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Learn how to edit more efficiently in Microsoft Word using the Quick Parts tool.
In this article ...
Do you edit in Word?
If you edit Word documents, and find yourself typing the same phrases, inserting standard text blocks or fixing the same formatting issues over and over again, Microsoft Word has a built‑in feature that can help you: Quick Parts.
In this article, we’ll look at what Quick Parts is, why it’s so useful, and how you can start using it today to edit faster and more consistently. Note: I work with the Windows operating system, so the instructions I’ve offered below align with that. What is Quick Parts?
Quick Parts is a Microsoft Word tool that allows you to store reusable pieces of content – such as text, tables, headers and formatted paragraphs – and insert them into your document easily.
You can think of Quick Parts as a personal library of ready‑made content. Once you save something, you can reuse it across documents without retyping or copying and pasting. This tool really comes into its own if:
Why Quick Parts makes editing more efficient
Using Quick Parts can significantly improve both your speed and accuracy when editing documents. Here’s how:
Whether you’re editing novels, reports, proposals, policies or meeting notes, Quick Parts helps you focus on content quality rather than repetitive tasks. Common editing tasks you can streamline with Quick Parts
Quick Parts is especially helpful for content you use frequently, such as:
In a nutshell, if you’ve ever thought, I’ve typed this before, that’s a strong sign it belongs in Quick Parts. How to create a Quick Part in Microsoft Word
Creating a Quick Part is simple and only takes a moment:
METHOD 1 (quickest)
METHOD 2
You can also assign a category to your Quick Part snippet if you wish:
Whichever method you choose, your content is now stored and ready to use whenever you need it.
How to insert a Quick Part while editing
Once you’ve saved Quick Parts, inserting them is quick and easy:
METHOD 1 (quickest)
METHOD 2
Whichever method you use, the content is inserted instantly with all formatting preserved. How to review or edit your Quick Parts
If you need to change the short name you’ve created, do the following:
A new pane will appear:
Tips for naming your Quick Parts
To get the most out of Quick Parts, use short, clear names that are easy to remember. Think also about how you can reduce the chance of the Quick Parts tool triggering an expansion inappropriately.
IN-PRACTICE EXAMPLE I edit crime fiction, thrillers and mysteries, and when I'm using the Comments tool, I like to give my author clear indications of which particular element of the editing process I’m focusing on. I do this quickly by using headings that I've set up as Quick Parts. Underneath a heading, I can then explain the problem and suggested solution. Plus, because the various headings in the comments are consistent, I can easily search for and review them by topic area. That helps me when I'm putting together a more comprehensive analysis in an editorial report. And to avoid the risk of Quick Parts kicking in when I don't want it to, I add a ‘z’ to my short names. Here are four topic-based headings I've set up in the tool:
Don't forget that you can save much larger blocks of formatted text into the Quick Parts too. Quick Parts versus third-party text-expansion tools
You might already be familiar with third-party productivity tools such as TextExpander. These can really shine when you want to use the same snippets across multiple programs – for example, email, web browsers and other applications.
As always, it comes down to your budget, needs and preferences. If you want something specifically for Word‑centric editing and formatting, consider the following:
If a separate tool would offer you more rounded support and you have the budget for it, that’s fine. You might even decide to use both in your editorial practice. Summing up
If you already edit extensively in Microsoft Word, the Quick Parts tool will help you reduce repetition, save time, maintain consistency and focus on what really matters: delivering clear, high‑quality content to your client.
And you won’t have to spend a penny more because it’s already part of Word! About Louise Harnby
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) and co-hosts The Editing Podcast.
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Do you use PerfectIt to find inconsistencies in a novel? Do you follow The Chicago Manual of Style? Now you can use both from a single platform! I might be in love. Here’s why.
What’s in this post
What is PerfectIt?
PerfectIt is software developed by Intelligent Editing. It helps editors and authors check a Word document for:
I’ve been using PerfectIt since its first iteration and, for me, it’s a must-have. Not because the human brain isn’t able to handle the checks it carries out but because software can do it faster. And that means I can spend more of my time (which is what my clients are paying for) helping authors craft a compelling story rather than hunting down important but small details. In other words, PerfectIt does the heavy-lifting but lets me retain complete control of the changes being made. What is The Chicago Manual of Style (CMOS)?
CMOS is a 115-year-old style guide published by The University of Chicago Press. For many editors, even those beyond US shores, it too is a must-have because of its mindful, sensible advice.
CMOS isn’t a rule book. It’s a manual of style preferences. And given that novel editing requires a flexible approach to grammar, spelling and punctuation – one that serves rhythm and voice first and foremost – many editors choose to customize its guidance, ignore some of it, or blend it with another style guide’s preferences. CMOS’s strength lies in how comprehensive it is, and the fact that the online version is easy to search. Even though fifty per cent of my clients write in British English, CMOS is still my go-to style guide because lots of its guidance can be universally applied. The rest I tweak to fit my authors’ needs. What is The Chicago Manual of Style for PerfectIt?
Until recently, these two editing staples were in my editing studio but sitting at different digital tables. But what if CMOS could be integrated into PerfectIt? Afterall, PerfectIt has lots of built-in style sheets – why not CMOS too?
It was a beautiful dream. Now it’s a beautiful reality. The Chicago Manual of Style for PerfectIt is a brand-new product that comes free with PerfectIt 5, and I’ve been privileged to play with it. As I said, I might be in love. Beta testing on a novel
I ran The Chicago Manual of Style for PerfectIt on a 65,000-word test document – a copy of a thriller written in British English.
Here’s what else you also need to know about my setup:
Why the editor retains control
I chose to test a document written in British English style in order to illustrate the control editors and writers have over any changes PerfectIt suggests.
