Tag: good editor

  • If the Story Is Good Enough, No One Will Care About a Few Typos, Right?

    You’ve just put the finishing touches on your masterpiece and cannot wait to share it with the world. Readers are going to shower you with positive reviews. You just have to get your story out there. There’s no reason to wait another second, right?

    It’s easier than ever to self-publish your work, and we’re farther and farther from the days when the vanity press was viewed with near-universal disdain.

    When done right, self-publishing can be profitable—even, dare we say, respectable. Just look at the growing number of authors who have made it going the self-publishing route (E.L. James and Hugh Howey are two well-known examples).

    The tools available to self-publishers also make it possible to create beautiful books with relative ease—books with your name on them! How can you resist?

    The temptation is almost too much for any writer, one of whose ultimate goals is, of course, to send a written work out into the world. But the ease with which writers can now publish their works can be a trap.

    Remember, once you send something into the world, you can’t pull it back, and that first impression can turn off a reader for life. Sure, you can reload a cleaner version, but by then a significant amount of damage may already be done to your reputation.

    The Delusion

    If you think self-publishing is a good fit for your goals, then there’s every reason to pursue it. But it’s a cruel world out there, and you should make every effort to give your work its best chance for survival.

    When we want something badly enough, we are extremely adept at picturing our desired outcome, often turning a blind eye to harder realities. This can lead to rushing out a work before you’ve helped it achieve its best form.

    Think about how fragile your feelings are in regard to something you’ve written, and then think about what lurks online. Have you been on the internet lately? Can’t you hear readers sharpening their knives? Do you really want to let an audience, emboldened by anonymity, take potshots at one of your darlings?

    It’s not uncommon for hopeful writers to say to themselves, “But if it’s a good enough story, no one’s going to care about a few typos, right?”

    The truth is that the only people who don’t care about typos are the imaginary readers you create for your work.

     

    Eliminate Stumbling Blocks

    Some of the best writing advice you’ll ever hear is simply this: Don’t ever give your readers a reason to stop reading.

    Dense paragraphs at the beginning of a work might convince your readers that your story is simply too difficult to wade through. For this reason many writers suggest always throwing in dialogue on the first page.

    Packing too much information, too much world-building, into the beginning of your story can also give your readers a reason to stop reading, so a better approach might be to let your audience acclimate a little more slowly to your world.

    And whether you’d like to believe it or not, misspellings and grammatical errors are a huge reason to stop reading. Your audience will question your professionalism, and if readers have paid for your work, even if it’s only a few dollars, even if it’s only 99 cents, they are going to feel ripped off.

    Writers owe their readers, at a minimum, crisp, clear copy that contains none of the stumbling blocks a professional edit could have eliminated.

    Before sending your darling out into the world, ensure it’s edited properly, which means another set of eyes. The world’s best editors realize that no one can successfully edit his or her own work. Writers are simply too familiar with their text. So do the right thing and treat your darling to a good edit. You—and your story—deserve it.

  • Change Is Good (Sometimes)

    Editors pore over text, moving from letter to letter, even looking for extra spaces and judging whether punctuation marks should be italic or roman.

    Yes, an editor’s work might seem tedious, but then—BAM!—an editor finds an error and feels an undeniable charge. Editors might not pump their fists like tennis players winning a big point, but there’s a joy there. It’s one of the rewards of the profession.

    That joy, though, shouldn’t influence whether an edit is actually made.

    Every editor on the planet has probably heard that the first rule of editing is to “do no harm.” Good advice. There’s no greater sin in editing than introducing an error into the text. I don’t want to miss anything, ever, but I can forgive myself for that. I can’t forgive myself, however, for introducing an error because I’m too busy patting myself on the back to realize that a change shouldn’t have been made in the first place.

    So once the thrill of finding what appears to be an error has passed, an editor should settle down and ask a number of questions.

    • Is it wrong? A misspelled name is wrong. A subject that doesn’t agree with its verb is wrong. But there are plenty of changes editors would like to make that have nothing to do with the supposed error being right or wrong. All editors have preferences, and some editors feel that their preferences are a reflection of who they are. Serial commas rule! or Down with serial commas! Either attitude is fine, and when editors have a choice, hey, by all means, they should follow their preference. But if you’re editing for someone who follows the Chicago Manual, then you use the serial comma, and if you’re editing for someone who follows AP, then you generally won’t. The point is that preferences over style should be put aside both for client and for audience.
    • Could it be correct if looked at from another angle? Sometimes we’re so sure that something is wrong that we don’t step back and ask whether there’s something we haven’t considered. Yes, that noun is singular and it’s linked to a plural verb. But have you considered that it’s a collective noun and the sense is that the members of that collective are acting individually and not as a whole? Editors should also try to look things up even when they are sure. (How many people are sure that just deserts should be just desserts?)
    • Should I make this edit? Does the edit go beyond the scope of my assignment? Yes, it’s a dangling modifier, but fixing it would mean radically restructuring the sentence. Maybe that’s something I should query before doing any rewriting.   
    • Does it affect other areas of the text? If I decide to write out the number eight and numerals have been used for numbers under ten throughout the document, then I’ve introduced an error where none existed before. What else could be affected by the change I’ve made?

    The Halo Effect

    Editors also have to consider the halo effect (missing another error close to the error that’s just been corrected). When an editor corrects an error, there’s a feeling that all is well, and that often extends to a few words before and after the error. You don’t want to fix the spelling of the subject and miss that the subject doesn’t agree with the verb. The best way to deal with the halo effect is to back up to the previous sentence and reread the portion of text again.