Reads for Writers: Why We Write About Ourselves edited by Meredith Maran

From Kate’s Writing Crate…

          I write first person essays for several outlets so when I discovered Why We Write About Ourselves: Twenty Memoirists on Why They Expose Themselves (and Others) in the Name of Literature edited by Meredith Maran, I had to read it. Another selling point, several of my favorite memoirists are in the book including Anne Lamott, Sue Monk Kidd, and Cheryl Strayed. After reading the book, I have many more memoirists’ work I want to read.

Each chapter begins with an introduction of the memoirist, vital stats, a list of published works, then his or her answer to: Why I write about myself? The rest of the chapter subheadings are different as each author discusses his or her writing process and beliefs. At the end of each chapter, there are Words of Wisdom for Memoirists.

Here are some of my favorite passages:        

“Don’t be afraid of writing into the heart of what you’re most afraid of. The story of life lives in what you would rather not admit or say.”

--Kate Christensen (page 20)

                                                         

“…I firmly believe that there are things we already know and spend a lot of time resisting. You can try, but the amount of energy you spend trying not to know what you already know will be exhausting.”                     

--A. M. Homes (page 102)

“The reason to write memoir is to put something important out into the collective consciousness, to distill one human life as you’ve come to understand it…”

--Anne Lamott (page 140)

“Know that the writing will lead you to places you can’t imagine you will go…writing comes from a place beneath intellectual consciousness. The only way to get to that place is by writing. Trust the magic of that process.”

--James McBride (page 164)

“My work doesn’t hinge on shock value. I tell only what needs to be told for the work to reach its full potential. I’m not interested in confession. I’m interested in revelation.

--Cheryl Strayed (page 212)

“If you’re not uncomfortable and scared while you’re writing, you’re not writing close enough to the bone.”

--Ayelet Waldman (page 230)

“You get the most powerful material when you write toward whatever hurts. Don’t avoid it. Don’t run from it. Don’t write toward what’s easy. We recognize our humanity in those most difficult moments that people share.

--Jesmyn Ward (page 242)

 I want to read many of the books listed by the authors in Why We Write About Ourselves including Ayelet Waldman’s Love and Other Impossible Pursuits which sounded interesting and familiar. Searching through my unread books, I found it—a future book review.

Writing Advice from an Editor to Writers in General

From Kate’s Writing Crate…

          Last week I wrote about writing advice I gave to an intern. This week, I’m giving advice to more experienced writers.

          I have edited three local monthly magazines as well as a state-wide monthly magazine at the same time. The common challenge is filling all the space between the ads on all the pages.

To accomplish this, every month I have to come up with six to ten topics for articles for each magazine, depending on page counts, a month or two before deadline. Then I assign them to writers who will interview people, write comprehensive and well-organized pieces that meet the word count on deadline. I also have five columnists on staff covering sports, gardening, family life, books, and observations on life. Two columnists also write articles.

Finding good writers is essential which means there are writing opportunities out there. Experienced writers with tear sheets (previously published articles from other publications) are good to work with as they know what to do—although it may turn out these writers have been edited heavily. However, new writers are excited and willing to learn. Their energy is infectious and fun. 

As long as new writers are serious about completing assignments, they should ask for assigned articles submitting writing samples when requested. I often assign new writers articles I need in two months to see if they can meet a two or three week deadline. This gives me time to recover if they fail.

Short Inquiries:

To get published in a magazine, a serious writer should send editors short inquiries about article ideas he or she would like to write (or have already written) that fit a publication’s style. Be familiar with the publication. Make sure your ideas will be compatible. As I mentioned, editors have to generate a lot of story ideas every month so having good ones suggested by writers is helpful.

Put Article Inquiry in the subject line.

These inquiries should be short and sent to the editor by his or her name. If you cannot be bothered to find the editor’s name, you are making a bad impression and, worse yet, you are unfamiliar with the publication.