Just because we’re checking against the built-in CMOS style sheet, which has its own set of defined preferences, doesn’t mean we have to adhere to all of them. For example, PerfectIt flagged up ‘amongst’. At the top of the Spelling Variations window you can see why: In American English, “among” is usually preferred to “amongst.” Actually, that preference is common in British English too. But the instances flagged up here are dialogue, and the character who’s speaking would be more likely to use ‘amongst’. And so I elected to ignore the suggestion and click on the Next button. Using The Chicago Manual of Style for PerfectIt therefore doesn’t force us to make inappropriate changes to a client’s work. The editor retains stylistic control. 
How to customize The Chicago Manual of Style for PerfectIt
I love CMOS’s good-sense guidance, and find much of it helpful for all of the crime fiction, thrillers and mysteries that pass over my desk.
However, half of those books are written in British English style, which means I want to access all the functionality of The Chicago Manual of Style for PerfectIt but tweaked for my own needs. If spelling is all I’m worried about, a simple workaround is just to turn off PerfectIt’s Spelling Variations check. However, there are other customizations I usually like to do with novels in British English style in addition to spelling. For me, the ability to customize PerfectIt has always been one of its biggest selling points. That flexibility is fantastic for any editor who regularly uses CMOS’s guidance but just as regularly needs to adapt key aspects of it. We can’t amend built-in style sheets. What PerfectIt does instead is allow us to create a copy and amend that. Which is why I now have this little gem in the dropdown menu of available style sheets: Chicago Manual of Style LHUK. 
This is still CMOS, but CMOS for me and some of my clients! I’ve edited the copied style sheet so that now it has a different set of preferences:
I retained the following:
Wow factor 1: CMOS learning at the editor’s fingertips
With The Chicago Manual of Style for PerfectIt, editors can access the best features of both from one platform, which means we can learn CMOS’s style preferences in tandem with our consistency checking.
Yes, we’re running PerfectIt 5. And, yes, we’re able to set it to work to CMOS’s recommendations. That in itself is a gem. But the wow factor is the advice that comes with it – that mindful guidance I mentioned above. In the screenshot below, you can see what The Chicago Manual of Style for PerfectIt has flagged up: ‘long-time’ versus the preferred ‘longtime’. Now look at the comment above. This isn’t prescriptivism in play. Instead, we’re asked to ‘check carefully’ because of what Chicago ‘usually prefers’. That’s a subtle but important reminder that regardless of whether we’re following CMOS or some other style guide, we’re dealing with preferences, not rules. This concept is foundational to professional editorial practice, and I’m pleased to see it shining through here. 
There’s more too. Perhaps we need additional information. Sure, we now know why this issue has been flagged up, but what if we want to verify that, just to be sure? Perhaps we have to open our print or online dictionary after all. Not so. By clicking on ‘See more from CMOS 7.1 >’, we open another pane. Within that pane are links not only to more detailed information from CMOS but also to the website of the external source cited, in this case Merriam Webster.com, which allows us to verify and learn if we want to. 
Or perhaps we want to explore the issue in more detail via our CMOS Online subscription. It’s right there in a clickable link. 
It’s seconds saved, but those seconds add up – fewer keystrokes and zero searching for where the solution to our problem lies. The Chicago Manual of Style for PerfectIt has done the heavy-lifting for us. Wow factor 2: Seamless access
Editors often want quick access to information that enables us to develop our learning. Impatience and software aren’t always favourite cousins, and clicking through to external resources while a program’s in the middle of doing its thing is usually a no-no.
Would clicking through to CMOS Online or Merriam Webster.com in the middle of a PerfectIt run be too much? Would the software slow down, stall or even crash? Would that instant access to learning be more trouble that it was worth? I’m delighted to report that the clickthroughs were seamless. The nub of it is this. CMOS hasn’t been shoehorned in PerfectIt 5. It, and the external links built into it, are fully integrated. So when we want to access external content via those links, we can do so and be assured that the software will remain stable. That’s a big plus for busy editors who want software that works without clunk. Wow factor 3: Shifting the burden of search
CMOS is comprehensive. Any editor who owns the print version knows just how comprehensive. The online version made finding solutions to problems easier. Integrating some of the core elements of style within PerfectIt 5 has taken things a stage further.
It comes down to who or what bears the burden of search. Ordinarily, the editor does. We spot a style-consistency issue, open up our reference source, check the preference and make a decision. 
With this product, the burden shifts. Now The Chicago Manual of Style for PerfectIt is bearing some of the load. It’s spotting potential problems, suggesting the fix, explaining the reasoning behind that suggestion, and taking us to the exact place in one of the world’s premier style guides where deeper learning resides. That’s a time-saver and a stress-reducer. No editor wants to spend time on searching for anything. Pro editors love to learn but none of us love struggling to find answers. After all, we’re paid to edit, not to search. And so for those of us working to fixed project fees, time saved means a better hourly rate and a more profitable business. What PerfectIt 5 won't do
I don’t expect my roofer to comment on the condition of my hair or how well my car’s running. Similarly, we mustn’t expect PerfectIt 5 to check our book files for problems it’s not designed to handle.
CMOS is huge, and there’s a ton of information in it that isn’t related to the kind of checks PerfectIt runs. PerfectIt is a consistency checker, so if you want guidance on how to cite a reference according to CMOS or any other style guide, you’re still going to have to look it up. Same thing if you’re wondering whether to place a comma between two independent clauses separated by coordinating conjunctions. CMOS has advice on this, but fiction editors will need to consider context and sentence rhythm too. How much does it cost?
If you have a subscription to PerfectIt 4 and to CMOS Online, you’ll pay nothing. That’s right. Zero! You’ll automatically be upgraded to PerfectIt 5, which includes the CMOS style guide. Are you falling in love now?
