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We discuss editorial humility and the question we should ask ourselves at the start of every project: Who’s the boss of the book?
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Example from published fiction
Adrian McKinty, The Chain, Orion, 2020 (Kindle version, Chapter 1) The doors power lock and Kylie curses herself for missing a chance. She could have unclicked the seat belt, opened the door, rolled out. Blind panic is beginning to overwhelm her. |
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Action beats
Action beats help readers imagine how a character is physically behaving and can give us insights into the environment and the person’s traits. They bring movement to a scene.
Perhaps a viewpoint character stands up because the overly soft chair is making their sciatica play up; maybe an object’s being discussed, and they push it away in disgust; or perhaps they rub their bare feet across the rough pile of a rug in order to soothe themselves in an unformattable situation.
These beats are particularly useful when an author wants to convey emotions being experienced by a non-viewpoint character whose internal head-space isn’t accessible in limited narrative styles. Perhaps wiping sweat off their forehead indicates they’re feeling nervous, or their fidgeting with a beer mat indicates boredom.
Perhaps a viewpoint character stands up because the overly soft chair is making their sciatica play up; maybe an object’s being discussed, and they push it away in disgust; or perhaps they rub their bare feet across the rough pile of a rug in order to soothe themselves in an unformattable situation.
These beats are particularly useful when an author wants to convey emotions being experienced by a non-viewpoint character whose internal head-space isn’t accessible in limited narrative styles. Perhaps wiping sweat off their forehead indicates they’re feeling nervous, or their fidgeting with a beer mat indicates boredom.
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Example from published fiction
Harlan Coben, Win, Arrow, 2021 (Kindle edition, Chapter 1) "You're a little slow, aren't you, Teddy?" I sigh. "No, I won't excuse you. There is no excuse for you. Are you with me now?" The scowl slowly returns to his face. "You got a problem?" |
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Inaction beats
Inaction beats are pauses, hesitations and moments of silence or stillness. Even when these are short, they help the reader understand pace. They bring breathing space to a scene.
They’re powerful because they can show rather than tell more than one character’s contemplation, consideration, indecision, or shock. The prose might state the stillness or silence directly, or it can be nuanced and come in the form of a character’s taking stock of a situation or bracing themselves for a potential upset.
They’re powerful because they can show rather than tell more than one character’s contemplation, consideration, indecision, or shock. The prose might state the stillness or silence directly, or it can be nuanced and come in the form of a character’s taking stock of a situation or bracing themselves for a potential upset.
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Example from published fiction
Kate Hamer, The Girl in the Red Coat, Faber & Faber, 2015 (Kindle edition, Chapter 6) When I wake up in the morning everything's wonderful. For a moment I can't understand why. Then I remember: Mum's said if the weather's good we can go to the storytelling festival and that's today. |
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Description beats
Description beats give readers objective information about the character or environment. They bring stability to a scene.
They help readers understand what characters are wearing, what they look like, what’s surrounding them, what they can hear, see, smell, touch or taste. That brings the scene alive.
They help readers understand what characters are wearing, what they look like, what’s surrounding them, what they can hear, see, smell, touch or taste. That brings the scene alive.
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Example from published fiction
Harlan Coben, Win, Arrow, 2021 (Kindle edition, Chapter 1) His name is Teddy Lyons. He is one of the too-many assistant coaches on the South State bench. He is six foot eight and beefy, a big slab of aw-shucks farm boy. Big T—that's what he likes to be called—is thirty-three years old, and this is his fourth college coaching job. From what I understand, he is a decent tactician but excels at recruiting talent. |
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Dialogue beats
Dialogue beats tell readers what characters are saying and let readers hear those distinct voices in action. Vocal speech can be heard, and so dialogue beats bring expression to a scene.
Like action beats, dialogue is an opportunity to bring depth to non-viewpoint characters in limited narrative styles. Their internal opinions and feelings – which we don’t have access to because we’re not in their heads – are revealed to us.
Like action beats, dialogue is an opportunity to bring depth to non-viewpoint characters in limited narrative styles. Their internal opinions and feelings – which we don’t have access to because we’re not in their heads – are revealed to us.
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Example from published fiction
Adrian McKinty, The Chain, Orion, 2020 (Kindle version, Chapter 1) “What should I tell her?” the man asks. “Don’t tell her anything. Tell her to shut the hell up,” the woman replies. “You need to be quiet, Kylie,” the man says. |
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Why mixing up beats makes scenes more interesting
Too much of anything is rarely a good thing, and the same applies to a novel’s beats. When a scene’s constructed primarily around a particular type of beat, there’s a risk the reader will become frustrated and lose interest.
Writers and their publishing teams can use the drafting and editing stages to analyse the prose and evaluate whether there’s sufficient balance.
Writers and their publishing teams can use the drafting and editing stages to analyse the prose and evaluate whether there’s sufficient balance.
How to analyse a scene for beat balance
Must all 5 beats be introduced? No, certainly not. There’s no formula to writing compelling fiction. Good line craft means making a judgement about what’s missing and what might be added.
Approach 1
One way of approaching this is to think not in terms of the different types of beats but instead in terms of what they contribute, and whether there’s too much or too little.
And so writers and their editors can ask: Which of the following should the reader experience in this scene, and are they present? Here’s a summary of those elements:
Approach 1
One way of approaching this is to think not in terms of the different types of beats but instead in terms of what they contribute, and whether there’s too much or too little.
And so writers and their editors can ask: Which of the following should the reader experience in this scene, and are they present? Here’s a summary of those elements:
- Sensibility (via emotion beats)
- Movement (via action beats)
- Breathing space (via inaction beats)
- Stability (via description beats)
- Expression (via dialogue beats)
Example: Is too much expression dampening the scene?
An over-reliance on dialogue – even if it’s extremely well written – leaves a reader with no nudges about the emotions characters are experiencing or the environment they’re operating in. It’s two or more talking heads on a page.
If there should be expression in the scene, but the characters are chattering too much, think how you might turn the volume down, or at least disrupt it.
Consider introducing a few action, description and emotion beats. Or even turn some of the information contained within the speech into narrative.
An over-reliance on dialogue – even if it’s extremely well written – leaves a reader with no nudges about the emotions characters are experiencing or the environment they’re operating in. It’s two or more talking heads on a page.
If there should be expression in the scene, but the characters are chattering too much, think how you might turn the volume down, or at least disrupt it.
Consider introducing a few action, description and emotion beats. Or even turn some of the information contained within the speech into narrative.
Example: Is too much stability flattening the scene?
An over-reliance on objective description – even if it gives the reader a rich sense of the environment – leaves readers with no way of accessing mood. It’s a menu of what’s where.
Description should stabilise the scene, not crush it so that it’s as flat as a pancake.
Help readers get under the skin of the characters and their environment by adding emotion or dialogue, or a little action that gives the scene some movement.
An over-reliance on objective description – even if it gives the reader a rich sense of the environment – leaves readers with no way of accessing mood. It’s a menu of what’s where.
Description should stabilise the scene, not crush it so that it’s as flat as a pancake.
Help readers get under the skin of the characters and their environment by adding emotion or dialogue, or a little action that gives the scene some movement.
Example: Is too much sensibility overwhelming the scene?
An over-reliance on emotion can be draining and doesn’t give the reader the chance to take a breath. It’s like a counselling session.
If there should be emotion, but a character’s self-absorption is swamping a reader’s ability to make sense of the environment, introduce description and action beats to ground the reader a little more objectively.
An over-reliance on emotion can be draining and doesn’t give the reader the chance to take a breath. It’s like a counselling session.
If there should be emotion, but a character’s self-absorption is swamping a reader’s ability to make sense of the environment, introduce description and action beats to ground the reader a little more objectively.
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Approach 2
Another option is to colour-code the text in a scene according to what type of beats are in play. This can help authors and editors evaluate whether one type of beat is overbearing, and where they might add in additional types of beat to disrupt that dominance. It's a powerful way of communicating the problem visually and quickly. |
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I've carried out a sample scene analysis using this method with a stunning excerpt from SA Cosby’s Razorblade Tears. Use the button below to get your free copy.
Summing up
Using different types of beats in a scene helps readers to understand where the character is, what’s around them, how they feel and what’s important to them. Over-reliance on one type can lead to boredom and frustration; mix things up to keep them interested and turning the page.