It’s best to pitch ideas for the future as issues are planned a month or two in advance. (Example: pitch December topics in September. National magazines may have even longer lead times.)

Introduce and discuss your article idea—what it is, why readers will enjoy it, and why you are interested in writing it. Then summarize your expertise and writing experience. If a new writer, offer to submit writing samples. Then end with: Thank you for your time. I look forward to hearing from you. Include your contact information, phone and email address.

Do not expect an immediate response. Give an editor two or three weeks to respond. If no response, send the inquiry again. Editors receive emails from dozens to hundreds of readers, advertisers, the production department, the printer, press releases, compliments, complaints, and established writers so it might take a week or two for the editor to get to inquiries, longer if your email arrives during deadline week.

Once contacted, be prompt in answering an editor’s questions in response to your inquiry.

Assignments:

Once the editor gives you the assignment, a style sheet, word count, and deadline, deliver what you promised—an engaging and professionally written article about the idea you pitched that includes quotes from at least one person.

Interview Tips:

Do not procrastinate. Set up interviews immediately as there are always scheduling conflicts. Also, if interview has to be rescheduled, you have time to do so.

Make sure you spell each person’s name, title, and organization      correctly.

Have at least 10-12 questions prepared before interview.  Ask follow up questions where appropriate.

Make sure some require short or numerical answers to break up all the longer quotes for other questions.

Two questions I always ask:

                            

          What do you like best about your job or the event?

                   (Personality shines through in answers.)

And end of interview ask: Is there anything else you would like the public to know?

(This gives the person a chance to discuss things you might not know about so follow up questions might be needed.)

I write all the questions in the margin of my notepad if it’s an in-person interview.

If emailing questions, double check for spelling errors before sending.

When emailing questions, put the deadline date for answers in the subject line and again before the questions.

Always thank people for their time before the interview or before the written questions in an email.

Listen to answers or read them carefully.

Ask follow up questions as needed.

If handwritten, type up your notes as soon as possible after the interview.

If you can’t read some of your notes or an answer isn’t clear when you are writing your article, contact the person again to get the right answers.

Drafts:

In your first draft, organize your thoughts then include every quote, fact, and point you want to make regardless of word count.

Use the strongest and clearest interview statements as quotes in your article. The rest of what the person said become facts in the text. Weave these facts in with any other researched facts along with the quotes which breathe life into your articles.

Know the correct punctuation for quotes. Also, some publications use said, some use says. Use right style.

Once first draft is written, reread it. Read it aloud. Often you will find you buried your lead (best start to your article) in paragraph two, three, or even six. Reorganize paragraphs as needed.

Then rewrite and polish your article repeatedly until it is the best work you can produce and within the word count.

Look for better choices of words—i.e., one word that can replace a wordy description. (Every writer in my opinion should have and use the Oxford American Writer’s Thesaurus. Read the Introduction “In Search of the Exact Word” by Richard Goodman, pp. xi-xvii, to see exactly what I mean. )

Check spelling, punctuation, and grammar.

For reference: I spend less than 40% of my time writing and over 60% rewriting my articles for publication.

Deadlines:

Submit assignments before or on deadline date. No excuses.

I advise that new writers especially submit their articles well before deadline. Editors will remember you for doing it. This means you can be counted on and will receive future assignments provided you also wrote a good or, better yet, a great article.

What constitutes a great article?

In every article emailed to me, I want to see:

a pertinent, even clever, title,

a byline,

an article with paragraphs,

only one space between sentences,

line spacing of 1.15 or 1.5,

do not start any article with a quote,

people need to be introduced to readers before being quoted,

organized thoughts,

smooth transitions,

quotes woven seamlessly into the text,

an attention-grabbing intro paragraph ,

and an ending paragraph that ties up the article well.

In between the first and last paragraphs, I look for:

proper punctuation especially for quotes,

good grammar,

correct spellings of words, names, and titles,

attention paid to details like dates, times, places, etc.,

true facts, statistics, etc.,

word count (within 100 words under to exact number),

and that the magazine’s style sheet was followed.

