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Story-level critiques focus on the big picture – plot, pace, characterization, voice. Line critiques evaluate a book at a micro level, focusing on sentence construction, word choice, and readability. Here’s an overview of what to expect.
Story first ...
Think of your book as a construction project. First you lay the foundations and build the walls – writing and redrafting to ensure the structure of your storytelling is sound. It’s where you and your editor (if you have one) focus on the big-picture stuff such as:
At this macro stage, you might end up adding, deleting or shifting sections of your prose. Some authors do their own structural editing because they’re good at it and have studied story craft via writing courses, groups or books. Others seek professional help, either because they’re at an earlier stage of their authorial journey or because they feel they’re too close to the book to see the problems. One thing’s for sure – there’s no right or wrong way. Every writer has to make their own choices. If a full, done-for-you developmental (or structural) edit isn’t the path you take, you might still decide to work with a specialist editor who analyses your book and provides a detailed report on its strengths and weaknesses at story level, and offers suggestions about how to improve your writing. That’s where story-level critiques come into play. You might also hear them called manuscript evaluations and manuscript assessments. 
Line level second ...
Once the foundations and walls are in place, it’s plastering time – smoothing at sentence level to ensure that a reader’s journey through the pages is satisfying. In a sense, it’s still structural work but at a micro level. This is where you (and your editor if you have one) focus on nuances such as:
Again, some authors do their own line editing because they’re good at it and have studied line craft via writing courses, groups or books. Others seek help. If a full, done-for-you line- and copyedit isn’t an option, a line critique could be just the ticket. A line critique, like its story-level sister, is an assessment or evaluation of your story but at sentence level. Your report will include examples from your novel that show what’s holding you back. You’ll also be offered suggestions on how you can fix any problems identified. Then you can implement what you learn throughout the rest of your book. 
Critiques are about learning, not criticizing
Some authors are nervous about critiques. Pro editors get it – it can be tough to put your book in the hands of another and ask them to tell you what’s working and what’s not, especially when you’ve put in so much hard work. The thing to remember is that a critique (whether at sentence or story level) is not about criticism. It’s about identifying strengths and weaknesses, and offering solutions so that you can move forward to the next stage of your publishing journey with confidence. And critiques are a long-term investment. They enable you to improve your self-editing skills. That’ll save you time and money further down the line because anyone else you commission will have less to do. The line critique: the process and the report What follows is an overview of the way I handle line critiques. Every editor has their own process, but the basic principles will be similar. 1. The service: Mini line critique Authors email a Word file comprising, say, 5K words of their novel. It’s in a writer’s best interest to include a section that includes both narrative and dialogue. That way we can assess whether both are working effectively. Furthermore, if there are multiple viewpoint characters in the novel, and different viewpoint styles and tenses have been used, a sample that represents these choices will enable us to provide a report that evaluates the success of those decisions. 2. First readthrough The first stage of the process is a complete readthrough of the 5K words. It’s not about micro-level reporting, not yet. Rather, we’re getting a sense of the author’s writing style, the characters’ voices, and the flow of the narrative. 3. Second pass: Identification tagging We go back to the beginning and start the analytical process, identifying the strengths and weaknesses of the author’s line craft. We work through the sample, tagging sections of the text with Word’s commenting tool. The author won’t see these tags – they’re just a tool that allow us to locate the sections we’ll pull from the text and into the report for demonstration. The text in the image below has been blurred in order to respect confidentiality, but you can see the tagging process in the margins of just one page of one of my reports. 
TAGGING IN A MINI FICTION LINE CRITIQUE
4. Writing the report
Now that we’ve tagged the sample, we can create a report. My line critiques are usually between 20 and 30 pages long, depending on the length of the text samples I’m pulling in and offering recasts for. Each report is divided into sections that address the strengths and weaknesses of the following: NARRATIVE
DIALOGUE AND THOUGHTS
TECHNICAL ELEMENTS
FORMATTING
The tags in the sample allow editors to search for and locate the text we want to use as examples of good practice and to highlight areas with improvement potential. Here’s an example of one of those sections (I’ve disguised the identifying traits of the original in order to respect the author’s confidentiality):
CLARITY OF NARRATIVE VIEWPOINT
What worked You held narrative viewpoint well and I commend your decision to separate the two viewpoint characters with chapters. This ensured the narrative voices remained distinct. Using a present-tense second-person POV for your transgressor and a past-tense first-person POV for your protagonist worked extremely well. Have you read Complicity by Iain Banks? He does the same thing! It’s effective because it makes us wonder whether that first-person narrative is reliable, though you don’t give the game away until the denouement, which I loved. The second-person POV also lent a rather creepy voyeurism to the transgressor chapters, and though these were demanding to read, you did give your readers plenty of breathing space with the contrasting protagonist chapters. Nicely done! What could be improved Your protagonist narrative was laboured at times because of the abundance of ‘I’. Overusing this pronoun can lead to an overly told narrative in which the reader is forced to experience everything via the character’s experience of it. This can be distancing. I’m not suggesting you remove every instance of ‘I’ plus the verb – not at all. Instead, consider toning it down and removing some of the filter words so that the reader can experience some of the doing with the character rather than through the character. Here are two examples and suggested fixes:
Notice how I’ve suggested removing ‘I saw’, which feels redundant given that we already know that Marcus is looking up, and only tells us of more seeing being done. Instead, you can focus the reader’s attention on the immediacy of what’s seen once the looking up’s happened: the movement of the shooting star. That allows you to show readers what Marcus sees rather than telling them.