Other resources you might like
- Editing Fiction at Sentence Level: book
- Fiction editing line craft: books
- How to Line Edit for Suspense: multimedia course
- How to Write the Perfect Editorial Report: multimedia course
- Narrative Distance: multimedia course
- Resource library
- Switching to Fiction: multimedia course
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Love Twitter for engaging with other editorial and language professionals? We've got one tip for you: Don't engage with content you hate.
Summary of Episode 103
- How Google's algorithm works
- How Twitter's algorithm works
- Why tweeting about content you hate makes it more visible on Twitter and on the web
- Why tweeting about content you hate means you're assisting the creator with marketing
- Using Twitter to elevate the content you love and the causes you care about
Related resources
- Editor Website Essentials (multimedia course)
- Emotional Marketing that Gets Editors Work (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- Resource library for editors, proofreaders and writers
- Social Media for Business Growth (multimedia course)
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Find out why the concept of conscious language is foundational to professional fiction-editing practice.
What’s in this post …
- What is ‘conscious language’?
- ‘But I’m not part of the “woke” brigade’
- The foundations of editing
- Are you part of the professional editing brigade?
- Why conscious language is also about successful authoring
- Why conscious language is about consideration rather than prescription
- A case study
- Helping our clients
- Tools that help with conscious language
What is ‘conscious language’?
Karen Yin, founder of Conscious Style Guide, defines conscious language as ‘language rooted in critical thinking and compassion, used skilfully in a specific context'. Using conscious language involves, she says, asking ourselves the following:
- Who is my audience?
- What tone and level of formality do I want?
- What am I trying to achieve?
- How might history change the impact of my language choices regardless of my intentions?
- Who’s being excluded?
‘But I’m not part of the “woke” brigade’
Conversations about ‘conscious language’ are welcomed by many in the editing community. Now and then, however, these result in references being made to the ‘woke brigade’ from some quarters.
Oxford Dictonaries defines ‘woke’ as:
Oxford Dictonaries defines ‘woke’ as:
Alert to injustice and discrimination in society, especially racism.
Merriam-Webster suggests:
Aware of and actively attentive to important facts and issues (especially issues of racial and social justice).
Neither mention that the term is sometimes used as a slur against people who are judged to be overly politically correct, over-sensitive, overly concerned with not offending, overly prescriptive.
So must editors be ‘woke’? How we answer that will depend on what we think editors are supposed to do.
The foundations of editing
Editing at its very foundations requires us to actively think about the words on the page and whether they’re doing what the author intends.
Since how we approach language will be influenced by the bubble of our own lived experience, editorial practice requires listening to others who offer alternative insights – ones we were perhaps previously unaware of – into the meaning of words and the consequences of their use.
It means allowing our prior assumptions to be challenged, to consider that what we thought we understood might need revising.
And it means opening our minds to the opportunities that are already alive in the English language – words that explain rather than exclude, and that are rich in both sense and sensibility.
If, like me, you’re not keen on the term ‘woke’ because its negative usage has become a distraction, try an alternative.
My preference is ‘professional editor’.
Since how we approach language will be influenced by the bubble of our own lived experience, editorial practice requires listening to others who offer alternative insights – ones we were perhaps previously unaware of – into the meaning of words and the consequences of their use.
It means allowing our prior assumptions to be challenged, to consider that what we thought we understood might need revising.
And it means opening our minds to the opportunities that are already alive in the English language – words that explain rather than exclude, and that are rich in both sense and sensibility.
If, like me, you’re not keen on the term ‘woke’ because its negative usage has become a distraction, try an alternative.
My preference is ‘professional editor’.
Are you part of the professional editing brigade?
Conscious language serves authors – the people who pay editors – and serves readers – the people who pay authors.
The professional editor who isn’t alert to wording that distracts from the message rather than amplifying that message isn’t doing the job that a professional editor is supposed to do: being paid to help the author prepare their book for readers.
And so regardless of the editor’s personal opinion on this word or that word, regardless of whether the editor uses the term ‘woke’ to describe their mindset or to cast a slur, there’s a business case for conscious language.
The professional editor can’t sidestep that because it’s not about us, and it’s not our book. It’s about the author, and it’s their book.
The professional editor who isn’t alert to wording that distracts from the message rather than amplifying that message isn’t doing the job that a professional editor is supposed to do: being paid to help the author prepare their book for readers.
And so regardless of the editor’s personal opinion on this word or that word, regardless of whether the editor uses the term ‘woke’ to describe their mindset or to cast a slur, there’s a business case for conscious language.
The professional editor can’t sidestep that because it’s not about us, and it’s not our book. It’s about the author, and it’s their book.
Why conscious language is also about successful authoring
Readers aren’t homogenous – they don’t all live in the same country, speak the same English, or spell with the same letters. They aren’t wrapped in the same skin, don’t share the same sexual orientation, practise the same faith, have identical anatomies or have one set of homogenous secondary sex characteristics.
Most authors want to sell as many books as they can. That means engaging as many readers as they can. Engaged readers focus their attention on story. Novels containing words and phrases that distract from story, rather amplifying it, don’t serve authors.
Deliberately reviewing novels for words and phrases that might disengage a chunk of the potential readership is therefore nothing more than good commercial practice, and it’s the editor’s job to support the author who’s striving to create something that will give them a return on their investment.
Most authors want to sell as many books as they can. That means engaging as many readers as they can. Engaged readers focus their attention on story. Novels containing words and phrases that distract from story, rather amplifying it, don’t serve authors.
Deliberately reviewing novels for words and phrases that might disengage a chunk of the potential readership is therefore nothing more than good commercial practice, and it’s the editor’s job to support the author who’s striving to create something that will give them a return on their investment.
Why conscious language is about consideration rather than prescription
When we ask our clients to consider the impact of a particular word, we’re not prescribing ‘right’ or ‘wrong’. We’re helping them make informed decisions predicated on an acknowledgement that not all words in the English language have a single, universally accepted meaning.
The meaning we attach to some words might differ depending on, for example, where we live, how old we are, and how we’re racialised, sexualized and gendered by others. In other words, what I mean when I use a word might not be what you mean when you use that word.
The meaning we attach to some words might differ depending on, for example, where we live, how old we are, and how we’re racialised, sexualized and gendered by others. In other words, what I mean when I use a word might not be what you mean when you use that word.
A case study
My author is a white British man. I know very little else about his identity but I’ve line edited two books for him and thoroughly enjoyed every moment. In the second project, a viewpoint character uses the word ‘thug’ to describe an unpleasant minor character.
In Britain, the word ‘thug’ isn’t racialized (at the time of writing and as far as I’m aware) – meaning the term isn’t typically assigned to a particular racial group. That’s not the case in America, where, I’ve learned, the term is heavily racialized.
My author is British. His characters are British. His book’s setting is Britain. The term ‘thug’ in that context therefore doesn’t jar … as long as we view the project within that bubble of author–character–location.
However, that’s potentially problematic. There’s something missing from that bubble: the people who’ll determine whether my author’s book is a commercial success – readers.
My author’s keen to sell his books all over the world, including into America, and for that reason I suggested some alternatives to the word ‘thug’, and explained why I think he’d do well to choose one of them.
The choice was his because it’s his book. And he decided to heed the guidance because both books I’ve worked on have explored the impact of predatory behaviour and abuse.
He writes with compassion and mindfulness, and says he doesn’t want to include a word in his book that might distract one of his American readers unless it’s critical to the character’s arc. And in doing so he's considered:
My author is a white British man. I know very little else about his identity but I’ve line edited two books for him and thoroughly enjoyed every moment. In the second project, a viewpoint character uses the word ‘thug’ to describe an unpleasant minor character.
In Britain, the word ‘thug’ isn’t racialized (at the time of writing and as far as I’m aware) – meaning the term isn’t typically assigned to a particular racial group. That’s not the case in America, where, I’ve learned, the term is heavily racialized.
My author is British. His characters are British. His book’s setting is Britain. The term ‘thug’ in that context therefore doesn’t jar … as long as we view the project within that bubble of author–character–location.
However, that’s potentially problematic. There’s something missing from that bubble: the people who’ll determine whether my author’s book is a commercial success – readers.
My author’s keen to sell his books all over the world, including into America, and for that reason I suggested some alternatives to the word ‘thug’, and explained why I think he’d do well to choose one of them.
The choice was his because it’s his book. And he decided to heed the guidance because both books I’ve worked on have explored the impact of predatory behaviour and abuse.