Q&A articles begin with an intro paragraph or two.

If submitting a photo, write a caption that includes (left to right) people’s names.

Writers can recommend pull quotes, but editor has final say.

Overall, I look for:

a strong writer’s voice and style,

creativity,

Is lead paragraph enticing?

Is article fun to read and informative?

Are the facts clear?

Are quotes distributed throughout the article?

Is anything jarring? (bad transitions, out-of-order facts, person quoted without being introduced)

Are the contact phone number, email address, & web site listed if readers want more information?

Editing:

Corrections are made following rules of grammar, punctuation, and spelling.

The rest of changes are made to fit magazine’s style or the editor’s sense of words and style.

Most articles have excess words so editors tighten up the text by cutting these words or replacing them with more exact words.

Magazine editors do not usually discuss changes with writers unless want total rewrites

Writers may ask about changes, but not during deadline week. If you want feedback, ask the editor beforehand to see if it’s possible. Then turn article in early in case has editor has time before publication. Feedback takes a lot of time so the editor may say no. If that is the case, compare what you turned in to what was published. Changes should result in clearer or tighter writing.    

If a lot of text is missing, space may have been tight on the page so change may have nothing to do with your writing. (I’ve had ads come in very late. They always go in, so text must be cut. It’s a tough business.)

If you see a pattern in the edits, work on that area of your writing.

Once an editor knows you are a professional writer who turns in great work within word count on deadline, you will get more assignments. More assignments lead to tear sheets to use when inquiring about assignments for other magazines which is the start of a writing career.

Reads for Writers: The Golden Theme by Brian McDonald Provides a Masterclass

From Kate’s Writing Crate…

             

As a reader, I always love finding books that appeal to me. As a writer, I am twice as pleased when the authors also provide masterclasses within their books.

        Masterclasses take place when performance artists and musicians work one-on-one with students. Writers don't generally have this option, but I have found some books to be masterclasses for characters, backstories, plots, settings, voice, and/or creativity.

          Brian McDonald is the first author to have two Masterclasses in a row. His thoughts on storytelling and writing are just that good.

His first book, Invisible Ink: A Practical Guide to Building Stories That Resonate was the Masterclass on 6/26/16. If you truly take in what McDonald reveals, your writing will take on new dimensions. A must read!

          In The Golden Theme: How to Make Your Writing Appeal to the Highest Common Denominator, McDonald states: This simple sentence, we are all the same, is the Golden Theme that all stories express. (page 4)

          Why this book is a Masterclass:

Young or inexperienced artist [are told] to find their style, their voice…[not to] “Learn the craft of storytelling.” (page 75)

Telling an artist to express himself or herself only produces self-indulgent, mediocre art. (page 76)

Your job as a storyteller is to tell the truth—the deep truth—the truth as you see it. If you do this even while not trying to have a style, you will have one. (page 77)

…if you…express the Golden Theme as purely as you can…you will reach people—move them. And when people comment on your style, you will have no idea what they are talking about because your work will penetrate so much further below the surface that style will become unimportant to you. (page 77)

          McDonald also shares the importance of storytelling.

                   “There have been great societies that did not use the wheel.

                   But there have been no societies that did not tell stories.”

                                                                   Ursula K. LeGuin (page 11)

          …buried within the story is survival information. And this survival information is, I believe, the reason we tell stories. (page 13)

          The stories McDonald repeats may or already have saved lives. For example, he reveals how “hanger flying” stories helped Sully Sullivan land his inoperable plane safely in the Hudson River saving hundreds of lives. (pp. 16-17)

          The knowledge that others have had the same woes can change lives. In…Alcoholics Anonymous, people do little more than share stories, and yet they have a substantial recovery rate. (page 40)

          …We human beings are always looking for connections. This is why it is so important to understand the Golden Theme. (page 41)

          One of my favorite stories tells what happened at meals on the set of Planet of the Apes in 1968 on pages 42 &43. I also enjoyed learning about the brilliance of Rod Serling and The Twilight Zone on pages 47 & 48.