You will have to grab the latest update from the Intelligent Editing website, but that’s always been the case. So who needs to pay? If you have a subscription to one product but not the other, you’ll need to rectify that if you want to use The Chicago Manual of Style for PerfectIt. How to unlock access to the CMOS style sheet
Once you’ve downloaded PerfectIt 5, you’ll see that CMOS is available in the dropdown list of styles. However, there’s one more step you’ll need to take before you can use it.
First, link your PerfectIt account to an active CMOS Online subscription. That will give you a new license key that unlocks The Chicago Manual of Style for PerfectIt. My beta test: The verdict
I love it. So should you buy it? If you already subscribe to PerfectIt and CMOS Online, you don’t need to spend a penny! All you need to do is link both accounts and unlock the features.
If you’re already using CMOS regularly, want to build your knowledge about the guide’s preferences, and check for consistency in line with CMOS within a seamless interface, yes, I recommend you invest in PerfectIt. PerfectIt and CMOS are both trusted resources. This digital partnership will help all of us edit more confidently and mindfully. Where to get The Chicago Manual of Style for PerfectIt
Here's what to do:
And if you’ve bought one of my courses, there’s a discount code waiting for you on the course page. Then let me know if you fall in love too! ResourcesAbout Louise Harnby
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) and co-hosts The Editing Podcast.
This post explains when and how to indent your narrative and dialogue according to publishing-industry convention.
The purpose of first-line indents
Each new paragraph signifies a change or shift of some sort ... perhaps a new idea, piece of action, thought or speaker, even a moderation or acceleration of pace. Still, the prose in all those paragraphs within a section is connected.
Paragraph indents have two purposes in fiction:
First lines in chapters and new sections
Chapters and sections are bigger shifts: perhaps the viewpoint character changes, or there's a shift in timeline or location.
To mark this bigger shift in a novel, it’s conventional not to indent the first line of text in a new chapter or a new section. You might hear editorial folks refer to this non-indented text as full out.
NARRATIVE LAYOUT The following example is taken from Part 5, Chapter 2, of Christopher Priest’s Inverted World (p. 287, 2010):
And here's an example from Part 2, Chapter 6, p. 147, which shows how the layout works the same after a section break:
Even if an author chooses to include a design feature such as a dropped capital (sometimes called a drop cap), it's standard for that letter to be full out, as shown in the following example from To Kill a Devil (John A. Connell, p. 6, Nailhead Publishing, 2020):
DIALOGUE LAYOUT
The same applies even if the chapter or section starts with dialogue, as in this excerpt from David Rosenfelt's Dog Tags (p. 192, Grand Central, 2010):
Body text: dialogue and narrative
The example below from Blake Crouch's Recursion (p. 4, Macmillan, 2019) shows how the indentation works in the body text when there's a mixture of dialogue and narrative.
IMPACT OF LINE SPACING
Even if you've elected to set your book file with double line spacing (perhaps at the request of a publisher, agent or editor), the indentation convention applies. Here's the Recursion example again, tweaked to show what it would look like:
Indenting text that follows special elements
Your novel might include special elements such as letters, texts, reports, lists or newspaper articles. Authors can choose to set off these elements with wider line spacing, but how do we handle the text that comes after?
Again, it's conventional to indent text that follows this content, regardless of whether it's narrative or dialogue. That's because of the connective function; the text is part of the same scene. Here are some examples from commercial fiction pulled from my bookshelves.
It's not the case that full-out text is never used, or can't be used, but fiction readers are used to conventions. When a paragraph isn't indented, they assume it's a new section, which creates a tiny disconnect.
That's what I think's happened in the example below from Kate Hamer's The Girl in the Red Coat (p. 325, Faber & Faber, 2015). Of course, it took me only a split second to work out that the narrator is referring to the preceding letter, but it's a split second that took me away from the story because I'd assumed I was looking at a section break. My preference would be to indent 'I touch my finger [...]' because that text is part of the scene, not a new section. 
How to create a first-line indent in Word
Let's finish with some quick guidance on creating first-line indents.
Avoid using spaces and tabs to create indents in Word. Instead, create proper indents. There are several ways to do this.
OR
Create a new style for your full-out paragraphs using the same tools.
Free webinar
If you need more assistance with creating styles, watch this free webinar. There's no sign-up; just click on the button and dig in.
About Louise Harnby
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) and co-hosts The Editing Podcast.
Fresh eyes on a piece of writing is ideal. Sometimes, however, the turnaround time for publication precludes it. Other times, the return on investment just won’t justify the cost of hiring a professional proofreader, especially when shorter-form content’s in play. Good enough has to be enough.
Here are 10 ideas to help you minimize errors and inconsistencies. 
When we’re too close to the content
Checking our own writing rarely produces the same level of quality as a fresh pair of eyes. We see what we think is on the page, not what is on the page. That's because we're so close to the content.
I'm a professional editor and I know that when I don't pass on my blog posts to one of my colleagues there are more likely to be mistakes. It's not that I don't know my craft but that I'm wearing a writer's hat. Sometimes, getting pro help isn't an option. So what can you do to minimize errors and inconsistencies? Here are 10 tips. 1. Create a style guide
Style guides help you keep track of your preferences, including hyphenation, capitalization, proper-noun spelling, figures and measurements, time and date format.
2. Use a page-proofs checklist
This pro-proofreading checklist (free when you sign up to The Editorial Letter) helps you spot and identify layout problems in designed page proofs (hard copy or PDF). It’s based on the house guidelines provided by the many mainstream publishers I've worked for.
Run PerfectIt
PerfectIt is affordable software that takes the headache out of consistency checking. And because it’s customizable, it will help you enforce your style preferences and save you time. It’s a must-have tool for writers and pro editors.
