant to help you create a better, stronger story structure and improve your ability to meet readers’ expectations in your chosen genre.

Also remember that editors aren’t perfect. Their edits are only suggestions. You don’t have to accept all of them if you feel strongly about something. But do keep an open mind or be willing to change your mind. Most suggestions editors make do make sense in the overall scheme of the story. If an editing comment is unclear, ask for clarification.

Most of all, remember that not all feedback is correct or appropriate. You know your story best, so use your best judgment about what edits will work with your story. I’ve had instructors and fellow writers offer feedback to my work which didn’t fit the story that I imagined. In those situations, I didn’t follow their suggestions because I didn’t feel they understood my story. But I always politely thanked them for their comments. Always respond to critiques from editors with compassion and kindness. The next time you find yourself stuck with an overwritten novel or one that garnered a lukewarm response from readers, a professional editor can steer you on the right track toward publication.

How many drafts do writers need to complete their story?

~ The Regal Writer ~ 1 Comment
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No, that is not a trick question.

That very question was posed recently by author Samantha Hoffman at the Chicago Writers Association blog. It got me thinking about my own writing journey and the multiple manuscripts that lie in my desk drawer. The ones I’ve begun but never quite finished. It should make you think about your own writing process too.

I’m impressed by people who can knock out a 90,000-word novel in three drafts. I figure they’re either doing something right, or their stuff is still needs significant editing and they don’t realize it yet.

As the calendar flips over to November and National Novel Writing Month begins, it’s a question that may run in the back of your mind too. How many drafts do I need before my story is truly polished and ready for publication?

That all depends on who you ask, of course. Hoffman has her own response: “Finish draft one, then keep going until it’s the best it can be, keeping in mind you’re not looking for perfection because perfection is a myth. Make it the best it can be at the time. Or keep going until you’re simply sick of it.”

Tegan Atkins at Writers’ Edit blog writes that the answer depends on the type of writer you are as well as several other factors:

* Genre – Fantasy authors may go through more drafts of their story than someone penning a memoir because they’re creating an entire new world from their imaginations. That creative process can take more time to iron out all the details.

* Writing experience – Newer writers are likely to go through more drafts of their story than someone who has published previously, although that’s not always the case. Kristin Hannah, who has published 24 books in her career, has been known to go through 10 drafts of her novels before they’re published, according to her website. Newbies are still conquering the nuances of fiction writing, such as plot development and character arcs. Because they’re working their way through the creative process, it will likely take them longer for them to be truly finished with their manuscript. In many situations, Sabre says, new writers never finish.

* Hobby vs. career – Career writers are more used to the writing process and have developed their systems for getting the manuscript done. Hobbyists may approach the effort more leisurely and may not be as nit-picky in their self-editing process. For their work to be taken seriously, career writers may hire a professional editor to critique their manuscript while hobbyists may bypass the services of a professional editor. Hobbyists’ goal may be to write a collection of stories for their family while career writers are more serious about getting their writing published to the masses.

In the end, the number of drafts you need depends on you – your goal for the story, how complex the story line is and how much of a planner and perfectionist you are with regards to your writing. I’ve heard that the industry standard is five to seven drafts to get a story in shape. As I finish the second draft of my work-in-progress, I can take comfort in knowing I’m on track.

So as we enter the month of November and National Novel Writing Month, remember that you can’t begin to think about multiple drafts until you get the first one down on paper. The real answer to the question “How many drafts are needed to complete my manuscript?” is this:

However many it takes to make you feel satisfied that you’ve done everything you can to make it the best it can be.

Or at least until you’re sick of looking at it.

Want to Improve Your Writing? Read It Aloud

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“I believe the eye and ear are different listeners. So as writers, we need to please both.”
Jane Yolen, author of sci-fi/fantasy novels

Reviewing and proofing your writing is a normal part of your routine. But if you want to take your writing to a whole new level, try reading it out loud.