Notice how in the original there’s a lot of telling of what ‘I’ did. I like your use of a strong verb to introduce tension – ‘scuttled’ – but that tension dissipates with the more distant told narrative that follows. There’s telling of sound, smell, and realization. I’ve suggested you tighten up the paragraph by retaining the original anchor in which Marcus hides; perhaps follow that with a shown narrative that, again, allows the reader to experience the sounds and smells at the same time as Marcus rather than through his ears, nose and brain’s doing hearing, smelling and realizing. Recommendation Bear in mind that a first-person narrative, by definition, puts the reader in the character’s head. If you keep that in mind, you’ll save yourself a lot of work because you’ll need fewer words on the page. Have a read through all the protagonist chapters and consider where you can tighten up the prose in order to limit some of the telling of doing being done. You can still anchor the first-person viewpoint with ‘I’ in places, of course, but you might recast some of writing that follows with shown action. 5. Wrapping up and emailing the report When the report is complete, we save it as a PDF and email it to the author. PDF is the tool of choice for many editors because it can’t be edited. If the client wishes to refer back to it during future writing projects, they can do so safe in the knowledge that nothing’s been accidentally removed. Summing up If you want to hone your line craft and polish your book at sentence level, but a full line- and copyedit is beyond your budget, consider a more affordable alternative: the line critique. Think of a critique as another form of authorial development, of book-craft study. And what you learn from your critique won’t be something you can apply just to the current book. It’s a tool you can use with every story you write thereafter. And here’s a free booklet that outlines the various levels of editing. Just click on the cover to get your copy (and, no, you don’t have to give me your email address!). 
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
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It doesn’t matter a jot to me which kind of English an author wants to write in. What does matter is their readers' expectations and perceptions, and being consistent.
This free booklet shows you how to stay on track. 
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Macros enable us to edit faster and more consistently. For professional editors, that means a higher hourly rate, a more consistent output, and a happier client. If you want to use macros but don’t know where to start, read on.
Which macros, and when and why?
Which macros should you use? How does the Paul Beverley macro suite fit with an application such as PerfectIt? What should you use when? No one’s the same. We edit different subject/genres, carry out different types of editing, and have different styles of working. There’s no one size fits all. A conceptual approach, however, can help us decide which tools to use. Analysis: Tasks versus goals A task-centred analysis focuses on what we plan to do and deciding what tools will help with these stages. Thus, in the free book, Macros for Editors, I offer smorgasbord of macros that speed up a variety of specific tasks. However, when we look broadly at what we’re trying to achieve, we may discover different ways of working and different tools – new tools, maybe – that can help. One such contribution to this approach is the Alyse suite – analysis-type macros (DocAlyse, HyphenAlyse, etc.) that provide an overview that reports on the likely inconsistencies in a document without our even having to look at the files. 
Computer-aided editing: Teamwork
Think of computer-aided editing as teamwork – you and the computer working together, each playing to your own strengths, with a single aim: to improve communication between author and reader. A computer brings the following to the team:
On the downside, it lacks the ability to look beyond the data. It has no idea of meaning, significance, attitude, feelings – only humans can provide that. Mechanics versus meaning Editors spend a lot of time eliminating inconsistencies in the following:
This is the mechanical side of editing. Editors also spend a lot of time focusing on meaning. It matters little how consistent a document is if the meaning is clouded. Obscure the meaning, and communication between the author and reader is impeded. Using macros and related applications enables the editor to delegate some of the mechanical work to the computer – those mundane data-led tasks – and focus their minds on communication. A possible workflow Here’s one way it might look:
Here are the macros you might use in that workflow:
If you’re a PerfectIt user (see the Intelligent Editing website), you could use that instead at stages (3) and (5). Or continue to use FRedit for (3) but use PerfectIt for (5). The latter is a possible best-of-both-worlds approach if you like the idea of having two different tools, each working to spot errors that the other might have missed. False positives False positives are to be expected with any computer tool. We can reduce them by refining the FRedit changes list and PerfectIt’s style sheets. For best effect with global change macros, apply them to one chapter at a time, making adjustments that will make it more effective in succeeding chapters. Summing up To access all my line-level and analysis macros, download the free book. You can also watch almost 100 video tutorials on my YouTube channel. And if you want to know more about PerfectIt, visit the Intelligent Editing website. Please feel free to email me with suggestions and/or questions about macros.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this bonus episode of The Editing Podcast, Denise and Louise chat about 10 things an author needs to tell an editor about so that both parties can work out whether they're a good fit.