4. Use find-and-replace in Word
Microsoft Word’s onboard find-and-replace tool enables you to locate and fix problems in your document quickly. This free ebooklet, Formatting in Word: Find and Replace, includes a range of handy strings and wildcard searches.
4. Use find-and-replace in Word
Word's styles palette ensures the different elements of your text are formatted consistently. These tutorials shows you how to set up, assign and amend styles. It'll save you heaps of time whether you're working on business documents, web copy, short stories or novels.
6. Trade with a colleague
If you want fresh eyes but budget's an issue, swap quality-control checking with a colleague or friend in the same position. Pick someone who has a strong command of language, spelling and grammar.
Even if they're not a professional editor, they're wearing the hat of the reader, not the originator, and that means they'll spot things you missed. 7. Use tools that locate inconsistent spelling
Here are 2 tools to help you locate inconsistent spelling:
8. Run The Bookalyser
The Bookalyser analyses a text for inconsistencies, errors and poor style: 70 different tests across 17 report areas in about 20 seconds, for up to 200,000 words at once. It works on fiction and non-fiction, and for British and American English.
Run Word’s onboard Editor
Microsoft Word has an onboard document-checking tool that flags up potential spelling and grammar problems. It's not foolproof (no software is) but it's a second pair of digital eyes that's available at a click.
Go to the ribbon, click on the Review tab, and select the Editor icon. 10. Read it out loud
Read the text out loud. Your brain works faster than your mouth and you might well spot missing words, grammar flops and problems with sentence flow when you turn the written word into the spoken word!
Word also has an onboard narration tool that can do the speaking for you. Go the ribbon, choose the Review tab and select Read Aloud. About Louise Harnby
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) and co-hosts The Editing Podcast.
Writing or editing in Microsoft Word on a PC? Save yourself time by learning these 27 keyboard shortcuts.
Read the shortcuts or download the PDF
If you don’t want to learn 27, learn just the first one: Save!
CLICK ON THE IMAGE TO DOWNLOAD A PDF VERSION
About Louise Harnby
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) and co-hosts The Editing Podcast.
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
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. Here's where you can watch a video tutorial. About Louise Harnby
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) and co-hosts The Editing Podcast.
In this article, I offer 12 tips on how to make your book file editor-ready.
Interior design ... after editing
Interior book design is something that should be carried out after your book’s been edited, not before.
If you’re creating a printed book, post-design page proofs are perfect for the proofreader because they can check not only your spelling, punctuation and grammar but also the layout. Page proofs are either hard-copy or PDF versions of the book that are laid out exactly as they will appear in the final printed version. You and your proofreader will be looking at what the reader would see if they were to walk into a bookshop, pull the title off the shelf and browse through the pages … almost. The proofreader’s job is to ensure that any final errors and layout problems have been attended to before the book is printed. For a comprehensive overview of what needs to be attended to when proofreading designed page proofs, read this (available free when you sign up to The Editorial Letter): Proofreading checklist: How to check page proofs like a professional. 
With copyediting (and proofreading raw-text files for digital books), it’s a different story ...
Working with raw-text files
If you are asking a professional editor to work on the raw text of your book, follow these 12 recommendations to ensure that the file is editor-friendly.
The good news is this: it means less work for you, not more, because you’re not having to design anything … not yet, anyway. 1. Choose a workable file format
Most professional fiction editors work in Microsoft Word. That’s because, despite the odd glitch, it’s still the best word-processing software on the planet.
It has a range of excellent onboard tools that help your editor style the various elements of your text consistently, and quickly locate potential problems that might need fixing. Word is compatible with a host of macros that complement the editor’s brain and eye. That means they can add an extra level of quality-control to the edit efficiently. Even if you’ve written your book in a different program – for example, Scrivener, Google Docs or Apple Pages – place the text in a Word file before you send it to your editor. You’ll get a better-quality book edit, I promise. 2. Consolidate chapters
Unless you’ve agreed with your book editor to work serially – i.e. on a chapter-by-chapter basis – create a single master file that contains the full text of your novel.
If you send them 75 separate chapters, all they’ll do is combine them into one file … after they’ve finished weeping with frustration. Editors want to ensure that your book is consistent – that Kathyrn doesn’t become Katherine, Catherine or Cathryn. There are Word plug-ins that can help them identify problems like this efficiently but they’re only effective if the editor is working with a single file. The same applies to ensuring that the various elements of your text are formatted consistently. For example, it’s conventional for the first paragraph in a chapter or section to be full-out (not indented). Your editor can use Word’s styles palette to define the appearance of a first paragraph. Once the style has been set, it’s a case of applying it to every relevant paragraph in the file. If they don’t have a master file to work with, they’ll have to create a new style for each one of your 75 chapters or import that style for the same. Fiction editors love master files, and they will love you if that’s what you provide. 3. Stick to standard fonts
You might have decided to use an unconventional font for your book interior. You’re perfectly entitled to use any font you choose ... just spare a thought for your editor’s eyes.
When it comes to the editing stage, stick to something like Times New Roman, size 14. It’s a serif font, which means it’s easy on the eye. The less your editor struggles to read the text, the better the quality of their work. 
4. Stick to black text
I recommend you use black text on a white page. Again, it’s about readability.
The white text on the coloured blocks below certainly stands out, and the contrast is visually appealing, but for editing purposes it’s a challenge. 
Some years ago, I was asked to copyedit a fabulous book for an indie author. The pages were black, the text pink. The first thing I asked him – no, begged him – was for permission to change the file’s appearance to something more conventional.