He writes with compassion and mindfulness, and says he doesn’t want to include a word in his book that might distract one of his American readers unless it’s critical to the character’s arc. And in doing so he's considered:
- who his audience is
- what he's trying to achieve
- how history AND geography affect the impact of his language choices regardless of his intentions
- those who might be excluded if he weren't to consider other options.
Helping our clients
A conscious-language approach to editing therefore helps us to help our clients. We can share the knowledge we’ve acquired from our colleagues in the publishing community, knowledge that our authors might not be aware of.
And in doing so, they can publish a book that keeps its audience wanting to turn the pages rather than rip them out.
Summing up
If you think conscious language is a load of old ‘woke’ codswallop, consider whether editing is the right job for you. Editors are required at the very core of their practice to consider the purpose and effectiveness of the words in front of them.
That doesn’t mean we have to know it all – we can’t, not least because the language landscape is always in flux. It does mean we have to be ready to listen, learn, and advise so that our clients can make informed – conscious – decisions.
And we don’t have to do it alone. There’s a large and diverse community of editors and writers who are with us on that journey, and tools to help us improve our practice.
That doesn’t mean we have to know it all – we can’t, not least because the language landscape is always in flux. It does mean we have to be ready to listen, learn, and advise so that our clients can make informed – conscious – decisions.
And we don’t have to do it alone. There’s a large and diverse community of editors and writers who are with us on that journey, and tools to help us improve our practice.
Tools that help with conscious language
Listen to podcast episodes and download a free booklet with links to useful resources created by people in the publishing community who are passionate about language and alert to its power.
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Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Writing a business book? Answer these five questions to make sure you're on the right track.
Summary of Episode 102
- Writing regularly
- Niche target audiences
- Building a reader base
- Authority and credibility
- Timeliness considerations
Related resources
- Branding for Business Growth (multimedia course)
- How to Earn Passive Income (book)
- Writing resources
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
- Link: https://filmmusic.io/song/4593-vivacity
- Licence: http://creativecommons.org/licenses/by/4.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Writers can place dialogue tags before, between and after speech – there’s no right or wrong way to do it. Tag-first speech does have a different feel to it though, particularly when the construction is used frequently. This post explores the impact on your novel.
In this post ...
Read on to find out more about the following:
- What a dialogue tag is
- Back-loaded tags
- Mid-loaded tags
- Front-loaded tags
- Impact level, psychic distancing and lyricism in front-loaded tags
What a dialogue tag is
A dialogue tag is the short piece of text that tells a reader that a character is speaking, and which character is speaking. For example:
In the above examples, the tags are shown in bold and comprise the subject (someone’s name or their pronoun) doing the speaking, and the verb from which the reader can infer that the action of speech is taking place.
Commonly used effective verbs include ‘said’, ‘asked’, ‘replied’, ‘whispered’, ‘muttered’, ‘yelled’, ‘continued’ and ‘added’.
Ineffective dialogue tags use verbs that bring to mind action that’s not related precisely to speech but to some other behaviour. Examples include ‘sneered’, ‘grimaced’, ‘laughed’, ‘harrumphed’, ‘huffed’, ‘sighed’, ‘snarled’ and ‘urged’.
- Are you enjoying reading that blog post?’ Louise said.
- ‘Are you enjoying reading that blog post?’ she asked.
In the above examples, the tags are shown in bold and comprise the subject (someone’s name or their pronoun) doing the speaking, and the verb from which the reader can infer that the action of speech is taking place.
Commonly used effective verbs include ‘said’, ‘asked’, ‘replied’, ‘whispered’, ‘muttered’, ‘yelled’, ‘continued’ and ‘added’.
Ineffective dialogue tags use verbs that bring to mind action that’s not related precisely to speech but to some other behaviour. Examples include ‘sneered’, ‘grimaced’, ‘laughed’, ‘harrumphed’, ‘huffed’, ‘sighed’, ‘snarled’ and ‘urged’.
Positioning tags in fiction:
Back-loading, mid-loading and front-loading
There is no right or wrong position for a dialogue tag. Authors can mix them up as they choose. Tags can even be omitted when it’s clear who’s speaking.
So where might they go?
Dialogue tags can be front-loaded, mid-loaded and back-loaded.
Back-loaded dialogue tags
Back-loaded tags come after the speech and are used commonly. Consider using them in the following circumstances:
EXAMPLES
So where might they go?
Dialogue tags can be front-loaded, mid-loaded and back-loaded.
Back-loaded dialogue tags
Back-loaded tags come after the speech and are used commonly. Consider using them in the following circumstances:
- Length of dialogue: Your character’s dialogue is a short burst and you want to ensure the reader’s attention is focused on what’s being said straightaway, rather than who’s saying it.
- Impact level: The dialogue is relevant but low key. There’s no punchline that might be flattened by a tag.
EXAMPLES
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‘I won’t be long,’ Bond said, opening the door.
(Boyd: Solo) “Me and Jaymie will call it. You want your boy to go too?” he said. (Crosby: Blacktop Wasteland) |
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Mid-loaded dialogue tags
Mid-loaded tags come between the speech. They, too, are a popular choice for writers. Consider this option in the following circumstances:
- Length: The dialogue stream is longer and you want to ensure your readers don’t wait too long to discover who’s speaking.
- Rhythm and context: You want to introduce a natural pause so that the speech doesn’t turn into a monologue. You can also supplement the tag with descriptive action that grounds the dialogue in the environment and helps the reader picture the scene.
- Impact level: You’re written a witty, suspenseful or impactful punchline into the dialogue and don’t want it interrupted or flattened by a tag.
- Interrupted speech: You’ve written speech that’s interrupted abruptly and don’t want the tag interfering with the interrupter’s speech.
EXAMPLE 1
This first example is from David Rosenfeld's Collared.
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“Andy,” Laurie says, draping her arm around me. "We love you deeply. As far as Ricky and I are concerned, the sun rises and sets on you. And it is from that place of love and that place of the rising and setting sun that we say this to you: 'Sign the damn form and send it in."'
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Notice how in the above example of single-character dialogue, which comprises a total of 51 words, the impact point is with the closing sentence: ‘Sign the damn form and send it in’. Because the tag’s located earlier, that dialogue gets to shine.
Compare the original with this version, which I’ve given a back-loaded tag:
“Andy, we love you deeply. As far as Ricky and I are concerned, the sun rises and sets on you. And it is from that place of love and that place of the rising and setting sun that we say this to you: 'Sign the damn form and send it in,"' Laurie says, draping her arm around me.
Back-loading the tag strips ‘Sign the damn form and send it in’ of its oomph.
EXAMPLE 2
Here’s an example from Linwood Barclay’s Parting Shot that shows how mid-loaded tags can protect the flow of interrupted dialogue.
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“Ms. Plimpton,” Duckworth said. “I don’t know if you remember me, but I’m Detective Barry—”
“I know exactly who you are,” she said, and reached out and took his hand in hers. |
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Notice how by mid-loading the dialogue tag, Ms. Plimpton’s interruption – indicated by the closed-up em dash at the end of Duckworth’s speech – feels more authentic because it’s given the space to flow.
Front-loaded dialogue tags
Front-loaded tags come before the dialogue. This position is the one least used in most commercial fiction, and there’s a good reason for that: reader focus.
Those familiar with advice on writing for the web will know that web copy needs to be front-loaded with relevant keywords. This means that the important stuff comes first. That’s because visitors to websites are busy and scanning for solutions to their problems. When they don’t get them fast, they become frustrated and are more likely to jump to another site.
If the novelist’s done their job well, readers will invest way more time in soaking up their prose than if they were shopping for a new duvet cover. Even so, every word in a piece of fiction needs to count, and readers should still be focusing on the most important stuff.
And so if you’ve written great dialogue, most of the time you’ll want to ensure your readers are focusing on it as soon as possible. Front-loading the speech, rather than the tag, helps achieve that.
That’s not to say that front-loaded dialogue tags don’t have their place. They do, and they can be extremely effective when used purposefully.
When front-loaded tags work:
Impact level, psychic distancing and lyricism
Let’s have a look at how a front-loaded dialogue tag can be used to superb effect when used purposefully.
Impact level
A front-loaded dialogue tag can function in the same way as a mid-loaded one when it comes to speech containing impact points. Again, we’re talking about dialogue that’s witty, suspenseful, or closes with an impactful line that you don’t want to flatten with a tag.