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The links above take you to The Editing Podcast website but you can catch up with any of the episodes on Apple Podcasts, Spotify, Stitcher, Podchaser, or your preferred app. Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
What do people say about your editing and proofreading business when you’re not in the room? Whatever it is, that’s your brand. Here’s what happens when you show who you are by talking about the problems you solve for others.
You’ve got work coming in but your analytics make you wonder whether you should be getting more requests to quote, given the volume of traffic.
Or perhaps you’re a new entrant to the field and have just begun to think about who you want to work with and what your message is. Do yourself a favour and take a look at your branding. Is it on track?
Brand blurriness
I spent the first five years of my freelance career specializing in proofreading for publishers, first in the social sciences, then in fiction. Over time, my client base began to shift. Now, I do sentence-level editing exclusively for indie fiction authors. Here’s the thing, though. For a long time, my website and directory entries didn’t reflect this shift. And while the content on my blog began to reflect my passion for supporting self-publishers, especially beginner writers, you wouldn’t have known this from the way I communicated my business mission in the rest of my marketing materials. I was playing safe. I was nervous. I was getting a lot of visitors to my website and a lot of requests to quote. However, only about 25% of those requests were from my target audience – the indie authors. And while the other 75% was work I always referred elsewhere, I felt safe having that as an option. If it ain’t broke, don’t fix it. That was my mantra. I had enough work that I wanted to do, and plenty of offers to quote for work that I didn’t want to do. Still, I spent a lot of time sending work elsewhere. And I couldn’t quite shake the feeling that a lot of effort was going into marketing that ended up as jobs in other people’s hands. Why not just make things leaner? 
Discovering the problem
I found my courage and decided to make some changes. I amended the lead text on my page to make it clear that I was a fiction specialist. And I readied myself for losing the 75% – those requests to quote that had made me feel all warm, cosy and safe for so long. Over the next three weeks the numbers plummeted. Most of those students, businesses and academics stopped getting in contact. But things were leaner. I was spending less time sending work elsewhere that I didn’t want to do anyway. I became more efficient, more productive, more focused. I was using my time wisely. I was streamlining my business. I felt great, right? Honestly? I’d lost my safety net. And I didn’t feel great at all. I reminded myself that I’d been fully booked for the past two years without having to dip into that 75%, so I should just relax. As you were – that was my new mantra. It’ll be fine – that was my other new mantra. Stop overthinking things – yet another new mantra. Louise Harnby | Mantra Queen is what I should have changed my business name to. I took a look at my home page, my directory entries, my business cards, and I noticed something. All the passion I felt about championing my target clients was missing. My branding was off. 
Making the message about the client
I completely overhauled my home page, resources page, my SfEP directory entry, my Reedsy profile, even my blog, so that everything started to work together in harmony. Now I’m telling my target client group about what makes me tick but in a way that focuses on solutions to their problems. It’s all about them, not about me. Here’s what I learned. Even if you’re findable, when your message doesn’t make your client feel like you get them, then you’re doing a lot of marketing work for a poor return. And even if that return is enough to keep your schedule full, it’s not giving you as much choice as you could have if your message was on point. 
Getting in the right gear
Being findable but having a weak brand is like driving along a motorway at 70 miles an hour in second gear. The car has to work really hard to get you where you want to go! Getting the branding right is like slipping into cruise-control. Here’s what happened when I rebranded:
Sorting out our branding is the most powerful gift we can give our businesses. If we don’t understand our own brand values, we can’t expect potential clients to. Make sure yours are evident at every touchpoint of your editorial business.
If you want to learn how to do it, my online course Branding for Business Growth will teach you what you need to know. I created this course specifically for editors, because I'm one and I know what the challenges are. For a shorter course on building trust with ideal clients, try To Visibility and Beyond.
To find out more about either of these courses, visit the Courses page.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise offer guidance on how to change your editor, and manage the process in a way that ensures everyone comes out smiling!
Click to listen to Season 2, Episode 7
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
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Summary
Listen to find out more about:
Editing bites
Other resources
Ask us a question
The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise offer some quick tips on formatting your Word file ... final tidy-ups to get your file in shape, and that accord with mainstream publishing standards. And there's a free PDF that includes all the search strings we talk about (or try to)!
Click to listen to Season 2, Episode 6
Click on the image below to download the free booklet and grab all those search strings we try to explain! 
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise talk about 10 editing macros that will save you time and improve the quality of your writing.
Click to listen to Season 2, Episode 5
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
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Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary
Listen to find out more about:
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise talk about adverbs, and how to use or remove them purposefully.
Click to listen to Season 2, Episode 4
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary
Listen to find out more about:
Editing bites
Other resources
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise talk with Daniel Heuman, founder of Intelligent Editing and developer of PerfectIt – consistency-checking and style-enforcing software for editors and writers.