He agreed to save the quirky colourway for the design stage and I was immensely grateful. So was he. I’d have had to increase my price because I would have edited more slowly. 5. Create proper paragraph indents
Open any novel on your bookshelf and it’s likely you’ll see a text layout something like this:
Those indented paragraphs are not made using the tab key. Instead, use Word’s ribbon to create proper indents.
To find out how to create a body-text style with proper indents, watch this video tutorial: Self-editing your fiction in Word: How to use styles.
6. Choose readable line spacing
At line and copyediting stage, don’t worry about how many pages your text covers. Instead, give your editor a file with the lines spaced so that the text is easy to read. Setting the line spacing at 1.25 or 1.5 works well for a font size of 12 or 14.
The line spacing function can be located by right-clicking on text and selecting PARAGRAPH. A window will open. Make sure you’re in the INDENTS AND SPACING tab. Then amend the LINE SPACING field. 
7. Apply heading styles to chapter headings
Your editor will adore you if you assign your chapter headings with one of Word’s heading styles:
You can even modify the style so that it automatically starts on a fresh page.
Right-click on the heading style, select MODIFY, then FORMAT, then PARAGRAPH. A window will open. Make sure you’re in the LINE AND PAGE BREAKS tab. Check the PAGE BREAK BEFORE box. 
Why is this useful?
8. Omit manual page numbers
In a raw-text work of fiction, there’s no need for page numbers or other headers and footers.
Word records the page number in the bottom-left-hand corner of the screen of a PC, and that’s what an editor will refer to if they need to direct your attention to a specific page. 
If you plan to upload a later version of your file for ebook creation, your page numbers will need to be removed anyway.
If you’re printing, save the page numbering for design stage. 9. Indicate section breaks clearly
I recommend introducing three asterisks (***) to indicate a section break. You can change them at design stage of course, but they’re handy at editing stage because your editor can see that you intend for there to be a section break.
Why not just have a line space? Because sometimes a writer will accidentally hit the return button twice. Your editor will have to spend time working out whether the break is intended rather than focusing on the flow of your text and any errors that need correcting. 10. House pictures and images separately
If your editor needs to check copy against images and their captions, consider placing these in a separate file. Give each one a distinctive file name, then place indicators that refer to these in your book file.
Images, especially high-resolution ones, will increase the size of your book file massively, and slow down refreshing when the editor saves. And your editor will save once every few seconds. Sounds bonkers, doesn't it? But the editor who doesn't save regularly is the editor who finds they've lost a precious half-hour's worth of editing because there was a power cut, or a hurricane, or the oven exploded, or whatever. And when they come to email your edited file full of hi-res images, it will be so huge that they'll have to use an external cloud-based transfer service. The file will take an hour to load (unless they have rubbish broadband speed, in which case it will take two or three hours). They'll do the transfer in the evening so that it doesn't slow them down while they're working, meaning their teenage kid will start moaning and giving them that look because Netflix is buffering or Minecraft won't load, or something equally devastating. Save us, I beg you. 
On top of all that, amendments, deletions, and additions to the text will cause your carefully placed images to shift into spaces you didn't intend. Better to leave image placement to interior-design stage. It'll save you and your editor time and tears.
11. Leave the table of contents for later
If you've created a table of contents in a Word file prior to copyediting, there's a good chance that a chunk of your page numbers and some of the chapter titles will be wrong by the time your editor has finished.
Of course, you can pay them to fix these too. But that could add an extra hour's work onto your bill. Worse, you'll be wasting your money because when the book's interior is designed, everything will change again. I know this because when I proofread for publishers (and that means I'm working on designed page proofs that have been edited multiple times and designed by a professional interior formatter) the table of contents is always messed up. Sort out your table of contents before you do your final design, not at copyediting stage. It'll save you money, I promise. 12. Leave the index for later
I'm adding this one in for non-fiction writers, just in case you're reading.
If the page numbers against a table of contents get messed up during copyediting, the damage to an index is nothing short of catastrophic. It's not just the page numbers, but the indexed entries too. Spellings might change, so might compound hyphenation. Some key terms will have been removed or changed. Others will have been added. Indexing should come after proofreading, ideally, but certainly not at copyediting stage. Summing up
These are just suggestions, not book law, editing law, any kind of law. However, your editor will love you if you make life easier for them, not because they’re lazy but because they want to focus on making your narrative and dialogue sing rather than formatting text so that it’s readable.
There’s absolutely a time and a place for great interior design, but pre-editing stage is not it. Save yourself the bother and keep it simple. For more raw-text tidy-up tips, grab this free booklet: Formatting in Word: Find and Replace. 
Fancy watching a video instead? Here’s where to find the free tutorial.
About Louise Harnby
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) and co-hosts The Editing Podcast.
If you think there's no place for macros in fiction editing, think again. Paul Beverley has collated a core group of macros that will have any fiction line editor, copyeditor or proofreader drooling! Self-publishing authors will love them too!
I don't use all of these (every editor has their preferences) but some of them are staples and save me oodles of time! 
For use with Microsoft Word
The macros featured in this article are designed to be used with MS Word files.
Some of them are best for when you’re looking at the whole text of a novel, while others are selective ... for use while you’re editing line by line. Macros that work with the whole text
These macros are ideal near the beginning of the edit, when you’ve put together the whole book in one single file, and you want to look for inconsistencies.
ProperNounAlyse searches the novel for any words that look like proper nouns; it counts their frequency, and then tries to locate, by using a variety of tests, and pairs of names that might possibly be alternative spellings or misspellings, e.g. Jayne/Jane, Beverley/Beverly, Neiman/Nieman, Grosman/Grosmann etc.
FullNameAlyse is similar to ProperNounAlyse, but it searches for multi-part names, Fred Smith, Burt Fry, etc.