EXAMPLE
Let’s return to the excerpt from Collared. Although Rosenfelt uses a mid-loaded tag, he could have opted for a front-loaded one and preserved the oomph in his closing sentence. Here’s how it might look:
Impact level
A front-loaded dialogue tag can function in the same way as a mid-loaded one when it comes to speech containing impact points. Again, we’re talking about dialogue that’s witty, suspenseful, or closes with an impactful line that you don’t want to flatten with a tag.
EXAMPLE
Let’s return to the excerpt from Collared. Although Rosenfelt uses a mid-loaded tag, he could have opted for a front-loaded one and preserved the oomph in his closing sentence. Here’s how it might look:
|
Laurie drapes her arm around me and says, “Andy, we love you deeply. As far as Ricky and I are concerned, the sun rises and sets on you. And it is from that place of love and that place of the rising and setting sun that we say this to you: 'Sign the damn form and send it in."'
|
|
Psychic distancing
If you want the prose to feel more expository so that the reader is less closely connected to the character, front-loading the tag might be just the ticket. Doing this widens the psychic (or narrative) distance.
A tag tells of speaking whereas dialogue shows what’s being said. By placing the tag first, you draw the reader away from the character’s voice and give the prose a more objective feel.
EXAMPLE
This excerpt is from Jens Lapidus’s Life Deluxe.
|
They veered onto a side street off Storgatan.
Jorge's phone rang. Paola: "It's me. Que haces, hermano?" Jorge thought: Should I tell her the truth? "I'm in Södertälje." "At a bakery?" Paola: J-boy loved her. Still, he couldn't take it. He said, "Yeah, yeah, ‘course I'm at a bakery. But we gotta talk later—I got my hands full of muffins here." They hung up. |
|
Lapidus has front-loaded dialogue tags and thoughts in this excerpt, and it’s an excellent example of psychic distancing in action. The centring of the characters rather than the speech gives the prose a detached, clinical feel that shows rather than tells mood.
Jorge is a drug-dealer operating in Stockholm’s shady underworld. He’s only just out of jail but already he’s frustrated with a life of honesty. In fact, he’s got only one thing on his mind: easy money.
The wider psychic distance means we get to see the world through Jorge’s eyes but without getting too close to him. Perhaps Lapidus doesn’t want us to empathize with him too much. Instead, he widens the psychic distance just enough that we can make up our own minds about whether Jorge deserves the trouble coming his way.
Lyricism
Repeated use of front-loaded tags with short bursts of dialogue can introduce a lyricism into prose whereby the tags function as more than just indications of who’s speaking. They become part of the poetry.
This approach can work particularly well with parody, satire and comedic prose.
EXAMPLE
I posed my conundrum to the class and waited for their insights on what I considered to be my finest theoretical work to date.
Mari said, ‘No.’
Ahmed said, ‘Yes.’
Sol said, ‘Maybe.’
Dave said, ‘I couldn’t give a shit. Is that the best you’ve got?’
Arthur said nothing, just yawned.
The bell rang. Suitably insulted, I raised the SIG, shot each student in the head, and retired to the staff room.
Mari said, ‘No.’
Ahmed said, ‘Yes.’
Sol said, ‘Maybe.’
Dave said, ‘I couldn’t give a shit. Is that the best you’ve got?’
Arthur said nothing, just yawned.
The bell rang. Suitably insulted, I raised the SIG, shot each student in the head, and retired to the staff room.
Notice how the multiple front-loaded dialogue tags are performing anaphorically. Anaphora is the purposeful repetition of words or phrases at the beginning of successive clauses.
It’s often used in poetry and speeches. When it’s used in novels, that repetition draws the reader's eye and can show rather than tell mood – boredom, monotony or, as in this case, disinterest. The tags are therefore key to the lyricism, and as important as the speech.
Summing up
Front-loading dialogue tags is something most authors tend to avoid. However, as is usually the case when it comes to line craft in fiction, there are no rules.
The key is to consider what purpose your tag is serving and how it can best amplify the speech, evoke mood, and improve rhythm.
The key is to consider what purpose your tag is serving and how it can best amplify the speech, evoke mood, and improve rhythm.
Cited sources
- Barclay, l., Parting Shot, Orion; 2017 (p. 380)
- Boyd, W., Solo: A James Bond Novel, Vintage, 2014 (p. 260)
- Crosby, SA, Blacktop Wasteland, Headline, 2021 (Chapter 1, Kindle edition)
- Lapidus, J, Life Deluxe, Pan, 2015 (Chapter 1, Kindle edition)
- Rosenfelt, D, Collared, Minotaur Books, 2017 (Kindle edition)
Fiction editing training: Books and courses
- Editing Fiction at Sentence Level (book)
- Fiction editing and writing resources (online library)
- How to Line Edit for Suspense (multimedia course)
- How to Write the Perfect Fiction Editorial Report (multimedia course)
- Narrative Distance: A Toolbox for Writers and Editors (multimedia course)
- Preparing Your Book for Submission (multimedia course)
- Switching to Fiction (multimedia course)
- What is anaphora and how can you use it in fiction writing? (blog post)
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Learn 5 tips on how to show rather than tell potential clients about your editing skills and knowledge.
Summary of Episode 101
- Booklets that perform like gifts
- Papers that offer authoritative analyses
- Audio that creates emotional connections
- Video that demonstrates how-to solutions
- Blog posts that make you findable
Related resources
- Blogging for Business Growth (multimedia course)
- Editor Website Essentials (multimedia course)
- Marketing Toolbox for Editors (multimedia course)
- That White Paper Guy
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
We're celebrating Episode 100 with podcasting tips for editors and proofreaders!
Summary of Episode 100
Listen to find out more about:
- Creating an episode – what's involved
- How long podcasting takes
- Efficiency strategies
- Working with a partner
- The costs of podcasting
- Accessibility challenges
Related resources
- Captivate (affiliate link)
- Audacity (free audio editing software)
- Editorial marketing resource library
- Editorial branding resource library
- Blogging for Business Growth (multimedia course)
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
In this episode of The Editing Podcast, we discuss some of the things we’ve learned about examining the words we use and the way we behave in shared editorial spaces.
Summary of Episode 99
Listen to find out more about:
- Familiarising ourselves with the rules of that space
- Acknowledging that our political, professional and ideological positions are not going to be the same as everyone else’s
- Recognizing the potential diversity of our editorial spaces
- Saying hello and introducing ourselves first
- Being prepared to be challenged
- Owning our words if we're challenged
- Acknowledging that intention not to hurt doesn’t absolve us of the responsibility for that hurt.
- Being prepared to feel uncomfortable
- Accepting our privilege without getting our knickers in a knot!
- How it's for the white, cis, straight etc people to do the work
Related resources
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Find out why standards are core to professional practice for any editor or proofreader who wants to be fit for purpose and trusted by clients.
Summary of Episode 98
Listen to find out more about:
- how professional standards are defined
- why they’re important for editors and proofreaders
- who’s setting them
- the tools some organisations are using to set standards and ensure that
- editorial practitioners demonstrate and uphold them.
Related resources
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Thinking of creating and delivering online editorial training courses? Here’s some guidance for editors and proofreaders on the tax implications and choosing a platform.
What’s in this post …
- Your online course and the tax authority in your own jurisdiction
- Your online course and the tax authority in other jurisdictions
- Finding a taxation-friendly training platform
- Understanding Merchants of Record
- Where I host my editorial training courses
- Summing up: What to consider
Your online course and the tax authority in your own jurisdiction
When we sell online training courses, we’re entering the world of digital services and products, as defined by the various tax authorities in jurisdictions all over the planet.
Not all digital services and products are created equally, and the rules in one country might be different in another. Even within a single jurisdiction, your online course might be treated differently in terms of tax depending on how you provide access to the content.
5 examples of online courses
Imagine you’re me, a UK resident offering online training courses. Here’s what the classifications might look like (though I’m no tax specialist) in 2022.
Not all digital services and products are created equally, and the rules in one country might be different in another. Even within a single jurisdiction, your online course might be treated differently in terms of tax depending on how you provide access to the content.
5 examples of online courses
Imagine you’re me, a UK resident offering online training courses. Here’s what the classifications might look like (though I’m no tax specialist) in 2022.
|
Online editing training course
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Classification in UK
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VAT must be charged to UK customers?