Click to listen to Season 2, Episode 3
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Summary
Listen to find out more about:
Find out more about PerfectIt
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss four different kinds of writers and how identifying what kind you are can help you work out the kind of editing that’s the best fit for you.
Click to listen to Season 2, Episode 2
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary
Listen to find out more about:
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Are you spending too much time on your novel’s text design? Here’s how to use the Styles function in Microsoft Word to ensure the various elements are formatted consistently.
In this article, I’ll walk you through the following:
What is the Styles tool? The Styles tool allows you to apply design consistency to the various text elements in your book. In a novel, you might want to create different styles for the following:
Microsoft Word has a handy suite of on-board styles, though it’s unlikely they’ll match your specific requirements. Modifying these is still a little quicker than creating fresh styles so take a look at the properties and work out what you’ll retain and what you’ll change. What properties can you influence? You can influence every property of your text when you assign a style to it. However, in a novel, you’ll most likely focus on the following:
How to access the Styles tool There are two ways to access the Styles function onscreen:
The gallery in the ribbon offers a preview of how the style appears. If I’m working with a lot of different text elements in a document, I find these visual clues useful when I want to locate a style quickly.
On smaller screens, less of the Styles gallery will be visible. To access the previews of all the styles in your gallery, click on the MORE arrow (circled). 
A new window will appear containing the full gallery.
Why you should format with styles
Using styles gives you control over design, consistency and formatting time. Time is money, so when you do the job instead of asking other professionals to do it, your book budgets goes further. Perhaps you can invest a little more time or money on cover design, sales and marketing, or learning how to improve writing craft. Can you format manually? Of course, but you could be making a lot of unnecessary work for yourself. Scenario 1 You complete the writing, drafting, and editing, and get cracking on designing the layout. Now that there are 85,000 words in place, your thriller’s looking more like a textbook thanks to the font you’ve chosen for your main text: Arial 14. A serif font like Times New Roman would be easier on your reader’s eye. The problem is, you can’t select all the text in the file with CTRL A and change it in one fell swoop because that would affect the chapter headings and the emails your transgressor is sending to the police, all of which are formatted differently. Instead, you have to work through the file, locate the main text elements manually, and change the font. If, however, you’ve assigned a style to your main text, you can modify that font property in just a few clicks. The change will automatically change all the main text, and only that element, to your new font. Further down, I’ll show you how. Scenario 2 You’ve written 12 additional paragraphs for your book but they’re in another document. You copy and paste the writing into your book file. Now you have to manually format the new sections so that they match the existing work. If you’ve assigned styles, however, it’s as simple as cut, paste and left-click. Job done. How to create a style There are several ways to create a style in Word:
1A. Manual method Open the styles pane and left-click on the A+ button in the bottom-left-hand corner. 
A new window will open (CREATE NEW STYLE FROM FORMATTING). Now you can give your style a name (1) and assign properties to the font, paragraph spacing and page flow (2 and 3).
1B. Manual method B
Alternatively, right-click on a piece of text that’s already formatted according to your preferences. A mini toolbar will appear. Click on the Styles button. 
A new window will appear. Left-click on CREATE A STYLE.
Name your style, modify if you wish, and left-click OK.
2. Updating method
Select a piece of text that’s already formatted according to your preferences. Now head up to the Styles gallery in the ribbon, or the Styles pane, and right-click on an unused style that you’re happy to update. Hover over UPDATE [STYLE] TO MATCH SELECTION, then left-click. 
How to modify a style
There are two ways to modify a style in Word:
1. Styles gallery Go to the Styles gallery in the ribbon and right-click on the style you want to modify. 
Left-click on MODIFY and amend the properties of your style. Note that this will change every piece of text assigned with that style.
2. Styles pane
Go to the Styles pane on the right-hand side of your screen and right-click on the style you want to modify. 
Left-click on MODIFY and amend the properties of your style. Again, bear in mind that this will change every piece of text with that style assigned.
How to assign a style to an element of text If a piece of text isn’t formatted correctly, left-click the cursor on a word or in a paragraph, or select it by double-clicking. Now head up to the Styles gallery in the ribbon, or the Styles pane, and left-click on the preferred style. Your style will be assigned. If you’re working on a smaller screen, you’ll probably find it easier to use the Styles gallery in the ribbon because it takes up less space than the Styles pane. To close the Styles pane and free up some screen real-estate, left-click on the X in the top-right-hand corner. 
Troubleshooting
Here’s how to fix some of the more common problems that arise when working with styles. 1. Styles gallery or pane isn’t visible If the Styles gallery isn’t visible, make sure you’re in the HOME tab in the ribbon. 
If the Styles pane isn’t visible, left-click on the small arrow in the Styles gallery.
