Shelley Widhalm

What’s With All the Editing Terms?

In Copyediting, Developmental Editing, Editing, Editing Advice, Editing as Part of Writing, Editing Tips, Proofreading on July 19, 2021 at 11:00 am

A clean dog is like a clean manuscript–both want you to pick them up for either petting or reading.

By SHELLEY WIDHALM

Do you read a Big 5 published book and see a few grammatical errors that make you flip to the acknowledgements page and ask, “Is there even an editor on the team?”

The last book I read, “Just Between Us,” omitted almost every “and” between independent clauses and randomly used the Oxford comma (the comma before the last item in a series). It’s a suspense, so I got into the story, but the first 50 pages were a bit tedious, especially with the info dump of back story and the only action a bruised wrist and four characters wondering about it.

My current read, “The Lost,” overdoes “says” when action beats will suffice and has a few grammatical and logistical errors despite three editors on board.

Of course, there is a 5% miss rate with any editing job.

But what exactly is editing that makes sure readers get to read without the annoyance of errors? There are many terms for editing, but it can be broken down into three levels from an overall view down to the final polish. There is content and developmental editing, copy and line editing, and proofreading.

Content/Developmental Editing

Content and developmental editing looks at the structure of your novel or how your story is put together from beginning to end. It’s a review of plot and character arcs and the development of the main and secondary characters, as well as setting, dialog, theme, pacing, and conflict and tension. There’s also the consideration of logistics, such as the timeline and space continuum, so that Monday happens after Sunday, and consistency of character, setting and other descriptions.

Here are some questions an editor may consider: How is the story told? How is it organized? How does it flow through the plot and character arcs? Are there any gaps or places lacking a transition? Are characters flat or dimensional? How about the pacing? At what points do readers get excited by the story line and at what points should there be time for reflection?

The result: readers don’t see words but pictures, as if the writing becomes cinematic. The story entices and excites readers. And it makes them pause at your voice and style, use of language and amazing descriptions.

Copy/Line Editing

Copy or line editing goes deeper by looking at the story word for word. It’s not just a matter of looking for errors in grammar, spelling, punctuation, mechanics and syntax. Depending on what’s needed, it also can involve checking for consistency in style, identifying areas where voice is lost, looking for word echoes (words that repeat in paragraphs or sentences), cutting what’s overstated, fixing plot points that end up getting repeated, and identifying misses—is there more that needs to be added or something to remove?

The editor might ask: How are commas being used as a stylistic choice (Oxford? No comma before the final “too” in a sentence?)? Are facts accurate and consistently used? Are metaphors and other writing devices carried throughout the story? Are there too many of them that end up being confusing? Are historical facts accurate? Are any scientific and other concepts explained in a way that makes sense?

The result: Good writing results in pages free of those little errors that take readers out of the story and cause them to edit in their heads.

Proofreading

Proofing a book is a matter of reviewing the language, such as a check of grammar, spelling, punctuation, mechanics and syntax (just like with copy editing), plus any typos and missed errors from previous editing rounds.

Reading the proof, especially if it is nonfiction, also involves flagging locations of art and graphics, checking page breaks and aligning chapters and indexes.

So when do you need which type of editor?

A developmental editor helps organize a story so that it meets genre demands and fits with reader expectations. It’s needed if writers get stuck in a story or receive several no’s from literary agents.

Line editing and proofreading give a final polish to writing that literary agents appreciate and readers of self-published authors demand—who wants to be caught up in errors when the idea is to read for story, plot and character and the desire to turn the page?

Lucky 7 is Almost Here

In Uncategorized on June 21, 2021 at 7:00 am

Writers can get quick tips on writing and editing with “50 Tips for First-Time Authors.” Pull up a chair, get your favorite beverage and dive right in to learn writing, editing and publishing tips.

By SHELLEY WIDHALM

Seven is a lucky number that represents perfection and completion, both physical and spiritual.

There also are seven days of the week, seven continents and seven brides for seven brothers. Seven has a lot of mathematical play with repetition and multiplication*. And it is the number of objects you can hold in your head when they are placed on a table. After that, counting is needed.