Experts say reading your manuscript out loud can help you notice mistakes in your writing that you wouldn’t normally catch by simply reading it silently and seeing the words in your head. Reading out loud can also streamline your editing process because you’ll notice the mistakes faster. That said, it doesn’t guarantee that it will catch every mistake, but it will alert you to a lot of them.

“Read a passage aloud and you’ll get an immediate sense of how it ‘should’ feel; the way the words fit together and work as a whole,” writes Robert Wood, editor at Standout Books. “The same way you can hear a missed beat or a wrong chord in music, you understand when your phrasing is awkward or unwieldy.”

If you haven’t made out-loud reading part of your review process yet, here are a few tips for making it work and what you should listen for.

1. Notice the passages where you stumble over the language. If you struggle to read sentences that are complex or contain several difficult-to-pronounce words, your readers will struggle too. Make a note in the manuscript to simplify the language for your readers.

2. Notice if sentences are overly long and wordy. They can be more noticeable when you read them out loud. Also notice if sentences are poorly constructed and confusing. Will readers understand what you are attempting to say? Is there a better way to express what you want to say? If you answer yes to any of these questions, you’ll need to rewrite those sections for clarity and conciseness.

3. Notice the pacing and rhythm of the language. Do you need to slow down the pacing, or pick it up? Do you get bogged down in too many unnecessary details that slow down the pace of the story? Reading out loud will make you more aware of the natural rhythm of the words.

4. Notice if there are misspelled words, grammatical errors and punctuation mistakes. For example, are there too many commas in your sentences? Or are they added in the wrong places, which can change the meaning of the sentence?

5. Pay attention to the tone of your manuscript. Is the tone appropriate for your piece? Is it appropriate for your audience? For example, is the tone too formal for a room full of parents at a PTA meeting, or is it too casual for the company’s board of directors?

6. Pay attention to the sequence of ideas or story scenes. When you or someone else reads your work out loud, listen to the order of ideas. Do they move seamlessly from one to the next? Ditto for short stories and novels. Note if scenes develop in a logical sequence. Also listen for transitions between ideas and paragraphs. Reading out loud can reveal gaps in story lines and thought processes.

7. Notice any repetitions. Did you explain one idea on page three, then again on page five? That’s a sign that you need to condense your content, and rewrite for better clarity.

8. Listen for filler material. Publishing expert Jane Friedman says many writers tend to add filler copy in their manuscripts. These sections and sentences don’t add any meaningful information to the reader. If you notice filler copy, get out the scissors and begin cutting. Make sure every sentence you write, or every section or scene, provides meaning and value to the overall piece.

If you have trouble recognizing these elements as you read your work out loud, it might be helpful to have someone else read it out loud to you. According to the University of North Carolina Writing Center, when someone else reads your manuscript out loud, you receive information in a different way. Most people have more experience listening to and speaking English than they do reading and editing it, the center explains. If your reading partner stumbles over the words or gets lost, those may be places where you need to revise to make your meaning clearer for your readers.

The UNC Writing Center offers the following strategies for reading and reviewing your written work out loud.

* Print out a copy to read. When you read from a printed page, you’ll be able to make notes on the page and mark the places that need revision.

* Read only what you see on the page. If necessary, use a finger to point to each word you see as you say it out loud. The brain has a tendency to “smooth over” mistakes on the page by filling in missing words or making corrections.

* Read out loud at a moderate pace. If you read too fast, you may gloss over words and phrases that need fixing. Slowing down your pace will help you notice errors more easily.

* Read one section or paragraph at a time. Covering up most of the manuscript as you read out loud will help you stay focused on only the material in front of you so you don’t race ahead.

No matter what type of writing you do – nonfiction, memoir, or fiction – learning to read your work out loud can help you catch errors you might otherwise miss. That can make you a better writer in the long run.

How to Give Writing Feedback — Thoughtfully and Effectively

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Whether you’re part of a writer’s group or manage a department of creatives, you may be called upon to give feedback about someone else’s work. It can be doubly difficult to critique someone’s work, especially if you like and respect that person. You don’t want to upset them or discourage them from writing more. On the contrary, you want to provide feedback that will challenge them to produce better work.