2. Style not showing in gallery
If you’ve created a style and it’s not showing in gallery, head to the Styles pane and right-click on the missing style. This opens the MODIFY pane. Make sure that the ADD TO THE STYLES GALLERY box is checked. 
3. The gallery is cluttered with unused styles
If your gallery is busy with styles you don’t need to access, there are two ways to remove them. The quickest method is to right-click on an unwanted style, then left-click on REMOVE FROM STYLE GALLERY. 
An alternative is to right-click on the unwanted style and left-click on MODIFY. Then uncheck the ADD TO THE STYLES GALLERY box.
4. You’ve renamed a style but Word’s default name is still displayed in the pane
If you’re using the Styles pane to apply styles, the list might appear cluttered if Word’s default names are displaying, even though you've modified them. To fix, left-click on the OPTIONS button. 
Check the HIDE BUILT-IN NAME WHEN ALTERNATE EXISTS box, then left-click on OK.
Your list will now display with your modified names.
Heading styles and navigating your Word file
One of the advantages of using the Styles tool for a novel is navigation. To access the Navigation pane, press CTRL F on a PC. Now, left-click on the HEADINGS tab. Any style based on one of the in-built heading styles will show up in the menu. 
I use this function when I’m editing and want to check that chapter headings (and subheadings) are formatted consistently, assigned the correct level of priority, and numbered chronologically.
Headings with arrows next to them indicate lower-level subheadings. You can expand or collapse subheadings by left-clicking on the arrows. Furthermore, if you want to shift a headed or subheaded section to another position in your document, left-click on the relevant heading and drag up or down the menu. Summing up Styles let you focus on your writing rather than fretting about internal text design. Applying a style to an element of your book file takes a fraction of the time required for manual formatting. And because any style can be tweaked, you get to change your mind as often as you like. If you have any problems with using Word’s Styles gallery and pane, drop me a note in the comments and I’ll do my best to fix the issue. Fancy watching a video tutorial? Visit my YouTube channel and watch: Self-editing Your fiction in Word: How to Use Styles.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Semi-colons are disliked by some, misused by others, and avoided by many. If you want to keep them out of your writing, that’s fine. In this article, I show you how they work conventionally. That way, you can omit them because that’s your preference, not because you daren’t include them!
What is a semi-colon?
It’s one of these: ;3 ways to use a semi-colon There are 3 situations in which you’re likely to use a semi-colon in fiction:
Here, I focus on parallelism and clarity, but sentence pacing comes into play too – a useful addition to any fiction writer’s toolbox. A little bit of grammar Above, I mentioned independent clauses. An independent clause is a group of words that contains a subject and a predicate. In case you don’t know what they are – and many writers know how to write extremely well without knowing grammar terminology so there’s no shame in that – here’s an overview. Subject A subject is the thing in a sentence that’s doing something or being something. In the examples below, the subject is in bold.
If you’re not sure what the subject of your sentence is, try this trick: change the subject into a question that you can answer yes/no to, as in the examples below.
Predicate
A predicate is the part of a sentence that contains a verb and that tells us something about what the subject’s doing or what they are. In the examples below, the predicate is in bold.
If you’re not sure what the predicate is in a sentence that’s a question, turn it into a statement, as in the example below. The result might be clunky but it’ll show you what’s what. The subject is in bold and the predicate in italic.
Independent clauses
Quick recap: an independent clause is a group of words that contains a subject and a predicate. The subject is in bold, the predicate is in italic, and the full independent clause is in red.
Parallelism and the semi-colon Take a look at these two independent clauses.
The second sentence is related to the first because the gravel that’s digging into the agent’s elbows is what she experiences after falling to the ground. We can therefore use a semi-colon to indicate this relationship, if we wish.
Note that the first word of the clause after the semi-colon does not take an initial capital letter. Could we use a colon? A colon is non-standard because colons introduce additional/qualifying information about the first clause, not new information. Think of the information they introduce as subordinate, if it helps. I recommend avoiding colons to join parts of a sentence that are equally weighted.
Could we use a comma?
A comma is non-standard when joining two independent clauses. Sentences using commas in this way are said to contain comma splices. I recommend avoiding this usage.
Clarity and the semi-colon
Heavily punctuated sentences can be confusing and clunky. For the reader, it can mean limping through your prose rather than moving at a pace dictated by narrative intent. Take a look at this example from Mick Herron’s Dead Lions, p. 88. There are two semi-colons in the original version, but for this example I’m focusing only on the first (see the section in bold).
