5 Tips for Finding Errors in Your Writing

1 – Utilize an editor

The most common mistakes are minor, such as misspellings or incorrect use of punctuation. Other common errors are incorrect word use (their, they’re, there). A professional copyeditor is adept at noticing and correcting these kinds of mistakes. Do not make the mistake of relying solely upon a computerized spell-checker, which cannot tell the difference between “worse” and “worst” since they are both properly spelled words. Use an editor – a human one. Good self-publishing options will provide copyediting and other more advanced services. Be sure to ask your rep.

2 – Get a second (and third) set of eyes

Even if you do not wish to pay a professional, anyone who reviews your writing will find mistakes you invariably miss. Since you are overly familiar with your own work you are much more likely to miss obvious mistakes because your mind already knows what it is supposed to say, rather than what it actually says. When someone else reads your work, they have no preconceived notions about your writing. In addition to finding mistakes, other people may offer helpful suggestions to make your business writing stronger.

3 – Come back to it later

Do you wait long enough after writing something to begin editing it? Many writers edit their work as they write it. Not only does this slow down the creative process, it increases the chance that your mind will ignore blatant errors in deference to your intentions. Once your brain thinks a paragraph is free from errors, it tends to overlook any new errors that are introduced during the rewriting process. Put your writing away for several hours, days, or weeks and revisit it later. After some time away from your work, you will be more likely to read the words as they appear on the page, not as you envisioned them in your mind. The mind is error-free, the page is not.

4 – Read your material backwards

You are only familiar with your writing in one direction – forward. Reading your material backwards makes it seem entirely different and fools your mind into ignoring the intention and only concentrating on the reality. Furthermore, your critical view of the writing at its most technical level will not be corrupted by the flowing exposition you have massaged into sparkling prose. When you read your manuscript backwards, it becomes a collection of words. Without contextual meaning, the brain has nothing to focus upon other than the words themselves. Mistakes literally jump off the page.

5 – Read your material out loud

When you read words aloud, your brain must slow down and concentrate on the material. How fast can you read the following sentence? The quick brown fox jumped over the lazy dogs. Now how fast can you read it out loud? It takes at least twice as long, and those precious milliseconds sometimes make all the difference between a typo that is missed, and one that is caught and corrected.

As a popular Internet posting informed us in 2003, it deosn’t mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht the frist and lsat ltteer be in the rghit pclae. The rset can be a toatl mses and you can sitll raed it wtihuot any porbelm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe. But try raednig tihs out luod and see how far you get. An extra bonus for reading your material out loud is that you may discover stumbling blocks like awkward sentence structure and choppy dialogue.



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Self Published Book Review of the Week: Titus: The Tragic Death of an Emperor

Titus: The Tragic Death of an Emperor

by Leon Newton

This self-published book was recently reviewed by Peter M. Fitzpatrick:

“Your jails are filled with paupers, not criminals, and the gutters are filled with the heads of those who would dare to question the system.”

In an era when American soldiers have given their lives so that Iraqi people can exercise the democratic vote, when questions about Afghani presidential voting fraud get international attention, plays like this one have a special resonance. They do so by reminding us that these ideas and values have been with us for a very, very long time. Set in the reign of a fictional Roman emperor in the first century of the common era, Titus is the story of the fault lines and weakness that ran through the fabric of Roman society after it threw off republican forms of governance and law for monarchical and autocratic ones. Through economy of setting and starkly rendered characters, themes and issues of timeless power begin to emerge into the foreground of the story. Simple sounding ideas like democracy and truth, trust, mercy, justice, and the state find embodiment and representation in this short, two-act drama.

It is not an accident that this first century story of Roman political intrigue and double-dealing should have a mirroring effect for us today. Our very own concepts of checks and balances, separation of powers, term limits, and the power of veto are ultimately derived from the ancient Roman constitution. They had these ideas too. In fact, when we witness such things as pro-democracy protesters being clubbed and killed in the streets of Iran, we see elements of this play being enacted on the stage of life. They are powerful and very much living ideas. The author has done well to render them somewhat larger than life and almost archetypically. Issues such as truth and justice may seem abstract and airy. They are not to those who do not have them. That is perhaps what this play is mostly about. And in a time when torture, terror, and freedom operations are on the tips of all our tongues, it is wonderful that he has done so.

For more information or to order the book, visit the author’s webpage: www.outskirtspress.com/professorleonnewton



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Self-publishing Manuscript Length Information

As you continue to develop your content, consider your market, and research self-publishing options, it might be helpful to consider publishing standards regarding page count.

The most important thing to recognize is the difference between your manuscript page size (which is most likely 8.5 x 11) and your published book trim size (which will most likely be smaller). Whenever a publisher discusses page count, or per-page pricing, it is based upon the size of the published page.

The most common published book trim sizes are 5.5 x 8.5 and 6 x 9, although many publishers will offer several more options.

If your manuscript is 100 pages long at 8.5 x 11, you probably have closer to 200 pages of finished text when the book is published. The good news is, your book just got twice as long, which in many cases improves the perceived value of your published book. On the other hand, some authors will be surprised when they see pricing based upon 200 pages instead of 100. Be prepared.

Keep in mind that production cost is directly related to page count. The more pages your book has, the more it will cost to print. Therefore, most authors keep their books between 100-300 published pages.

Have fun and keep writing.


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Self-Publishing ask the Book Doctor: POV in Fiction

Q: Can you tell me if editors (and even reviewers) specifically check or look out for consistency of viewpoint in a novel? I have been reading about being consistent with time and with how close you focus with one or many characters, and it seems a little confusing. Is this something I should take a class in? I was just wondering if many published authors keep these things in mind when writing a story.

A: Editors come in many forms. Some simply handle acquisitions for a publisher and do not edit at all, much less comment on viewpoint. Some editors edit for grammar, punctuation, and syntax and do not pay attention to viewpoint. Only an editor or book doctor who also analyzes the content will pay attention to, point out, or correct viewpoint flaws, which certainly should be addressed, because publishers want clear, consistent, and logical viewpoints in novels.

Viewpoint (also called point of view or POV) is a tricky matter. It refers to which character perceives that particular scene—in whose point of view the action takes place.

Consistency is important in that the point of view should be only one per scene (that is, never get into the head of more than one character per scene). You can get into another character’s point of view by starting a new scene.

Your best bet is to use only main characters as point-of-view characters, and the best novels have no more than three main characters. How the time per character is divvied up, though, does not matter. The choice is up to the author.

I think it’s easier to find a book on point of view than find a class that specifically addresses that issue, but no matter how you choose to educate yourself, if you want to write novels, you do need to know about point of view and how and when to use it to its best advantage.



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Bobbie Christmas, book editor, author of Write In Style (Union Square Publishing), and owner of Zebra Communications, will answer your questions, too. Send them to Bobbie@zebraeditor.com. Read more “Ask the Book Doctor” questions and answers at http://www.zebraeditor.com.