          We use the Golden Theme in life to determine who is good and who is not. (page 59)

          Focusing on differences instead of similarities blinds us to the Golden Theme. (page 82)

          Brian McDonald wraps up his book with the importance of storytelling—not just entertaining, but a healing art. Let people know they are not alone. You must make people understand we are all the same. (page 104)

Essential advice for writers and storytellers: Tell the truth—the deep truth—the truth as you see it. Readers and listeners will respond.

Reads for Writers: Nobody Wants to Read Your Sh*t: Why That Is And What You Can Do About It by Steven Pressfield

From Kate’s Writing Crate…

Normally this week’s post would be an essay on writing, but I just finished Nobody Wants to Read Your Sh*t: Why That Is And What You Can Do About It by Steven Pressfield. It’s a perfect companion to last week’s writing book recommendation Invisible Ink by Brian McDonald.

I’ve been a fan of Steven Pressfield since I read The War of Art: Break Through the Blocks and Win Your Inner Creative Battles. I reviewed it on this blog in my first post on 8/30/12. It’s the book that turned me into a professional writer. Do yourself a favor and read it, then reread it.

In Nobody Wants to Read Your Sh*t, Pressfield recounts how he became a writer as well as sharing all the truths he learned about writing along the way. Like McDonald in Invisible Ink, Pressfield uses movies and TV shows to illustrate his points—showing, not just telling—because using a story structure works for any genre that you want to appeal to an audience.

                    Why?

Because a story (whether it’s a movie, a play, a novel, or a piece of nonfiction) is experienced by the reader on the level of the soul. And the soul has a universal structure of narrative receptors…

The soul judges a story’s truth by how closely it comports to the narrative templates that are a part of our psyche from birth… (pp. 63-64)

          For his screenplays, Pressfield recommends: Start with an Inciting Incident, deal with the villain, then transformation of the hero completes the story.

How can you tell when you’ve got a good Inciting Incident? When the movie’s climax is embedded in within it. (page 75). Followed by chapters: “The Second Act Belongs to the Villain” (pp. 76-77) and “Every Character Must Represent Something Greater Than Himself” (pp.78-79) to set the story. Chapters “Write for a Star” (pp. 94-95); “The All is Lost Moment” (page 104); and “Give Your Villain a Brilliant Speech” (pp. 108-109) round out your work.

          Pressfield discusses his “overnight success” when he publishes his first novel at the age of fifty-one on pp. 120-121. Here he lists nine storytelling secrets followed by a list of ten skills he learned in twenty-seven years of writing.

          His chapter “Fiction is Truth” on page 122 is essential reading as are “Narrative Device” on pp. 124-125 and “Novels are Dangerous” on pp. 128-129.

          From fiction, Pressfield moves to nonfiction in “A Non-Story is a Story” including a list of eight universal principles of storytelling (pp 148-149) and to self-help in “Flashback: Narrative Device in The War of Art” (172-173) and “Flashback: Hero and Villain in The War of Art” on page 174 to reveal how many of the same principles apply.

In The Artist’s Calling section, I loved “There is a Muse” on page 181 and “The Artist’s Skill” on page 184.

I also read and love Steven Pressfield’s blog, Writing Wednesdays, too.

I just started reading Brian McDonald’s blog, Ink Spots—also the title of another of his books.

Reads for Writers: Invisible Ink by Brian McDonald Provides a Masterclass

From Kate’s Writing Crate…

As a reader, I always love finding books that appeal to me. As a writer, I am twice as pleased when the authors also provide masterclasses within their books.

          Masterclasses take place when performance artists and musicians work one-on-one with students. Writers don’t generally have this option, but I have found some books to be masterclasses for characters, backstories, plots, settings, voice and/or creativity.