1. Amended with en dash
He was bald, or mostly bald – a crop of white stubble gilded his ears – and gave off an air of pent-up energy, of emotions kept in check – the same sense Lamb had had watching the video of him, shot eighteen years ago, through a two-way mirror in one of Regent’s Park’s luxury suites. Joke. These were underground, and were where the Service’s more serious debriefings took place; those which it might later prove politic to deny had happened. 2. Amended with comma He was bald, or mostly bald – a crop of white stubble gilded his ears – and gave off an air of pent-up energy, of emotions kept in check, the same sense Lamb had had watching the video of him, shot eighteen years ago, through a two-way mirror in one of Regent’s Park’s luxury suites. Joke. These were underground, and were where the Service’s more serious debriefings took place; those which it might later prove politic to deny had happened. The en dash in the first alternative version looks awkward because we already have two parenthetical en dashes in play. What happens if we introduce a comma instead? The sentence is already comma-heavy. All we’ve done is bring in yet another to muddy the waters. The semi-colon works best. It effectively links the clauses it connects, but in a way that subdivides the sentence clearly. However, pacing comes into place here too. There’s more on pacing below but, for now, compare the original and the version amended with a comma. The creepy voyeurism is starker when set off by the semi-colon. More on pacing and the semi-colon The semi-colon is harder than the comma. It lengthens the pause or increases the distance between two clauses that could have been linked with a comma, making them both stand out. The semi-colon is softer than the full point. It shortens the pause or reduces the distance between two clauses that could have been linked with a full point, indicating a stronger, more intimate relationship. Back to Herron for a closer look at the second semi-colon (see the section in bold) and some alternatives we could try:
Original
He was bald, or mostly bald – a crop of white stubble gilded his ears – and gave off an air of pent-up energy, of emotions kept in check; the same sense Lamb had had watching the video of him, shot eighteen years ago, through a two-way mirror in one of Regent’s Park’s luxury suites. Joke. These were underground, and were where the Service’s more serious debriefings took place; those which it might later prove politic to deny had happened.
1. Amended with comma
He was bald, or mostly bald – a crop of white stubble gilded his ears – and gave off an air of pent-up energy, of emotions kept in check; the same sense Lamb had had watching the video of him, shot eighteen years ago, through a two-way mirror in one of Regent’s Park’s luxury suites. Joke. These were underground, and were where the Service’s more serious debriefings took place, those which it might later prove politic to deny had happened. In the original, the semi-colon acts as a super-comma, subdividing the whole sentence into two more readable chunks. However, more marked is the impact on the pace. The semi-colon forces us to slow down. That’s important because the clause that comes after it is about the denial of interrogations. The semi-colon makes us pause a little longer, which makes the sinister information that follows stand out. Semi-colons and dialogue Some authors resist the use of semi-colons in dialogue, usually on the grounds that the reader can’t hear the punctuation. Does that mean you shouldn’t use them? A novel’s dialogue isn’t real-life speech; it’s a representation of it. Speech, like narrative, has rhythm. The writer’s job is to create speech that’s clear and well paced. If a semi-colon helps you to do that, why wouldn’t you use it? Here’s a great example from David Rosenfelt’s New Tricks, p. 316:
Both versions work but Rosenfelt elects to use a semi-colon because he wants to show the relationship between the two independent clauses. A full point would pull the clauses a little further apart and reduce the intimacy between them. Should you use semi-colons in your fiction? Some authors prefer to omit semi-colons for a variety of reasons: they're deemed pretentious, confusing, interruptive or ugly. But I’m not sure we should judge them so harshly:
Further reading and cited works
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. The Editing Podcast, Season 1, Episode 11: Does location matter when working with an editor?1/4/2019
In this episode of The Editing Podcast, Denise and Louise discuss location and whether where your editor lives actually matters.
Click to listen to Episode 11
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Summary of Episode 11
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Editing bites Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss how to find an editor if you decide you want professional help.
Click to listen to Episode 10
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Summary of Episode 10
Listen to find out more about:
Editing bites
Other resources
Episode transcripts You can access transcripts of all the episodes via Denise and Louise's websites: Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Other ways to get in touch Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss the order of play for the different levels of editing, and some ideas about how you can keep costs down.
Click to listen to Episode 9
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Summary of Episode 9
Listen to find out more about:
Editing bites
Other resources
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
You don't need a lot of equipment to create superb audio content. A fellow book editor and I recently recorded 5 episodes for our podcast with nothing but a couple of mics, a splitter and our cell phones. Here's how to do it.
Mobile podcasting at ATOMICON
Denise Cowle and I were at ATOMICON, a one-day digital marketing conference hosted by my two favourite marketers, Andrew and Pete. The venue was the Assembly Rooms in Newcastle. 300 business owners, all with an interest in being visible online, gathered from near and far to learn, and have a good laugh doing it – Andrew and Pete don’t do anything without putting a smile on people’s faces! 
Creating content ... while learning about creating content
In January, Denise and I launched The Editing Podcast. We're both experienced book editors and we use our knowledge and experience to make indie authors' publishing journeys easier by offering writing and editing tips, tools and guidance. Our target audience is anyone who writes. That means we’re creating audio material related to fiction and creative non-fiction, business, education and academia. We tackle editing issues from the viewpoint of print and digital publishing because we recognize that our listeners work in a variety of formats and use a range of platforms to distribute their writing. Now, we'd already planned to invite guests onto The Editing Podcast in Season 2 and beyond, but ATOMICON was too good an opportunity to miss. Since some of the 300 delegates had published books – fiction and non-fiction – we thought it would be great to hear their experiences of the editing and publishing process so that other indie authors might understand the various approaches taken and the challenges faced. 