Most experts agree that it’s important to provide some positive comments along with negative feedback. Critiques without positive comments can be devastating to creative types, who are naturally sensitive about work that they’ve poured their heart and soul into. Negative critiques can make writers feel their work has no redeeming value, and they may be tempted to give up writing altogether. There is always something positive to find about someone’s work. A good editor will see it and won’t hesitate to share it.

So what’s the best way to handle critiques? How can you provide meaningful feedback that supports and encourages other people to produce better work without crushing their soul? Here are a few tips for giving effective feedback.

1. Read the piece thoroughly. If it’s a shorter piece, like an essay or news article, read it several times. Here’s how I like to assess a written work: The first time through, I read to get the gist of the story. During the second reading, I make notes about technical issues, like grammar, punctuation and run-on sentences. The third time through, I make notes about content issues. Are there confusing plot points? Does the story flow seamlessly, or are there sticking points where nothing appears to be happening? It’s usually during that third reading that the biggest issues pop out like a neon sign. If possible, avoid reading the piece right before meeting with the writer. It simply does not allow enough time to mull over the writing.

2. Find the story’s good qualities. Don’t just focus on mistakes and confusing content. Start with sharing the positive qualities of the story. Some managers and editors have used the sandwich method for critiquing a person’s work — couching negative feedback between two positive statements. According to the Grammarly blog, some editorial experts claim that this method isn’t effective in providing constructive criticism. I see nothing wrong with this approach, however. I suspect that its lack of effectiveness has more to do with not properly communicating constructive feedback.

Here’s how the sandwich method works:

“I love your story idea. I think it’s sharp and witty, and a lot of people will appreciate the humor. However, I noticed a tendency for run-on sentences. Perhaps you were thinking faster than you could write? Sometimes it helps to read aloud your story so you notice those run-on sentences. Once you fix those run-on sentences, I think you’ll have a stronger story..

You notice that I not only pointed out the weakness of the story, I offered a suggestion for fixing it.

3. Choose your words carefully. According to the Balance Careers blog, it might be helpful to begin statements with “I” rather than “You.” The “you” focus can be perceived as a personal attack, which you want to avoid. Focus on your own response to the story. Instead of saying, “Your story is boring,” say “I found the story boring in some sections.”

Be honest with your critique, but approach it with the intent of helping the writer improve their work. Always offer suggestion or tips, but refrain from directing the writer how to fix things. Respect them enough to give them space for resolving their own writing issues.

4. Provide detail… Don’t just mention the issue, but provide some detail. Don’t just say, “I thought your story was boring.” Explain why you thought it was boring. Was the entire piece boring to you, or just one or two paragraphs? Was there too much narrative when you were looking for more dialogue? Did the story need more conflict? Did the story move off on a tangent that was difficult to follow and had nothing to do with the story? The more feedback you provide can help the writer analyze their story with an eye on improving it.

5. …But don’t nitpick. You might notice a lot of things wrong with the story. In that case, for the sake of your working relationship, focus on only one or two things that the writer can easily fix. Remember, your role is to provide helpful, practical suggestions.

6. Call out recurring mistakes right away. If you have read several pieces by the same writer over time and notice that they tend to make the same mistakes over and over again, you need to call them out right away, suggests the marketing experts at Hubspot. Don’t just fix the problems for them without mentioning it. If necessary, make the correction and show it to them so they see how to fix it. The only way they will learn not to make the same mistakes again is to make them aware of them in the first place. The sooner you mention those errors, the sooner they can learn to correct them on their own.

7. Ask questions to guide the writer. According to Grammarly, when you ask the writer questions about their work, it gets them to thinking about how to solve their own writing issues. It guides them to resolve the issues on their own rather than you telling them how to do it. For example, you might suggest, “Is there a way to simplify this paragraph, perhaps edit it for shorter sentences? It might make the story easier to read.”