         

In his book Invisible Ink: A Practical Guide to Building Stories That Resonate, Brian McDonald shares brilliant insights about writing using well-known movie screenplays as well as novels as examples. Once you become aware of “invisible ink”, you will see it wherever it appears. If you truly take in what McDonald reveals, your writing will take on new dimensions.

McDonald discusses “visible ink”—dialogue and language—readily seen by the reader or viewer versus “invisible ink”—how events are ordered, what events occur, how characters behave—not easily spotted by readers, viewers, and listeners. (page 2)

The greatest truth in this book: Invisible ink is the writing below the surface of the words. Most people will never see or notice it, but they will feel it. If you learn to use it, your work will feel polished, professional, and it will have a profound impact on your audience. (page 3) What more does any writer want than to make a profound impact on his or her audience?

McDonald writes in a simple straightforward style. Don’t make the mistake of thinking you already know what he is talking about. He has spent years studying “invisible ink” so follow his instructions to find it by re-watching movies, reading screenplays, or rereading novels. Simple does not mean easy. His advice is worth the effort.

Here are a few of McDonald’s examples:

In Finding Nemo, the father desperately tries to keep his son safe by never letting him out of his sight…What happens? His son is taken away…This is his personal hell.

This is one of the ways to apply invisible ink to your work, but it will yield powerful results…Find the thing your character would rather die than do and make them do it. (page 60)                                        

Because the scene with Don Corleone and Bonasera is the first scene in the film [section of The Godfather screenplay is included in book], it becomes invisible ink. The audience has no idea that this scene will help them understand the rest of the film. Like all forms of invisible ink, it works on a subconscious level. (pp. 64-65)

You want to see truth in fiction? Watch Jimmy Stewart’s breakdown in It’s a Wonderful Life, just before he decides to kill himself. It’s about as real and truthful as anything you will ever see on film. Capra is known for being lighthearted, but when he got dark, he always told the truth. If you want to affect people deeply, tell the truth. (page 76)

          Here are a few of McDonald’s insights:

Writers with the least experience and skill think that the more complicated something is, the better. But…their work comes off clumsy and unfocused. If you want to come off like a mature writer, be precise. (page 21)

The worst of us has good in him and the best of us has some bad. That is a truth that many of us want to deny, but as storytellers it is the truth we must illuminate.

The truth will always be sadder, happier, funnier, scarier, and more profound than the best lie. More importantly, the audience never “sees” it, but does feel it. (page 78)

Invisible ink is all about communicating with your audience clearly and getting it to feel and think what it needs to so it will experience your story. (page 116)

          I highly recommend this book to all writers! Also read Brian McDonald's Ink Spots, his blog as well as a book.

Inspiration vs. Deadlines

From Kate’s Writing Crate…

          I don’t need inspiration to write my assigned articles. I know who I’m interviewing and why. I have a deadline and a need for a paycheck so the writing gets done. That’s not to say I’m not inspired while writing, just that the deadline is the driving force in these cases.

          For this blog, my magazine essays, and my facebook column for the magazines I edit, I can choose my own topics. While there is a weekly or monthly deadline, inspiration plays the bigger role—at first. If I don’t have any ideas and deadline is approaching, then the deadline pressure squeezes thoughts out of me because I never miss deadlines.

          As I write this post, I’m three weeks ahead for this blog plus I’ve written two other pieces for later this year. I’m a week ahead for the facebook column, too. At this time, magazine deadlines are ten days away so there is no deadline pressure now, but I have time to write. However, I’m not inspired. I also don’t feel the need to be inspired.

          I don’t feel the need to be inspired. That is an uncomfortable but true statement. It’s why I’m forcing myself to write this piece. I like to think I always have something to say on topics that interest me, but after writing six pieces (now seven) in nine days seemingly effortlessly I need a break.

          I enjoyed writing these pieces. I love wrestling with words and thoughts and organization. I was energized by the ideas and work, but now I’m not. I’m going to read instead then walk the dogs.