EDITORS DENISE COWLE AND LOUISE HARNBY WITH AUTHOR TIM LEWIS
The question we asked ourselves was could we do it on the fly? The coffee breaks were short, the venue busy, and the atmosphere buzzing. That meant there’d be a lot of background noise to contend with.
What equipment did we use? We turned up in Newcastle with our very own micro podcasting studio! It consisted of the following:
That’s a small investment for an audio studio that fits in your pocket! And we can use the equipment over and over.
So did it work? Yes, it did! RØDE didn’t disappoint. We plugged in the mics, hit the RECORD button on the Reporter app, and away we went. Our voices come across clearly, and while the background noise of the convention is audible, it doesn't interfere with the conversation. In fact, we think it adds texture to the recordings because listeners can appreciate the atmosphere of a live event. Who did we talk to? The following lovely people were kind enough to let us interview them about their book revision and publication journeys:
You can listen to the bonus POINT OF VIEW episodes on The Editing Podcast via your preferred podcatcher.
Editing and publishing the recordings
The recordings are .WAV files that sit in the Reporter app’s library. Download them to your computer or email them to yourself. We edit our audio files in Audacity – this is free, open-source, cross-platform audio-editing software. The dashboard does have something of a NASA feel to it, but it’s easy to learn how to do the basics with any number of free tutorials available on YouTube. Here’s one example from by David Taylor: Audacity: Complete Tutorial Guide to Audacity for Beginners. 
Audacity dashboard
To upload to most audio platforms, you’ll need to convert the WAVs to MP3s. You can do this in Audacity at export stage.
Publishing audio content Denise and I chose Libsyn to syndicate our podcast content because it’s cheap as chips ($5 per month for the basic package) but still enables – post set-up – automatic delivery to the following:
You don’t have to go down that route, of course. If you’re creating audio content more sporadically for the purpose of author book promotion or to communicate your editing knowledge/services, you could go direct to, say, SoundCloud or another free audio-streaming service, and embed the audio on your website rather than going for full syndication. And it won’t cost you a penny.
Why should you use audio? Audio is a powerful engagement tool because it allows your listeners to hear your actual voice ... your accent, your pitch, your inflection and, perhaps most important, your emotion. That enables authors to connect with readers, and editors to connect with authors. When a conversation takes place, listeners can hear that connection, and enjoy it. Lots of The Editing Podcast's listeners have told me and Denise that they love not just the learning points we share but also the way our friendship plays out on air. It's a richer experience than words alone can provide. Learn how to do marketing better We had a great time at ATOMICON, and our mobile podcasting experiment was a huge success, with over 300 downloads of the author interviews in the first 2 hours of appearing on air. If you’re struggling to be visible online, Andrew and Pete will show you the way. Denise and I are heading back to ATOMICON in 2020. I'm certain we'll be doing more mobile podcasting, too! Click on the image below if you fancy joining us. 
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise talk about about page proofs and the proofreading process.
Click to listen to Episode 8
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Summary of Episode 8
Listen to find out more about:
Editing bites
Related resources You can download Louise's free proofreading checklist by clicking on the image below: 
Check out two of Louise's blog articles about proofreading too:
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise talk about style sheets, and how they’ll help you keep track of the key themes in your book, and ensure consistency along the way.
Click to listen to Episode 7
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Summary of Episode 7 ...
Listen to find out more about:
Editing bites
Episode transcripts You can access transcripts of this episode via Denise and Louise's websites: Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Other ways to get in touch Denise and Louise
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 independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss how to choose the right kind of editor to suit your publishing needs.
Click to listen to Episode 5
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Summary of Episode 5 ...
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
Music credit 'Vivacity' Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss how much professional editing might cost if you decide to hire a third party, and what factors could affect the fee you’re quoted.
Click to listen to Episode 4
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Summary of Episode 4 ...
Plus:
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
Music credit 'Vivacity' Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise look at why you might want to invest in hiring an editor rather than doing it all yourself.
Click to listen to Episode 3
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Summary of Episode 3 ...
Editing bites
Other resources
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
Music credit 'Vivacity' Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise demystify publishing language – the terms professionals use to describe the parts of a book – so that you can talk with confidence about your text.
Click to listen to Episode 2
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Summary of Episode 2 ...
Editing bites Indexing societies
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
Music credit 'Vivacity' Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
If you're a new proofreader or editor, having a global mindset in regard to choosing reference resources is essential for maximizing editorial business opportunities.
Like many of my fellow editorial business owners, I’m often approached by potential new entrants to the field who want advice about getting started. One of the most oft-asked questions is: ‘Which reference resources – style guides, dictionaries and the like – do I need?'