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|
EXAMPLE 1
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Digital service
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Yes
|
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EXAMPLE 2
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Not a digital service
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No
|
|
EXAMPLE 3
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Probably not a digital service
|
Probably no
|
|
EXAMPLE 4
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Possibly not a digital service
|
Possibly no
|
|
EXAMPLE 5
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Nebulous
|
Nebulous
|
Your online course and the tax authority in other jurisdictions
So you’ve worked out what the deal is for your own jurisdiction. However, when it comes to selling globally, where you live is irrelevant when it comes to consumption taxes like VAT.
Anyone offering online courses in a global market must know where their customer lives. And it’s the tax authority’s rules in the customer’s jurisdiction that determine whether we need to add a consumption tax to the price.
Which can be a monumental barrier for sole-trading editors and proofreaders. Why? because here's what we need to take responsibility for.
Our consumption tax responsibilities
Small-business owners selling digital products and services internationally must have a mechanism in place to:
That list is enough to deter any small-business owner from sharing their knowledge and charging for it. Which is a crying shame because the editorial community is passionate about training and CPD.
And the fact is that most of us don’t have the time or skills to do this work – unless we decide we're not actually going to be editors and trainers anymore, but full-time accountants instead.
Nor can we afford to hire an expensive specialist tax accountant who will do this for us – unless we want the entire exercise to become unprofitable.
So what do we do?
Anyone offering online courses in a global market must know where their customer lives. And it’s the tax authority’s rules in the customer’s jurisdiction that determine whether we need to add a consumption tax to the price.
Which can be a monumental barrier for sole-trading editors and proofreaders. Why? because here's what we need to take responsibility for.
Our consumption tax responsibilities
Small-business owners selling digital products and services internationally must have a mechanism in place to:
- ensure that our customers provide the necessary jurisdiction data on our invoices
- allow our customers to exempt themselves from the tax where appropriate
- calculate the appropriate tax rate for every customer
- review that tax rate regularly (because they change!)
- collect the tax from the customer
- remit the collected tax to every single relevant tax authority. That's right. Every single one.
That list is enough to deter any small-business owner from sharing their knowledge and charging for it. Which is a crying shame because the editorial community is passionate about training and CPD.
And the fact is that most of us don’t have the time or skills to do this work – unless we decide we're not actually going to be editors and trainers anymore, but full-time accountants instead.
Nor can we afford to hire an expensive specialist tax accountant who will do this for us – unless we want the entire exercise to become unprofitable.
So what do we do?
The solution: Find a taxation-friendly training platform
There is a solution. Training platforms are increasingly offering tax support to their trainers. When evaluating a training platform for its taxation-friendliness, it’s critical that we understand the concept of the Merchant of Record.
What is a Merchant of Record?
A Merchant of Record is the legal entity that usually:
When we choose a training platform that acts as the Merchant of Record, or includes a third-party integration that does the same, that leaves us free to get on with the business of editorial training rather than worrying about whether we’re tax compliant in every part of the world we’re selling to.
If the platform doesn't offer that, we're the Merchants of Record, and the buck's back with us.
What’s on offer?
Some training platforms are partial Merchants of Record. PayHip, for example, calculates, collects and remits VAT in the UK and Europe for me as a UK resident. However, I’m responsible for the tax compliance in all other jurisdictions ... Cue the worry.
Some training platforms include integrations that calculate the tax but don’t collect or remit it. That’s on us or our (expensive) specialist tax accountants. LearnWorlds is an example. The Quaderno app calculates what we owe to whom, but we have to do the rest ... Cue the worry.
Some training platforms act as full Merchants of Record, meaning they calculate, collect and remit all the tax for all jurisdictions. Teachable is an example ... And relax!
What is a Merchant of Record?
A Merchant of Record is the legal entity that usually:
- calculates the appropriate rate of tax that needs to be added to a purchase of your course
- updates that rate of tax rate in your payment gateway when necessary
- collects that tax from your customer
- remits it to the tax authority in the appropriate jurisdiction.
When we choose a training platform that acts as the Merchant of Record, or includes a third-party integration that does the same, that leaves us free to get on with the business of editorial training rather than worrying about whether we’re tax compliant in every part of the world we’re selling to.
If the platform doesn't offer that, we're the Merchants of Record, and the buck's back with us.
What’s on offer?
Some training platforms are partial Merchants of Record. PayHip, for example, calculates, collects and remits VAT in the UK and Europe for me as a UK resident. However, I’m responsible for the tax compliance in all other jurisdictions ... Cue the worry.
Some training platforms include integrations that calculate the tax but don’t collect or remit it. That’s on us or our (expensive) specialist tax accountants. LearnWorlds is an example. The Quaderno app calculates what we owe to whom, but we have to do the rest ... Cue the worry.
Some training platforms act as full Merchants of Record, meaning they calculate, collect and remit all the tax for all jurisdictions. Teachable is an example ... And relax!
Where I host my editorial training courses
I now host my editorial training courses with Teachable for seven reasons:
Note that at the time of writing, trainers wanting to offer PayPal as a payment gateway in Teachable must set their course prices in US dollars.
Teachable is right for me, but any editor or proofreader embarking on online course creation should do their own research. Most platforms offer a free trial so you can get a feel for the setup, functionality and branding options.
- It acts as a full Merchant of Record, meaning I can focus on course creation rather than worrying about tax compliance.
- The platform is super user-friendly for me and my students.
- Teachable has a gorgeous app (iOS and Android), which is fantastic for students who want mobile access. Download it from your usual app store.
- I can brand my content appropriately.
- Multiple editorial trainers use Teachable, which means students can access our schools via a single platform.
- I can now offer payment plans that allow my students to spread the cost.
- And there's a bundles option that lets me offer you access to multiple courses ... and with big discounts!
Note that at the time of writing, trainers wanting to offer PayPal as a payment gateway in Teachable must set their course prices in US dollars.
Teachable is right for me, but any editor or proofreader embarking on online course creation should do their own research. Most platforms offer a free trial so you can get a feel for the setup, functionality and branding options.
Summing up: What to consider
- Creating and delivering online courses for editors and proofreaders has never been easier thanks to the growing number of platforms with user-friendly interfaces and multimedia functionality.
- What’s not so easy is the tax-compliance element. Many of the providers haven’t yet woken up to the implications for small-business owners operating in a global marketplace with complex and ever-changing tax rules.
- If you’re planning to teach online, make sure you understand the differences in tax rules for courses with a live component and courses that are self-directed, not just in your own jurisdiction but elsewhere too. Also bear in mind that what constitutes live tutoring might be nebulous.
- And, finally, if you decide to head down the self-directed training route, and your preferred platform isn’t offering a full Merchant of Record service, think carefully about who’s going to do that work and how much it will cost.
Related resources
- Check out my courses, their payment plans, and discounted bundles.
- Visit my Skills and training resource page to access free guidance.
- Find out how to log in and access courses you've already purchased.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Find out why editorial conferences are worth attending for every editor and proofreader.
Summary of Episode 97
Listen to find out more about:
- Why even experienced editors need to learn
- How to use a conference to make a contribution to the profession
- Meeting other editors
- Having fun with colleagues and friends
Related resources
- 6 tips to help you speak in public with confidence. By Simon Raybould
- Editorial training without borders: Should you bother with international editing conferences?
- Organizing an editorial conference. With Beth Hamer
- Speaking at editing conferences: How to do it and love it
- Why editors and proofreaders should be networking
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
'Vivacity’ by Kevin MacLeod
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Want to line edit crime fiction and thrillers? Pick up some handy tips to help you on your way.
Summary of Episode 96
Listen to find out more about:
- What's distinctive about editing crime fiction and thrillers
- What a good line editor needs to look out for
- What new entrants to the field need to study
- Marketing ideas
- Top tips for being a successful freelance editor/proofreader
- Do fiction editors use style guides?
Related resources
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 95
Want to become a professional proofreader? Discover 6 more key pieces of information you must know before you embark on your new career.
- How it requires a lot of hard work to build and sustain a proofreading business
- Why having periods of no work isn’t something you have to accept as given
- Why grammar- and spell-checking technology hasn’t made proofreaders redundant
- How it’s a myth that all proofreading work is done in-house
- How proofreading means the different things to different client types
- Whether word of mouth is a good enough promotion strategy
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 94
Want to become a professional proofreader? Discover 6 key pieces of information you must know before you embark on your new career.