8. Don’t make it personal. Critique the work, not the writer. Set aside whatever personal feelings you have toward the writer and focus on the work in front of you.

Remember these are works-in-progress, not finished pieces. Your job is to provide feedback to help the writer improve their work and sharpen their skills. Think about those times when you’ve had your own work critiqued. How did you feel when you received feedback? Did you feel deflated and discouraged, or were you energized and excited about moving forward with your story? Be the editor you’d like others to be with your own work.

Proofreading: How to Develop an Eagle Eye for Your Own Writing

~ The Regal Writer ~ Leave a comment

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As writers, one of the toughest things we will ever do is proofread our own work. If you’ve spent days or even weeks working on one piece, it can be easy to form an emotional attachment to it, especially certain words and turns of phrases that you invented. It can be difficult to look at your work objectively and let go of that emotional attachment. It can be difficult to pick up a red pen and circle misspelled words, typos and grammar mistakes. But proofreading is a necessary evil, like having a tooth pulled that’s been aching for days.

One of the most important skills a writer can ever learn is proofreading. Most experts believe proofreading can help you become a better writer. Some writers aren’t necessarily good proofreaders however. To improve your proofing skills and develop a keen eagle eye to spot pesky errors, follow these proofreading tips.

1. Set the work aside. If you’ve been working on a piece nearly non-stop for several days or weeks, your eyes have probably grown tired of looking at the words on the page. When you believe your piece is complete, set it aside before proofreading it. Give your eyes a rest. When you return, you can review your work with a clear head. Chances are, you’ll pick up mistakes more quickly.

2. Proof a hard copy rather than on a screen. Granted most of your work was done on the computer. That’s fine. But when it comes to proofreading your own work, I’ve always found it easier to review everything on a printed page. The printed page is easier to read and you are more likely to catch errors. You don’t always catch errors when you see them on the laptop screen. So print out your piece before proofreading.

3. Make several proofing passes. During each pass, focus on a different problem. Experts at Ragan Communications suggest reading for the overall message during the first pass. Subsequent passes will focus on sentence structure, grammar and syntax, spelling and work choices and so on.

4. Read it out loud. Reading the piece silently is one thing, but reading it out loud can help you determine sticky points in the content. Do you stumble over certain, difficult pronunciations?  Are some sentences overly long and complex? Reading out loud alerts you to trouble spots you may not have noticed before. Additionally, you can try reading the piece backwards, which forces you to focus on each word one at a time.

5. Have someone else proof your work. If you have difficulty separating yourself from your work, it might help to have another set of eyes look at it. That’s especially important for something like an email marketing piece or website content that will eventually be viewed by hundreds or thousands of readers. Another reader can confirm whether your words say what you intended.

6. Proof every version of your story. Wix Content blog suggests proofreading each version of the story as you write them. For example, if you’ve written five versions of your essay or feature article, be sure to proofread it each time you complete a new version. This might seem like overkill, but with each new editing pass, more errors can be introduced. Proofreading helps to avoid those errors.

7. Double check names. If you mention names of people, places, and products in your piece, make sure to spell them correctly. Especially double check company names as companies tend to merge with others or go through a rebranding phase, thus precipitating a name change.

8. Check spelling and punctuation. It’s okay to use a spellchecker to initially scan your work – it can certainly pick up some misspelled words – but don’t rely on it, say experts at Ragan Communications. The spellchecker doesn’t pick up everything and can’t discern the correct uses of some words, such as where and wear. Make sure you keep a dictionary and thesaurus handy too in case you need to look up a word’s meaning or spelling.

9. Check for accuracy. If you interviewed subject matter experts for your work, make sure you send them a copy to review before publication. Ask them to double check the spelling of their name too so it appears correctly. There’s nothing more embarrassing than sending out work that contains outdated, or unconfirmed and unsubstantiated information.

10. Double check links. If you’re reviewing copy for an online publication and your piece contains links to outside references, double check those links before posting it. Your editor or employer will thank you that you’ve taken the time to do that.