Bear in mind that anyone you seek guidance from in regard to best-fit resources must respect the fact that you might not be from the same place as them, speak like them, have the same potential clients as them, and spell colour/color like they do, or as a client brief asks them to. Centrism, whether from the United Kingdom, the United States, or elsewhere in the world, is useless to you as a new entrant because it’s based on false assumptions about you and your potential clients. 
Social science ‘styles’ from an international perspective
Here’s a wee case fictive case study. Imagine a new entrant to the editing profession tells me the following:
Based on this, I suggest that social science publishers and academics would be good initial target markets. Does my new starter’s location affect their choice of potential publishers clients? It’s not clear cut. The online world has knocked down those geographical boundaries; you don’t have to spend a fortune to send page proofs to someone hundreds of miles away; you can email them to someone thousands of miles away for the price of an Internet connection. And how does my new starter’s location in the United States more broadly affect what they need to learn in terms of styles and language preferences? Again, it’s not clear cut. I see The Chicago Manual of Style (CMOS) recommended as the sole must-have resource so often in online discussions about editorial work that I worry that new entrants may fall into the trap of thinking that this ‘bible’ alone will tell them everything they need to know. Super though it is (I love chunks of it for fiction editing), CMOS is not the be all and end all of style guides, because it depends on what a client wants, the subject matter and country-specific language preferences. The California-based publisher SAGE Publications asks that its copyeditors have a thorough knowledge of both the CMOS and the Publication Manual of the American Psychological Association (APA). But note that these are core requirements for SAGE’s US book division. If you want to freelance for the US journal division, you’ll need to add the AMA Manual of Style and The CSE Manual for Authors, Editors, and Publishers to your reading list. (Bear in mind, too, that not all publishers want us to use the most current version of these manuals.) But why stop there? If my new starter can get work with SAGE in California, might it not be sensible to tap its sister office in London? But in that case, our newbie will also need familiarity with New Hart’s Rules, The Oxford Dictionary for Writers and Editors, and Butcher’s Copyediting. Or what if our new starter decides to target social science academics who are based in the US? They'll need to ask:
Actually, it’s just as likely that an eminent Boston-based scholar will submit to the European Journal of Political Research as to the American Political Science Review, Scandinavian Political Studies, or the Canadian Journal of Political Science. This will impact on what our newbie needs to know. For example:
Location doesn’t determine readership
Where our clients live doesn’t determine where they publish or the location of their intended readership. Given that the editorial freelancing market is competitive, it makes sense to exploit the most obvious opportunities. In the Internet Age, the physical barriers are gone. The only barrier to exploring an international work stream is an inability to appreciate that language conventions and preferences differ according to client (whether that be a particular publisher, a particular independent author, a particular journal), not according to one, and only one, globally recognized set of rules. Honestly – such a thing doesn’t exist; it doesn’t even exist within many countries.
Diversity of geography, language, and preferences
It’s not so much about where we live, but where our clients live and what preferences they have.
If you're a new entrant to the field and are wondering what you need to know, instead of listening to my preferences, familiarize yourself with a number of appropriate resources depending on what your clients want. Perhaps it’s CMOS; perhaps it’s not. And even if it is, ONLY knowing this could mean you're seriously restricting the base of clients for whom you can work, the types of material you can work on, and the geographical locations you can explore. So try the following:
If your world revolves around CMOS, it’s possibly a smaller world than it needs to be. And if your world is smaller than it needs to be, so are the opportunities you're exploring in a market that’s already very competitive. One other item to note. CMOS, CSE, APA, AMA, and the like are style guides; they give you guidance on whether, for example, to close up or hyphenate a compound adjective. They won't necessarily give you extensive guidance on how a word is being used, and whether that usage is considered standard, and in which community. Usage manuals, which give that kind of information, are as important as style guides. Using a style guide or a usage manual alone is an invitation to disaster. 
Out with borders and in with flexibility
When you’re the owner of an editorial business you need to learn what your clients want you to learn, whether it’s a manual published by Chicago or Oxford, a house brief designed by a team of publisher project managers, a detailed set of guidelines issued by a European NGO, or a short brief issued by an independent author of fiction. I encourage you to think broadly, globally, and flexibly. If someone tries to guide to towards only one set of ‘rules’, at best their advice will restrict you; at worst it will be just plain wrong or inappropriate. There is, alas, no simple answer to the question of which resources are best. Instead, careful thought and planning centred around client- and skill-focused research is a good first step. That way, you’ll learn for yourself what resources, tools, and knowledge bases are suitable for you, your potential market, and your particular business model. Language usage, styles, and preferences differ – and that’s okay. Don’t let anyone tell you that’s not the case!
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
This free booklet offers one example of how an editor or proofreader might approach testing which pricing model works best for their editing and proofreading business.
I discuss how and why I collect data, and the macro and micro insights I've gained that have helped me to grow my editorial income stream.
Hope you find it useful! Click on the image above to download your copy.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. |
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