- Getting work even if you don’t have contacts in the publishing industry
- The market for proofreading
- Why training courses are a worthy and essential investment
- Why training in itself isn't enough to get work
- Why you can still build a proofreading career without former editorial experience
- What you might earn
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 93
Discover 5 PDF proofreading tips you can apply when working with Adobe Reader DC. Listen to find out more about:
- Rotating the page view
- Using the ‘Show Cover View in Two Page View’ function
- Attaching a Word file for large amounts of corrected text
- Why you should avoid using ‘floating’ sticky notes
- How to find invisible errors you know you’ve corrected
- Free versus paid-for software: Is Adobe Reader DC good enough for PDF proofreading?
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Parentheses (or round brackets) can help fiction authors evoke a sense of simultaneity in their viewpoint character’s experience – one that challenges a more conventional linear narrative. Here’s how it works.
What’s included in this post
- What are parentheses?
- Parentheses as convention breakers
- Parentheses as satirical and viewpoint-switch markers
- The question an author posed
- Why parentheses can convey simultaneity
- How readers process sentences in a linear fashion
- Showing sensory assault through simultaneity
- Showing conflict through simultaneity
What are parentheses?
Parentheses come in pairs and separate a word or phrase from the surrounding text. If the parenthetical information is removed, the surrounding text still makes sense.
This is what they look like: ( )
Dashes and commas can perform the same function in fiction. Take a look at these examples:
This is what they look like: ( )
Dashes and commas can perform the same function in fiction. Take a look at these examples:
|
Parentheses
|
Tell me about parentheses (round brackets) and how they work.
|
|
Commas
|
Tell me about parentheses, round brackets, and how they work.
|
|
Spaced en dashes
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Tell me about parentheses – round brackets – and how they work.
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Closed-up em dashes
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Tell me about parentheses—round brackets—and how they work.
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Parentheses as convention breakers in fiction
All the examples above are grammatically correct, though parentheses are used far less frequently in contemporary commercial fiction.
This might be because they’re large and therefore visible marks – ones that demand a reader’s attention. That they’re interruptive could be a good reason to avoid them, though it could equally be the very reason why you want to use them.
The key to using any punctuation mark effectively is to understand its purpose and consider how the reader will interpret it. And so just because the use of parentheses is infrequent enough in fiction to make it unconventional isn’t a reason to ban them from prose.
This might be because they’re large and therefore visible marks – ones that demand a reader’s attention. That they’re interruptive could be a good reason to avoid them, though it could equally be the very reason why you want to use them.
The key to using any punctuation mark effectively is to understand its purpose and consider how the reader will interpret it. And so just because the use of parentheses is infrequent enough in fiction to make it unconventional isn’t a reason to ban them from prose.
Parentheses as satirical and viewpoint-switch markers
I most often see parentheses used in fiction in these two ways:
If you’d like to explore my analysis of these two uses, read How to use round brackets (parentheses) in fiction writing.
Scroll through the comments on that post and you’ll see a fantastic question raised by a reader that got me thinking about parentheses again.
- For satirical purposes – an external narrator wants to poke fun at a focus character’s behaviour, thoughts or dialogue.
- For viewpoint purposes – the narrative is written from a viewpoint character’s perspective and therefore limited to their experience, but an external narrator wishes briefly to interrupt.
If you’d like to explore my analysis of these two uses, read How to use round brackets (parentheses) in fiction writing.
Scroll through the comments on that post and you’ll see a fantastic question raised by a reader that got me thinking about parentheses again.
The question an author posed
That reader is Ellen Gwaltney Bales, a fiction writer, and she said:
‘Louise, I'm writing a short story in which I have inserted a couple of parenthetical phrases (I don't even know what to call them) which separate one part of a sentence from another. I've seen Stephen King do this and it fascinated me. The character (narrator) is reflecting on a dream she has just awoken from. What do you think of this style, and what is it called?’
I replied admitting that I didn’t know quite what this is called in terms of literary style but that she’d got me thinking, and helped me consider a third function of parentheses that I hadn’t interrogated before: simultaneity.
Here’s her example. It’s from a short story tentatively titled ‘The Woman at the Window’.
‘Louise, I'm writing a short story in which I have inserted a couple of parenthetical phrases (I don't even know what to call them) which separate one part of a sentence from another. I've seen Stephen King do this and it fascinated me. The character (narrator) is reflecting on a dream she has just awoken from. What do you think of this style, and what is it called?’
I replied admitting that I didn’t know quite what this is called in terms of literary style but that she’d got me thinking, and helped me consider a third function of parentheses that I hadn’t interrogated before: simultaneity.
Here’s her example. It’s from a short story tentatively titled ‘The Woman at the Window’.
I could see my brother Rick running through the Black Forest looking for a place to hide from
(the bombs bursting in air)
bombs that were dropping by the hundreds from a fiery sky.
(the bombs bursting in air)
bombs that were dropping by the hundreds from a fiery sky.
There are a couple of interesting things going on in Ellen’s example – not just the parenthetical phrase but also the placement of it. It takes its own line, which makes it stand out even more.
Why parentheses can convey simultaneity
I told Ellen that I liked her excerpt very much. The round brackets and the new line mean the phrase is certainly interruptive. And while I’d interpreted the effect of her choice of punctuation in a particular way, I was keen to understand what she’d hoped to achieve.
‘I wanted to shake the reader up a bit by writing it that way,’ she told me.
And she succeeded. Parentheses do stand out. So does the separate line. But my reading of her work led me to consider another effect she’d created, albeit unwittingly – simultaneity.
‘I wanted to shake the reader up a bit by writing it that way,’ she told me.
And she succeeded. Parentheses do stand out. So does the separate line. But my reading of her work led me to consider another effect she’d created, albeit unwittingly – simultaneity.
How readers process sentences in a linear fashion
Here’s another slightly edited excerpt from Ellen’s short story:
More and more I dreamed of her at night in confusing, surrealistic visions mixed up with dreams about bombs and my brother Rick. One night just before Labor Day I woke up screaming, terrified, seeing missiles exploding, and the rockets' red glare, and the sky alight with flames.
This is linear description. We absorb the story in the order the phrases are presented to us – first the dreaming, then the waking-up on a night just before Labor Day, then the terrified screaming, then seeing the exploding missiles, then the glare of the rockets, and finally the flaming sky.
But actually, that’s not how Ellen wrote it. Here’s the unedited version:
More and more I dreamed of her at night in confusing, surrealistic visions mixed up with dreams about bombs and my brother Rick. One night just before Labor Day I woke up screaming, terrified, seeing missiles exploding
(and the rockets' red glare)
and the sky alight with flames.
(and the rockets' red glare)
and the sky alight with flames.
The rocket-glare phrase is now bracketed and takes its own line. And I think this changes that linearity subtly. It’s as if the glare of the rockets is experienced at the very same moment that the missiles are exploding. It’s another layer of experience that sits behind the explosions.
That’s how we often experience traumatic events in reality. Our brains work so fast that we process multiple pieces of information and feel multiple emotions all at once. The difficulty comes in expressing that in linear text.
In Ellen’s example, the parentheses act as a signal of this simultaneity of experience, and show rather than tell an onslaught of emotional, auditory and visual information.
Showing sensory assault through simultaneity
Let’s revisit Ellen’s first example and explore it through the lens of simultaneity.
I could see my brother Rick running through the Black Forest looking for a place to hide from
(the bombs bursting in air)
bombs that were dropping by the hundreds from a fiery sky.
(the bombs bursting in air)
bombs that were dropping by the hundreds from a fiery sky.
The way the parenthetical phrase punctuates the prose makes me feel uncomfortable. It jars me visually. And that’s why I love it. It shows rather than tells the assault on the senses that I can imagine a person would experience if they were in an environment where missiles were exploding and falling around them.
The character awakes. She’s likely still shaken from the dream, and trying to process what she experienced. And so she narrates what she saw, which pared down is this:
I could see my brother Rick running through the Black Forest looking for a place to hide from bombs that were dropping by the hundreds from a fiery sky.
But as she's thinking about this, the bursting bombs is there too, behind the more expository narration, right at the same time. And it’s the bracketed line that shows this.
An alternative might have been:
I could see my brother Rick running through the Black Forest looking for a place to hide from while bombs were bursting in air as they dropped by the hundreds from a fiery sky.
In that revised version, 'as' tells the simultaneity. It's told prose. Instead, Ellen as author, has shown us with the parentheses, and it's far more dramatic.
And so we might consider parenthetical statements such as this as devices that help authors create layers of simultaneous experience that are warranted when there’s sensory assault in play.
Showing conflict through simultaneity
There’s another way in which you might use parentheses as a simultaneity device: to convey conflict.