I counted 50 of my best writing, editing and publishing tips in my book, 50 Tips for First-Time Authors, which I published in print and e-book formats on 7/7 in 2020 (a year some consider not so lucky with the worldwide pandemic, social isolation and mask-wearing and other mandates).

The Lucky 7

This year on Lucky 7, or July 7, I will have my e-book at a lucky discounted rate, so that you can get a quick jumpstart into the writing life.

Leading up to that day, I will have other discounts, the first of which is for 7 days June 21-28. Through a Kindle Countdown Deal, the e-book will sell for $0.99 June 21-24, then for $1.99 June 24-28. It will return to the regular price of $2.99 at midnight PDT.

In my book, I assembled the best tips I’ve gathered during my 20 years of writing novels and four years of professional editing to help writers get their books publication ready.

The Tips Simplified

I want to let writers know that though writing is hard, it also can be fun. It doesn’t have to be some overwhelming, daunting task but can be broken down into chunks, such as writing for an hour a week or setting a page or word count goal—basically, just get out the rough draft and worry about editing later.

I also want to inspire writers to start but also to maintain writing, so that it becomes a hobby or even a job. Writing is a craft that can be learned through reading, webinars and classes, but then the writer brings in their magic through their style, voice and use of words. That’s where the fun can come in.

I also give tips on the writing and revision processes, plus offer a few ideas for overcoming writer’s block. I explain the differences among writing in the fiction, nonfiction and poetry genres. And I touch on methods for writing concisely without repetitions and things like word echoes.

If you want to get lucky (in writing, that is), check out the best 50 tips.

* Note that my Lucky 7 blog is posted on 7/21, or a multiple of 3, and that the date of 21 has the numbers 2 and 1, or 2 + 1 = 3. So nerdy, right!

What are the Top 3 Lessons You Can Learn from Other Authors?

In Critique Groups, Critique Partners, Writing Advice, Writing Groups, Writing Motivation, Writing Tips on May 31, 2021 at 11:00 am

Writers often work in solitude, but there are those times when community is great, just like for duckling families. Critique partners and group offer invaluable benefits for the mostly lone writer.

Writers work in solitude even if they do write-ins, because once they enter the story, the world falls away.

But they also likely need community—that can come from those write-ins where you meet for coffee or the like, chat a bit and start writing, as well as writing groups to critique each other’s work and writing conferences to learn about the craft.

I’ve been involved in all three and learned three important lessons from being around other writers.

First is Vision

I cannot work in a bubble.

I need others to point out where my writing gets muddy, my characters fall flat, my plot goes sideways or my pacing is s-l-o-w. I can revise and revise again, but there are things I miss because I’m too close to my work.

For that reason, I like working with a critique partner, where we trade work, or a writing group to get feedback on what’s not working in my manuscript. A partner or group can offer suggestions on how to fix the issues and ideas for making the story or characters even better—things I didn’t consider as I drafted my story.

I then like hiring an editor, either at the developmental or copy editing level, to get that professional line-by-line view of my work—editors are paid to pay attention to every nuance of a manuscript to help get it polished and ready for publication.

Second is Mission

I cannot work without motivation.

Writing is hard work, and it takes discipline. If I didn’t have a writing community to encourage me to keep going, I may take longer timeouts from disappointments. If I have to self-talk to pick myself back up, my thoughts might go circular, whereas a friend will tell me, “Don’t give up. I know you don’t want to. You’re a writer.”

For instance, wanting to be traditionally published means I face rejections from literary agents who immediately say no, or they ask for a partial or the full manuscript, then say no.

Being able to share that rejection conundrum and find that I’m not alone helps me keep going.

Third is Story

I cannot work without inspiration.

I find the successes of other writers who self-publish or get traditionally published a push for me to keep working toward my own successes: if they can do it, so can I.

With time, persistence and patience, writers can achieve their goals. If they don’t right away, they keep trying—failing is giving up, but stopping something and moving to something else is not failing.

Many times I’ve wanted to give up, but then, as a friend asked, how would you feel without writing? I can’t answer that question, because I’d feel empty.

Writing is what inspires me. It’s my mission statement. It’s my vision for being CEO of Writing, while Zoey, my miniature dachshund, is the CEO of Cuteness.