ChronologyChecker is aimed at tracing the chronology of a novel. It extracts, into a separate file, all the paragraphs containing appropriate chronology-type words: Monday, Wednesday, Fri, Sat, April, June, 1958, 2017, etc. This file is then more easily searchable to look at the significance of the text for the chronology. WordsPhrasesInContext tracks the occurrence of specific names through a novel. You give it a list of names/words/phrases, and it searches for any paragraphs in the novel that contain them. It creates a separate file of those paragraphs, with the searched element highlighted in your choice of colour. CatchPhrase searches your novel for over-used phrases and counts how many times each phrase occurs. Macros for when editing line by line
FullPoint/Comma/Semicolon/Colon/Dash/QuestionMark/ExclamationMark
These macros change he said, you know ... into he said. You know ... or he said: you know ... or he said – you know ... and so on. FullPointInDialogue and CommaInDialogue These two macros change “Blah, blah.” He said. into “Blah, blah,” he said. and vice versa.
ProperToPronoun
This macro looks along the line to find the next proper noun, deletes it and types ‘she’. But if you then type Ctrl-Z, it changes it back to ‘he’. MultiSwitch You give this macro a list of changes that you might want to implement: Jane Jayne Beverley Beverly that which which that When you click in a word, and run the macro, it finds your alternate and replaces it. It also works with phrases and can also provide a menu of alternates: he said he opined he shouted he voiced she said she opined she shouted she voiced
To access the macro scripts, check out Paul's website: Word Macro Tools.
About Louise Harnby
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) and co-hosts The Editing Podcast.
Can you proofread your own book? Here are some quick tips on formatting your Word file ... final tidy-ups to get your file in shape, and that accord with mainstream publishing standards.
A second pair of eyes
Truly, nothing beats a second pair of eyes on a piece of text, short or long. I know this all too well because I’m a professional proofreader and copyeditor, but I also write – books (yup, I've self-published four times), guides, booklets and blog posts.
And I miss stuff – not because I have a problem with grammar, punctuation or spelling, but because I’m too close to the text. I see my own writing in terms of the ideas I want to convey rather than the text in front of my eyes. That’s why I hire fellow proofreaders and editors to help make my written materials the best they can be. I don't expect those people to guarantee perfection but I do expect to them to ramp up the quality (and they've never failed me). Helping you manage costs
Here’s another thing I know – the better shape the file's in, the better the price. Editors and proofreaders are professionals and, though we love what we do, we have bills and mortgages too. So, very broadly speaking, the more intervention needed, the higher the fee.
There are things every writer can do to tidy up a piece of text by themselves, though. I’ve compiled them in one handy resource. The steps in this toolkit won’t replace a rigorous professional developmental edit, line edit/copyedit and final prepublication proofread, but they will help rid your file of some of the nasties! In the free booklet ...
Here’s what the booklet shows you how to do:
Just click on the image below to get your FREE copy! 
Hope it helps! And come back soon for more handy tips and advice designed especially for beginner writers.
About Louise Harnby
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) and co-hosts The Editing Podcast.
If you’re an editor or proofreader who’s never once switched off Track Changes (TC) in the middle of an edit and then forgotten to toggle it back on again, congratulations – you’re a rare creature indeed!
Using a macro
Try using this macro: VisibleTrackOff4.
Even if you don’t like macros, don’t use macros, are wary of macros, this is one macro that you should consider installing anyway. Trust me. It's a lifesaver. By the end of this article, you’ll know how to ensure you never forget you’ve switched off Track Changes. I’ll show you the following:
How the macro works
In brief, VisibleTrackOff4 is an alternative TC on/off switch. You run this macro instead of using Word’s TC button.
I work in Windows 10 with Word 2016. On my screen, the TC button is accessible via the ribbon in the Review tab. Your view may be slightly different. 
When you use VisibleTrackOff4 (rather than the TC button shown above) to switch on TC, your page appears white, as usual. However, when you use it to switch off TC, your page turns yellow. As you toggle TC on and off, your page colour toggles too. If the page is yellow, you know TC is off. That’s something you can’t miss, and that’s why it’s foolproof.
To use the macro efficiently, you can do one of the following:
I’ll show you how to do all three in the ‘How to run it efficiently’ section below. How to install it
Here’s how to install the macro:
How to run it efficiently
To switch TC on and off efficiently using VisibleTrackOff4, you can do one of the following:
Create a shortcut key
Add the macro to your Quick Access Toolbar
Create a custom button in your ribbon (Word version 2010 onwards)
This is what your new button will look like:
Other versions
You don’t have to go for the yellow-page effect. There are other options. The installation and quick-access instructions are the same; only the script you’ll need to copy and paste is different:
Summing up
I prefer the yellow-page effect because it’s so obvious, and because it doesn’t interfere with my view of the text while I’m amending with TC off.
I also prefer to run the macro with a custom ribbon-based button because it’s right up there alongside Word’s TC button, which is what I’m used to. I’ve created a shortcut key so that I have choice in the matter. This comes in handy when I need regular access to the Styles tab and don’t want to keep switching the tabs on the ribbon. I urge you to try this macro. Remember, you need never again endure the frustration of having forgotten to switch on Track Changes! P.S. My colleague Adrienne Montgomerie was single-handedly responsible for showing me how easy it is to customize the ribbon so that you can easily and quickly access any command. Her article ‘Make a Custom Tab on Word’s Ribbon’ is a must-read if you want to increase your onscreen efficiency. And, as always, thanks to Paul Beverley for creating some brilliant macros, and for giving me permission to bang on about them via my blog! About Louise Harnby
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) and co-hosts The Editing Podcast.
MultiSwitch is another gem of created by my colleague Paul Beverley. This useful little macro speeds up onscreen editing and proofreading.