Here’s an example that I have written more conventionally, using italic and a tag to convey a thought.
Here’s an example that I have written more conventionally, using italic and a tag to convey a thought.
Louise read the text. Her friend had an idea, one that had been on her mind for ages. The words ‘editing podcast’ and multiple star-struck emojis spilled over the screen. Was she up for it? They could do it together, D said – less work that way.
Say no, she thought. You don’t have time.
Yes yes yes yes, she typed, because it would be a crap ton of fun and the alternative was D asking someone else, and that was unthinkable.
Say no, she thought. You don’t have time.
Yes yes yes yes, she typed, because it would be a crap ton of fun and the alternative was D asking someone else, and that was unthinkable.
This approach encourages the reader to approach the prose in a linear way: First D texts Louise with an idea. Then a thought process takes place. Then Louise responds.
But look what happens when we experiment with parentheses.
Louise read the text. Her friend had an idea, one that had been on her mind for ages. The words ‘editing podcast’ and multiple star-struck emojis spilled over the screen. Was she up for it? They could do it together, D said – less work that way.
(Say no. You don’t have time.)
Yes yes yes yes, she typed, because it would be a crap ton of fun and the alternative was D asking someone else, and that was unthinkable.
(Say no. You don’t have time.)
Yes yes yes yes, she typed, because it would be a crap ton of fun and the alternative was D asking someone else, and that was unthinkable.
Now there’s a signal that two conflicting emotional responses are in play simultaneously. Thinking ‘no’ and typing ‘yes’ are occurring at the same time.
Summing up
Using parentheses in fiction takes a little courage because they inevitably jar the reader, force them to step back and take notice. Some writers and editors fear that it’s a distraction too far, one that risks pulling their audience out of the prose and into how that prose is punctuated.
However, used purposefully, parentheses can enhance that moment and create a sense of simultaneity of experience – perhaps involving an assault on the senses or competing emotions fighting for primacy in a character’s mind.
There are no rules in fiction. Instead, what writers (and the editors who work with them) must strive for is how best to communicate a character’s emotions, perception and actions in the moment, so that the reader can get under the skin of that experience.
And it might just be that – once in a while – a pair of round brackets helps with that goal.
However, used purposefully, parentheses can enhance that moment and create a sense of simultaneity of experience – perhaps involving an assault on the senses or competing emotions fighting for primacy in a character’s mind.
There are no rules in fiction. Instead, what writers (and the editors who work with them) must strive for is how best to communicate a character’s emotions, perception and actions in the moment, so that the reader can get under the skin of that experience.
And it might just be that – once in a while – a pair of round brackets helps with that goal.
Other resources you might like
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Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 92
We explore the term ‘OCD’ and why it has no place as a marker of attention to detail for the professional editor. Listen to find out more about:
- The difference between character traits of orderliness and the lived experience of OCD
- What is OCD and how does it affect people?
- Why OCD is a noun and what that means for how we use the term
- How OCD might manifest
- How flippant and colloquial references to OCD diminish lived experience
- Intention versus perception of harm
- Editing text: querying rather than prescribing problems and solutions
- Does fiction offer more scope for use of harmful language?
- Alternative words and phrases
- Helping clients create engaging rather than distracting messages
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Are you worried about revising blog posts that you wrote a few years back? Think it’s dishonest or underhanded? Read on to find out why you should embrace editing your blog content, regardless of when you wrote it.
What’s included in this post
- What a blog is
- How the search engines find blog content
- Why there’s no such thing as an ‘old’ blog post
- Historical record or a reflection of your business’s values?
- What about content written by guests?
- How you might update your blog content
- Might you tag out-of-date posts as archive material instead?
What a blog is
A blog is simply a collection of web pages.
Just like other web pages on your site, blog posts include an H1 heading (the blog-post title) and text. You can add additional headings, buttons, links and other audiovisual material, as well as SEO-friendly meta data and alt-text in images to improve accessibility.
Unlike other pages on your site, blog posts are organized in a way that makes the content more accessible for readers, perhaps via some or all of the following:
Just like other web pages on your site, blog posts include an H1 heading (the blog-post title) and text. You can add additional headings, buttons, links and other audiovisual material, as well as SEO-friendly meta data and alt-text in images to improve accessibility.
Unlike other pages on your site, blog posts are organized in a way that makes the content more accessible for readers, perhaps via some or all of the following:
- A single point of access to multiple pages
- A topic-based archive
- A date-based archive
- A keyword archive
- A search tool
- The date the content on the page was published
- The option for readers to comment on the page’s content
How the search engines find blog content
When a user types a query into the search engines, those search engines scour visible web pages all over the world for signs of relevance.
The likes of Google don’t give a damn about:
What they are interested in is whether you’ve published content that’s relevant to a search query. So a blog post with keywords and phrases that align with a user’s query will rank higher in the search results.
They’re also interested in how long users stay on that page, and what they do when they leave it. When people stick around on a particular page, that’s a signal that you’ve offered a good user experience.
And if you create links from a blog post to other pages on your website (for example, another blog post, a resource library or your editorial services page) that a user finds interesting and so doesn’t bounce out of your website, that’s another indication that you’re providing relevant solutions to the searcher’s problems.
The more relevant pages you have on your site, the more likely they are to be listed higher up the results of a search query, and the more likely you are to be visited by that ideal client who clicks through.
The likes of Google don’t give a damn about:
- when you published the content
- whether you’ve changed your opinion since you created the content
- or whether the language you’ve used in a ten-year-old post is language you wouldn’t use now because you’re more aware.
What they are interested in is whether you’ve published content that’s relevant to a search query. So a blog post with keywords and phrases that align with a user’s query will rank higher in the search results.
They’re also interested in how long users stay on that page, and what they do when they leave it. When people stick around on a particular page, that’s a signal that you’ve offered a good user experience.
And if you create links from a blog post to other pages on your website (for example, another blog post, a resource library or your editorial services page) that a user finds interesting and so doesn’t bounce out of your website, that’s another indication that you’re providing relevant solutions to the searcher’s problems.
The more relevant pages you have on your site, the more likely they are to be listed higher up the results of a search query, and the more likely you are to be visited by that ideal client who clicks through.
Why there’s no such thing as an ‘old’ blog post
Given that blog posts are just web pages, and that relevant web pages are more likely to be found by the search engines and listed in the search results, a really useful blog post – one that answers a question often posed by searchers – will be visible and valuable even if it was written years ago.
In that sense, there’s no such thing as an ‘old’ blog post. Remember, Google doesn’t care about the date of publication; it cares only about how relevant your content is to a search query.
The question editor bloggers therefore need to ask themselves is: Do you want people finding content on your business website that
If the answer’s no, it’s critical that you frame your blogging mindset in terms of ‘what’, not ‘when’.
In that sense, there’s no such thing as an ‘old’ blog post. Remember, Google doesn’t care about the date of publication; it cares only about how relevant your content is to a search query.
The question editor bloggers therefore need to ask themselves is: Do you want people finding content on your business website that
- is out of date, or makes you appear to be out of step with your profession
- uses language that you wouldn’t dream of using now
- or offers advice that you’ve long since revised your opinion on?
If the answer’s no, it’s critical that you frame your blogging mindset in terms of ‘what’, not ‘when’.
Historical record or a reflection of your business’s values?
None of us would dream of including an old phone number or email address on our contact page, or an editorial service that we no longer provide on our services page, or a logo we’ve long since abandoned on our home page.
That’s because we don’t consider our contact, services or home pages to be historical records of what once was. Rather, the content on those pages reflects our business as it is now.
The same applies to a blog. This is merely a collection of other web pages on your site, and so it needs to be treated similarly. Every blog post needs to be regarded as if it were published yesterday.
Blog content is therefore current. That content is a reflection of your business and your brand values as they are today.
Even if that content was published ten years ago.
Certainly, some written materials are historical records – a journal article published in 1969, the first edition of a book, the minutes of a meeting – but editors' blogs are not.
And so if you have blog content on your website that doesn’t reflect your business brand as it is now, it’s time to update it.
Your website is your business shop front, the digital land that you own and control. And you have a duty to preserve its integrity.
That’s because we don’t consider our contact, services or home pages to be historical records of what once was. Rather, the content on those pages reflects our business as it is now.
The same applies to a blog. This is merely a collection of other web pages on your site, and so it needs to be treated similarly. Every blog post needs to be regarded as if it were published yesterday.