Whether writing is your career or your passion, understand that proofreading comes with the territory. When you follow some or all of these proofreading tips, your writing will shine with clarity and accuracy.

Tips for Self-Editing Interpersonal Communications

~ The Regal Writer ~ Leave a comment

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Our personal communications is as vital to our success as our marketing and sales strategies, maybe even more so. The way we present ourselves to the outside world says more about who we are personally and professionally than any strategic plan. More often than not, what we do and say can either help our business or hurt it. For evidence of that, you only have to look at public figures like Roseanne Barr to see how swiftly things can change with one poorly thought out comment.

That’s why it’s important to learn self-editing techniques. Self-editing is the process of reviewing, revising and correcting your own communications. It is similar to the self-editing process for a manuscript, except it is geared toward social media, emails and correspondence, such as cover letters.

A poorly worded email can make you look ignorant, while a well-crafted letter written in an angry tone can make you look unprofessional. Neither one will help you achieve your business goals.

What you say – and how you say it – gives the recipient a clear idea of who you are. Further, what you say or write may not always be exactly what you mean. Ever write something that sounded fine in your head but when you or someone else read it back to you, it didn’t have the same meaning? Somehow the meaning got lost in the transition from your head to the paper or computer.

More important, what you write or say can have lingering and sometimes devastating impact. One poorly thought out tweet posted in a knee-jerk reaction can cost you clients and customers. In conversations, what you blurt out cannot be taken back. Ditto with social media and emails. Once it’s out there, you can’t get it back, and the damage to your business and reputation is already done.

We are all guilty of these communication miscues, but there are ways to refine our skills to prevent this from happening too often. I’m just as guilty as the next person, so I’ve learned from my experience to self-edit my interpersonal communications with the same attention to detail as any writer would a manuscript for publication.

Before writing that cover letter or email to an upset customer or responding to someone’s Facebook post, take a few minutes to follow these tips to self-edit your communications.

Step 1. Using a note pad or blank sheet of paper, write everything down that you’d like to say. Spill your guts. By putting it all down on paper, you won’t be in a position to hit Send or Post right away. If you’re angry, or upset or excited about a situation, writing your ideas down on paper first will help dispel some of that emotion.

Keep in mind that you will not use everything you write down in your final correspondence. But just like writing a novel, it will help you get all your ideas down first. Then you can edit it later.

Step 2. Set the letter aside for a few hours. Let it simmer on the backburner. Go and do something else for a while – head to the beach, play basketball, take a nap, watch a movie, anything to get your mind off the letter. Your emotions will simmer down by then too so you will be able to think more clearly.

Step 3. Come back to your letter after sufficient time has passed. I recommend at least a day if you are truly upset about something. Otherwise, a few hours will be sufficient. Review what you have written. Underline or highlight the important points you want to make that still ring true. Keep it to only two or three points however, so your final letter won’t be overly long.

Step 4. With a red pen, cross out the sentences and sentiments that do not belong, things you wrote in anger or excitement, or extraneous content that does not add value to your letter. Whatever is left can be reviewed and edited for appropriateness or to help you support your key points.

Step 5. Rewrite your letter, email or social media post with the highlighted information left over from your draft. Chances are it will be more concise and less emotional than before. That’s a good starting point.

Step 6. Review again for spelling, grammar and punctuation. Misspelled words shows carelessness and lack of attention to detail. It also shows you didn’t take the time or didn’t care to proof your work.

Step 7. Pay attention to the tone of your letter or email. You want to come across as professional, clear-thinking. Although if you are writing a letter to support a cause or persuade someone to take action, a little emotion may be necessary. But don’t overdo it.

Step 8. Avoid personal attacks. Focus on the issues you are writing about. There are ways to express dissenting opinions rationally and intelligently without resorting to personal insults, which only makes you look bad.

If in doubt about your ability to self-edit your personal communications, have someone you know and trust proof it for you.