          Writing is demanding. Deadlines are essential. Inspiration is elusive. Rejuvenation is required. Downtime is necessary.

          I’ll write later—today, tomorrow, when deadlines are imminent, and when inspiration strikes again.

Reads for Writers: The Sweet Smell of Christmas by Patricia Scarry

From Kate’s Writing Crate…

           If you celebrate Christmas, what comes to mind when you read that word? Christmas trees? Fresh wreaths? Cookies for Santa? Candy canes? Not just the seasonal objects, but delicious aromas as well.

          As a writer, I learned the aroma lesson early. On Christmas day when I was six, my one-year-younger sister received a book gift entitled The Sweet Smell of Christmas by Patricia Scarry and illustrated by J. P. Miller. Included in the story of Little Bear waiting for Christmas are six pages with scratch and sniff fragrance labels.

The text and illustrations depict a cozy, old-fashioned home where the Bear family prepares for the holiday on Christmas Eve. Little Bear starts the story with: “Something wonderful is going to happen…My nose tells me so.” Each reader’s nose does, too.

I borrowed that book without permission quite often. I just loved the combination of words and aromas. Father Bear and Little Bear went in search of a Christmas tree and I could smell the pine branches. Mother Bear baked a pie and I could smell the apples. I also loved that there was an orange in Little Bear’s stocking as we always had oranges in the toes of ours. However, the hot chocolate shared with the carolers was my favorite scent.

Aromas bring readers deeper into anything they are reading. That’s why it’s important to be specific—not just flowers, but roses; not just dinner, but roasted turkey with cornbread stuffing; not just dessert, but chocolate cake. Readers will add the thick swirls of frosting covering two layers on their own.

Aromas made this book truly memorable. They can make your writing memorable as well by simply adding “invisible scratch and sniff labels” whenever possible—a terrific writing tool.

  











  

Get to the Fight!

From Kate’s Writing Crate…

 

          Half the battle of writing, for me, is getting started. Every morning, the short walk to my desk is suddenly filled with mental obstacles like chores I should finish, errands I need to run, shopping I have to do, family obligations, etc. It’s amazing the number of excuses my mind can conjure up—some of which do derail my day. Conversely, when I’m working through my To-Do List, all I long to do is write.

          Once I sit at my desk, the rest of the battle begins.

On a good day, I open a document, reread what I wrote then dive in. My fingers fly across the keyboard capturing my thoughts. I fight to find the right words and discover new ideas. It’s exhilarating!

          On “bad” days, I cannot think of what to write next. I feel blocked. I have doubts about my ability. When this happens, I have learned to switch to another project immediately. Don’t dwell even if the deadline for the first project is close.

          The key is to write. Don’t face a blank page. Have a list of projects and subjects to inspire you on days like this. Build on previous writing. Look in your monthly notebook for ideas. Write Six-Word Memoirs—a quick and fun endeavor that can alleviate stress. (See post dated 9/10/12 or visit www.smithmag.net, home of the Six-Word Memoir project.) Do whatever it takes to jump start your writing. Once you are in the groove, you can switch back to the first project.

          You want to get to the fight to find the right words and discover new ideas as soon as possible each day. That’s when you write things you didn’t even know you wanted to say in ways you hadn’t considered saying them all in your own voice.

That’s what makes fighting all the battles to write worth it!

 

 

My Writing Schedule--Inspired or Not

From Kate’s Writing Crate…

When inspiration strikes, I grab a notebook and scribble down my thoughts. Inspiration is unpredictable so a notebook is always nearby, but this kind of inspiration is fleeting. It doesn’t allow for a regular writing schedule.

A better schedule: I sit at my writing desk every day, inspired or not. If I sit there, I’ll write. As I write, I become inspired. I have time to start and stop, to try new things, and to toss out what is not working. There’s pressure to do my best and to meet upcoming deadlines, but it doesn’t affect me the way it can when I’m off schedule and deadlines are looming.