Blog content is therefore current. That content is a reflection of your business and your brand values as they are today.
Even if that content was published ten years ago.
Certainly, some written materials are historical records – a journal article published in 1969, the first edition of a book, the minutes of a meeting – but editors' blogs are not.
And so if you have blog content on your website that doesn’t reflect your business brand as it is now, it’s time to update it.
Your website is your business shop front, the digital land that you own and control. And you have a duty to preserve its integrity.
What about content written by guests?
When you offer guests the opportunity to write for your blog, you're giving them access to your platform.
YOUR platform.
It’s still your land, your business shop front, and it’s you, not your guest, who is responsible for that space. You therefore still have the right to preserve your website’s integrity. And if that means some sort of intervention, so be it.
If you’re now uncomfortable with the content – even though you weren’t when you published it – decide on the most appropriate way to ensure it reflects your business’s brand values.
YOUR platform.
It’s still your land, your business shop front, and it’s you, not your guest, who is responsible for that space. You therefore still have the right to preserve your website’s integrity. And if that means some sort of intervention, so be it.
If you’re now uncomfortable with the content – even though you weren’t when you published it – decide on the most appropriate way to ensure it reflects your business’s brand values.
How you might update your blog content
The decisions you make about your blog content are the same as those you’d make for the content on any other web page on your site.
Revision
You might choose to edit existing content so that it’s up to date and accessible.
Revision’s a great option for posts that rank high in the search engines for particular queries, and drive potential clients to your website. You get to keep your findability but ensure your existing brand is intact.
Do make sure these valuable posts link to other relevant content on your website.
Deletion
You might decide to delete entire posts, thereby removing those web pages from your site.
Deletion’s a good option for the following types of blog content:
Repurpose
You might decide to rewrite, using the same theme but bringing your current experience into play.
Repurposing’s a good option for when your original blog post tackled a theme that’s relevant to the kind of people you want to visit your website, but you need a complete rewrite to ensure the content’s bang up to date and reflects your editorial business’s brand values.
Revision
You might choose to edit existing content so that it’s up to date and accessible.
Revision’s a great option for posts that rank high in the search engines for particular queries, and drive potential clients to your website. You get to keep your findability but ensure your existing brand is intact.
Do make sure these valuable posts link to other relevant content on your website.
Deletion
You might decide to delete entire posts, thereby removing those web pages from your site.
Deletion’s a good option for the following types of blog content:
- Posts that are never found and never read.
- Posts that are so out of date that they could damage your business brand.
- Posts that are no longer relevant, for example a review of a book, course or piece of software that’s no longer available.
Repurpose
You might decide to rewrite, using the same theme but bringing your current experience into play.
Repurposing’s a good option for when your original blog post tackled a theme that’s relevant to the kind of people you want to visit your website, but you need a complete rewrite to ensure the content’s bang up to date and reflects your editorial business’s brand values.
Might you tag out-of-date posts as archive material instead?
Tagging blog content as archived material rather than updating it is not a solution because it’s still visible.
And website visitors often scan content, and so likely won’t notice the date or an archive marker. Instead, they’ll search for the solution they originally came to the post for.
If that material’s out of date, the damage is done because what they're reading isn't reflecting your current brand values.
There are online online archives, and those serve a purpose, but that’s not the purpose of your editorial blog. Your blog posts, like every other page on your website, should show potential clients why you’re a great fit for each other now.
And website visitors often scan content, and so likely won’t notice the date or an archive marker. Instead, they’ll search for the solution they originally came to the post for.
If that material’s out of date, the damage is done because what they're reading isn't reflecting your current brand values.
There are online online archives, and those serve a purpose, but that’s not the purpose of your editorial blog. Your blog posts, like every other page on your website, should show potential clients why you’re a great fit for each other now.
Summing up
Edit your blog content with alacrity! It’s not just okay to do so; it’s essential to do so. Editorial business websites tell our potential clients:
Every single web page on our site needs to reflect that messaging. And since blog posts are just web pages, they should be current and relevant. Out-of-date blog content screams out-of-date business. That has no place in any editor’s marketing strategy.
And the date a blog post was published is irrelevant because that’s not what determines its findability. It’s relevance to a search query is what makes it visible. And if it’s visible, it’s visible now.
Happy revising!
- who we are
- what we do
- what we stand for
- and how we can help them.
Every single web page on our site needs to reflect that messaging. And since blog posts are just web pages, they should be current and relevant. Out-of-date blog content screams out-of-date business. That has no place in any editor’s marketing strategy.
And the date a blog post was published is irrelevant because that’s not what determines its findability. It’s relevance to a search query is what makes it visible. And if it’s visible, it’s visible now.
Happy revising!
Related training resources
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Editor Website Essentials: Find out how to craft a visible, loveable editorial website with this 10-step framework that takes you through the essentials of SEO, navigation, structure, visitors, UX, branding, web page copy, home page design, content and analytics. Find out more about the course.
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Blogging for Business Growth: Learn how to create a discoverable, captivating and memorable blog that drives website traffic, increases visibility in the search engines, and generates editing work. Find out more about the course.
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Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 91
Should editors be interrogating the language of illness? We chat with Louise Bolotin about challenging normative narratives around cancer and terminal illness. Listen to find out more about:
- Louise Bolotin's cancer diagnosis
- Why the language preferences of those with terminal illnesses aren't homogenous
- Terms in the language of illness that can hurt and harm
- Why editors have a duty to challenge normative narratives that sugarcoat dying and death
- How asking how a person wants to talk about terminal illness is better than assuming
Louise Bolotin's Facebook and LinkedIn statements
If you want to see how our guest and edibuddy talks about her cancer diagnosis and the language that surrounds it, or follow her Last Hurrah, take a look at these announcements, threads and pics on social media.
- Facebook: The Last Hurrah album
- Facebook: Statement about cancer diagnosis and language
- LinkedIn: Announcement about cancer diagnosis and language
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 90
Want to add subediting to your editorial skillset? Louise Bolotin has been subbing for 17 years and knows the job inside out. In this episode, she shares her knowledge and experience. Listen to find out more about:
- What the different types of editors do in media publishing
- The differences between subediting and copyediting
- Editorial timescales for subeditors
- Who controls the content
- When things go wrong - legal responsibilities and insurance
- Subediting lingo
- A subeditor’s typical day
- Transferring from copyediting to subediting - training and CPD
- Core resources for the budding subber
- How editing has changed over the years, especially for freelancers
Resources mentioned in the show
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 89
Want to know more about editing academic book proposals? Laura Portwood-Stacer discusses what it involves and how to develop your skills. Listen to find out more about:
- What is an academic book proposal?
- How and why editors can get involved
- The types of work and the kinds of editing editors carry out
- How academic book proposals differ from other types of book proposals
- Who evaluates academic book proposals and what they're looking for
- The key elements of an academic book proposal
- Which elements authors typically need most help with
- The contextual information editors need to gather from an author
- How editors can learn about this type of work: The Book Proposal Book
Learn how to edit book proposals
- Contact Laura: manuscriptworks.com and lauraportwoodstacer.com
- Read The Book Proposal Book: manuscriptworks.com/book
- Train as an academic developmental editor: courses.manuscriptworks.com
- 10% discount coupon for course: EDITINGPODCAST
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from:
- EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
- EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Summary of Episode 88
Think proofreading or editing would be a good side hustle? Two professional editors tell you what you need to know so you don't make mistakes. Listen to find out more about:
- What a side hustle is and why it's popular
- Why there's resistance to the term 'side hustle' in the professional editorial community
- Whether an editorial business can be set up overnight
- The importance of skilling up and marketing
- The competition side hustlers have to deal with
- The different levels of editing
- How to find work
- Business-critical considerations
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from:
- EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
- EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
Want to know more about academic developmental editing? Laura Portwood-Stacer discusses what it involves and how to develop your skills.
Summary of Episode 87
In this episode, Louise and Denise chat with Laura Portwood-Stacer about:
- What academic developmental editing is
- Required skills and background
- Why academic authors seek help from developmental editors
- What do academic developmental editors do?
- Why it's different from other types of non-fiction editing
- The benefits to editors of offering an academic developmental editing service
- How academic developmental editors find clients
- Training and resources for academic developmental editors
Useful links and resources
Join our Patreon community
If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from:
- EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
- EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.
- Get in touch: Louise Harnby | Fiction Editor & Proofreader
- Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
- Learn: Books and courses
- Discover: Resources for authors and editors