This same process holds true for social media posts. Write down what you want to say on paper first, set it aside for a few hours, then come back to it. You may decide to tone it down, revise your comment or not post it at all. There is no reason to respond to someone’s comment on social media right away. Buy yourself some time and put thought into your response. What you say and write reflects on you, for good, bad or worse.

Self-editing is an important part of the personal communications process. By following these simple steps, you can communicate with colleagues and customers with greater confidence and integrity, and they will see you as someone with whom they want to do business.

How an Editorial Plan Can Help You Create Better Newsletter Content

~ The Regal Writer ~ Leave a comment

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Newsletters are a valuable tool to help promote your business to clients and customers. When done well, they help keep your business top of mind so clients will contact you when they need your product or service. They also help you engage with your clients and customers on a regular basis — key when building a relationship with them.

But coming up with fresh content can be a challenge. After all, there are just so many ways you can write about decluttering your home or saving for retirement.

If you feel your newsletter content is getting a bit stale, here are a few ideas to rejuvenate your stockpile of story ideas.

  • Check out industry magazines and websites for stories that might be of interest to your clients and customers. Notice how they present information. Do they use graphics, photos or other images to enhance their material.
  • Consider adding infographics. Many businesses use infographics to present survey data in an interesting, more reader-friendly way. Infographics is one more tool you can use to make your content more interesting while getting your message across.
  • Sign up to receive newsletters from similar types of businesses, including competitors. Note what kinds of stories they are sharing. Are they covering different topics than you are, or are they writing about topics in a fresh and interesting way?

As you review these publications, take notes about what you like. There’s always something you can learn from what other organizations do.

Next, sit down and brainstorm potential story ideas. Feel free to borrow ideas from competitors, industry publications and the news headlines. If needed, hire a writer who can help you find different angles for old story lines that you’ve covered before. They can also help you organize your content for each issue.

It might also be helpful to think of a theme for each issue. For example, when planning the August issue, think of summer, vacations, the beach, and barbecues – and try to connect your articles to the summer theme. September might be an issue related to going back to school, so the newsletter might include articles related to education and learning. Having a theme adds a specific focus to your content, and because each issue has a different theme, no two newsletter issues will be alike.

Finally, start planning. The key is to think of content in blocks of information. Structure the newsletter in equal chunks and separate them by topic. For this purpose, use a simple template that includes blank spaces to fill in the month, the theme and three or four slots for story ideas. Below is an example:

Article 1: Message from you, the company president, vice president or CEO. The message can be brief, no more than 300 words, and can be written by the CEO himself or another representative of the company on his behalf. Be personable and conversational. Talk about any new changes at the company.  What do you want your clients to know about your business that they did not know before?  If your CEO or director is uncomfortable leading off the newsletter, use that first article to introduce a new product or service, or any major company news your clients might find helpful.

Article 2: Highlight a specific feature of your business, something that has been established for some time that people may not know about. For example, an apartment community might feature the reopening of the outdoor patio and swimming pool for the summer with gentle reminders for using it safely. Another idea for this article is to do a Q&A with a key member of the management team.

Article 3: Share a light-hearted, general interest story that your clients will appreciate. This could be a focus on neighborhood news, like a list of local street festivals, or tips for keeping pets cool during the hot summer months. For an apartment community, ask residents what they enjoy about living at their community.

If you really want to be organized, plan several issues at a time. By organizing your content this way, you can be sure you aren’t repeating stories.

Conclude each issue with a call to action. Mention any special offers, ask for feedback about your business, or end with a thoughtful, meaningful inspirational quote. Be sure to include your business contact information so clients and customers can reach out to you if they have questions.

Perhaps the biggest challenge many managers and business owners have about newsletter content is not that there are not enough ideas, but that there are too many. With so many topics and angles to work with, it can be difficult to whittle down the most important ideas you want to present.

Setting up an editorial plan for your newsletters will help you focus on three or four ideas for each issue that will help you engage with your clients, promote your business and present your name and company in the best possible light.