          My daily writing schedule doesn’t require a certain number of hours or pages. I simply sit at my desk five or six or more times a day and work—sometimes for half an hour, usually for an hour or two, and sometimes for three hours or more at a time. (A comfortable chair is essential. Thanks for my gift, Dad!)

Life doesn’t run on a precise schedule nor does my writing, but writing is always on my schedule. I start early, around 6am. I sometimes work late, especially during monthly deadlines for the magazines I write for and edit and for this blog with its weekly midnight Sunday deadline.

          Every writing day is different depending on deadlines, but, if forced to give hard numbers, on average I write about four hours a day and edit about three hours, but not in solid blocks. I start off writing, but if my thoughts and ideas falter, I switch to editing or planning other writing projects.

When I need a break, I take the dogs out to play ball, work around the house, complete what’s on my To-Do List, read books to review, or organize my freelance projects. Then I return happily to my writing desk. Writing is not only one of my jobs, it’s my calling.

This schedule sounds idyllic, but writing and editing are hard work. Fresh eyes are needed so breaks are necessary. Also, I’ve given only average hours for writing.

In reality, during the monthly deadline week for the magazines, I often work fifteen hours a day for four or five days writing, editing, and proofing to get the issues to the printer on time. If I waited until the last minute to write my blog post, I write and edit just that for four or five hours straight. I also have to meet deadlines for my freelance projects whatever time that takes.

Add to that, I’m human so when there is too much going on (visitors, a sick dog, a broken refrigerator, etc.), I sometimes rebel by putting off writing—a double punishment to myself as I’m not doing something I love/need to do and then I feel more pressure which makes writing harder.

Don’t make writing harder for yourself. Include it in your daily schedule.

Writers write. That’s the true writing schedule I live by every day.

Tips for Self-Editing

From Kate's Writing Crate...

            Learning to self-edit is a skill we can improve. There are books and classes, but, in my experience, actual experience is the best way to learn. 

When I first started working for a monthly magazine, I was a good writer with room for improvement. Writing up to four articles a month for years taught me to be more organized, concise, and clear. Writing up to eight articles in a month for several magazines then became possible. Fact checking and copyediting for all these articles made me a better writer and a beginning editor, too.

     

I was good friends with an editor at the time so I asked her how I could become an editor one day. She gave me some excellent advice: Pick up a local newspaper and read it looking only for errors—grammatical and factual—then correct them using proofreader's marks and writing corrections like a professional. (I used Go Ahead…Proof It by K. D. Sullivan as a guide.) Rewrite captions to be punchier. Pick paragraphs at random and cut the word count by 10% without losing any facts or meaning while making sure there are transitions, then work up to 20%.

      

These practical exercises build our skills to catch and make corrections, smooth transitions, generate interest, and help make our writing more pleasurable to read. However, other editing changes are more subjective. Style varies person to person and publication to publication. The more you practice, the more your style will develop.

      

When it comes to your own work, it's best to build into any deadlines a day or two to put pieces aside so self-editing can be done with fresh eyes. Then print your work out and use a red pen to make corrections.

      

Start with the basics. Check for grammatical and spelling errors. Use references like The Chicago Manual of Style and refdesk.com. Double check the spellings of names and titles. In fiction, keep a list of each characters' physical attributes so you don't change eye or hair color partway through the story.

   

As we self-edit, it's vital to keep our writing voices strong. Our voices are what first appeal to our readers then become memorable to them.

     

But also keep your readers in mind. Among other things, this means using the appropriate vocabulary and correct technical jargon. Be clear. Give your readers credit for general knowledge, but include background information or explanations where needed.

      

Self-editing is in part instinctive, too. We recognize what sounds good so read pieces aloud. Rewrite passages that are awkward or unclear. Clarity counts. We know when we use the right word in the right place; double check that you did. Write true to yourself and your voice will shine through.

      

As the saying goes: Easy reading means hard writing—and great self-editing!

   

What makes self-editing easier for you?