Switch around words with a single keyboard shortcut
To get the macro, visit Word Macro Tools.
In a nutshell, this allows you to switch around a word (or words) with a single keyboard shortcut. I use it to save time with every single Word-based project I work on. Imagine that you’re editing or proofreading a Word file in which the author repeatedly uses ‘which’ for restrictive relative clauses. You want to change it to ‘that’. This means carrying out three small actions: select, delete and retype. That’s not a problem if the issue occurs twice in a file, but if it occurs tens or hundreds of times, those seconds are going to add up and eat into your hourly rate. And let’s not get started on the ache in your wrist! Naturally, you might notice that a particular job has a number of similar niggles that you want to attend to, in which case this macro will be even more of a productivity-enhancer. MultiSwitch in action
To run MultiSwitch, you simply place your cursor before or in the word you want to change (in our example here, ‘which’), and hit your keyboard shortcut (I’ve assigned alt-3, but you can choose whatever you like). Then, bingo, the macro amends ‘which’ to ‘that’.
Here's a teeny-tiny video of me using MultiSwitch. This demo aims merely to show you where to place the cursor prior to hitting your assigned shortcut key command, and what you will see on your screen (a little flickering as the macro makes the switch). If you don’t know how to assign a keyboard shortcut, don’t worry – I’ll show you how later in the article. The beauty of MultiSwitch is that you need only one keyboard shortcut for a ton of different word switches. Here are a few examples from my switch list:
I love this macro for editing fiction because it's so quick to create contractions when I'm helping the author create a more informal narrative, or dialogue that's closer to natural speech. Further down, I explain how to create your list – it's a doddle. Or, if you'd like to save even more time, grab a free copy of my contraction switch list. You can edit it to include your own word switches. 
Installing MultiSwitch
Go to Paul’s website and download the macro.
Use Word’s navigation menu on a Mac (or Ctrl F on a PC) to open the Find function. Type ‘Sub MultiSwitch’ into the search field and hit ‘Return’ twice. That will take you to the start of the relevant script. Select and copy the script from ‘Sub MultiSwitch()’ down to ‘End Sub’. Still working in Word, open the ‘View’ tab and click on the ‘Macros’ icon on the ribbon: 
A new window will open.
If you don’t have any macros already loaded:
If you already have macros loaded (your TEST macro or any other):
This will open up another window: 
Don’t close this Visual Basic window quite yet – there’s something else you need to do first! Creating your MultiSwitch list
Now head over to Word. Open a new document and call it zzSwitchList. Create your list using the following style:
that which which that last past like such as less fewer Less Fewer it is it's Save it somewhere just as meaningful! Mine’s in my Macros folder, but you can save it wherever it suits you. Now close the document. You can amend this list any time you want to – just add or delete words as you see fit. Changing the MultiSwitch script
Now you're going to make a small amendment to the macro script so that it's personalized for you, so go back to the window into which you pasted the MultiSwitch script.
At the top of the script, you’ll see the following: Sub MultiSwitch()
The text in bold shows how I’ve customized the script to suit my needs – you need to put in your own location.
Now you can close the window by clicking on the ‘X’ in the top right-hand corner. Do the same with the general Visual Basic window too. Don’t worry if you get a message about a debugger – just press ‘OK’. Creating the keyboard shortcut for running MultiSwitch
If you don't know how to create keyboard shortcuts, this section's for you. If you do know how to do this, you don't need to read any further!
I'm working in Word 2016 on a PC. If you are too, the instructions are as follows:
(If you are working in a different version of Word, see pp. 14–15 of the ‘ComputerTools4Eds’ file in the Macros folder that you've downloaded from Paul’s site in order to install this macro. There, he provides details of the process for different versions of the software.) The image below shows how I assigned a keyboard shortcut to another macro called ‘UndoHighlight’. The steps are exactly the same. 
About Louise Harnby
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) and co-hosts The Editing Podcast.
Every writer, copy-editor and proofreader comes across words that are used correctly but spelled incorrectly (typos), but we also have to look out for words that are spelled correctly but used incorrectly – this is the world of confusables.
What are confusables?
Some confusables are not only spelled differently, they sound very different too, e.g. imply/infer; militate/mitigate; reactionary/reactive. In this case, the writer might have misunderstood the meaning.
Some confusables are homophones – words that are spelled differently but sound the same, e.g. rein/reign; stationary/stationery; prophecy/prophesy; loath/loathe. In this case, the writer understands the different meanings, but is unsure of the appropriate spelling. Then there are errors that are simply a result of hands moving too fast over a keyboard – the meanings and correct spellings are known to the writer, but, in their haste, perhaps they’ve transposed a couple of letters or omitted a character. Or it may be that the automatic spellcheck has kicked into gear and the writer hasn’t noticed the problem because they’re concentrating on the bigger picture. Examples might include e.g. filed/field; adverse/averse; pubic/public. Blind spots
Writers aren't the only ones with blind spots. Editorial pros do too. It’s our job to spot these problems and fix them.
However, we’re only human and most of us have a few blind-spot words that our eyes are, on occasion, less likely to notice, even though we do know the differences in meaning and spelling. My own blind spots are gaffe/gaff, brake/break and peek/pique/peak. I don’t know why my eye doesn’t spot these pesky confusables as readily, especially when the likes of compliment/complement or stationary/stationery scream at me from the page! However, I accept that I do have blind spots and have taken steps to ameliorate the problem with a little mechanical help – the macro. How can macros help?
Using macros enables us to identify possible problems before we get down to the business of actually reading, line by line, for sense.
Every time we find an error, we have to think about it and decide whether to amend. By reducing the number of interruptions, we can focus our attention on the flow of the words in front of us and increase efficiency. For this reason, I, like many of my colleagues, run my macros at the beginning of a project (though I often repeat the process at the end stage too). My preferred tool
CompareWordList is currently my preferred tool simply because of how easy it is to create and update my own list of words to be checked – words that can, on occasion, be blind spots for me.
As I’ll show below, customizing the list of confusables doesn’t require me to amend the script of the macro once it’s installed. Instead, all I have to do is amend a basic list in a Word document – nice and simple! 1. Create your list of confusables
The first thing to do is to create a list of the words you want the macro to find, and highlight, in a Word document.
For speed, and so you can see the basic format of the list, you can download a copy of a list here. If you want to rename it, do so. Then add words, or remove them, as you see fit. 2. Get, and tweak, the code
Visit “Highlight Words from a List” and copy the code. If you’re completely new to installing macros, just paste the script in a Word document for now so that you can tweak it easily.
Below is a screenshot of Wyatt's code. The highlighted sections show where I’ve tweaked the code to suit my own needs. 
Screenshot of Allen Wyatt's CompareWordList macro code
Tweaks to consider (1) I’ve changed Wyatt's code (as per his suggestion) so that it describes where my list of confusables is located: sCheckDoc = "c:\Users\Louise\Dropbox\Macros\confusables.docx". You’ll use the location you made a note of when you created your own list (see the section above – Using CompareWordList 1: Create your list of confusables). (2) Wyatt's code emboldens the words found by the macro; I wanted them highlighted so I replaced the highlighted text as follows: .Replacement.Highlight = True. (3) I changed the Match Whole Word instruction to False because I wanted the macro to find part words. This, of course, will pull up some false positives but it was the easiest solution I could find. (4) I also changed the Match Case instruction to False. Now that you’ve tweaked the code to suit your own needs, you’re ready to install it (the basic, step-by-step instructions below are provided for the benefit of those who are completely new to macro installation). 3. Install the code
With Word open, open the “View” tab and click on the “Macros” icon on the ribbon.
This will open up a new window.
If you don’t have any macros already loaded:
If you have macros loaded (your TEST macro or any other):
This will open up a further window:
The installation is now complete. Running CompareWordList
Removing highlights one by one
Here’s a tiny macro that I recorded to remove a highlight as I move through a Word document. Installing this means I simply have to click on a highlighted word and run the macro.
Assigning a shortcut button (see below) makes the job easy and efficient. I decided on Alt H because I don’t have that keyboard shortcut assigned to any function that I carry out regularly. Sub UndoHighlight()
To install: Simply copy the red script above and install it in the same way that you installed the CompareWordList macro.
To create a shortcut key: In Word, select File, Options, Customize Ribbon (1). Click on Customize (2). A new box will open up entitled “Customize keyboard”. In the Categories window (3), scroll down and select Macros. In the Macros window (4), select UndoHighlight. Finally, choose your preferred keyboard combination by typing it into the Press New Shortcut Key window (5). Select Assign and Close. 
To remove ALL highlighting in one go: For this job, Paul Beverley’s your man. A huge number of macros are available via his website: Word Macro Tools.
Hope you find this useful! About Louise Harnby
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) and co-hosts The Editing Podcast.
If you proofread or copyedit fiction or non-fiction, or you're self-editing your own books, here's a macro that will highlight potential inconsistencies in proper-noun usage.
About this macro
ProperNounAlyse was created by my colleague Paul Beverley, and it’s just one of a huge number of macros available on his website: Word Macro Tools.
I've written this post for the person who doesn't use macros and is nervous about trying. I think it’s such a shame when a fear of tech leads to lost opportunities for those who want to increase productivity (which is great for the editorial pro) and improve quality (which is great for the client). Why bother? Three reasons
Reason 1
ProperNounAlyse is easy to install, even for those with absolutely no technical savvy, and quick to run.
Reason 2
It’s great for picking up inconsistencies in proper nouns (even double words, e.g. Louise Harnby vs Louise Hornby) while allowing you to maintain complete control over the text. This is because it’s not changing anything in the document you’re working on; rather, it works through the text in a Word document and provides a summary analysis of what it finds. That leaves you free to identify what needs sorting and what needs leaving well enough alone. I find it particularly useful when I'm proofreading fiction with lots of characters whose names may inadvertently end up being spelled slightly differently. A writer can become so immersed in the story they’re building that these kinds of slippages are easily missed. And even the best professional proofreader is only human, so using a little bit of simple tech to complement the eyes and brain makes good sense.
Reason 3
While you’ll find it useful for paid work, it’s also a sharp little tool for providing insight into the state of a file you’re being asked to quote for. One of my colleagues routinely runs this in conjunction with another couple of macros in order to get an overview of the author’s consistency. I've taken a leaf out of her book and started using ProperNounAlyse in this way too. Installing ProperNounAlyse
After you've downloaded the macro from Paul's website, use Word’s navigation menu (or Ctrl F on a PC) to open the Find function. Type “Sub ProperNounAlyse” into the search field and hit Return. That will take you to the start of the relevant script. Select and copy the script from “Sub ProperNounAlyse()” down to “End Sub”. Paul’s helped us out by highlighting the name of each new macro. Still with Word open, open the “View” tab and click on the “Macros” icon on the ribbon. 
This will open up a new window.
If you don’t have any macros already loaded:
If you have macros loaded (your TEST macro or any other):
This will open up another window:
The installation is now complete. Running ProperNounAlyse
The macro in action
Below is a simple word list of proper nouns with lots of inconsistencies – differences in accent use, apostrophe use and spelling.
I run ProperNounAlyse on the document. It analyses the text and then creates a new Word file with the following results:
I’m provided with an at-a-glance summary of potential problems that I need to check. It may be that the differences identified are not mistakes, but I know what to look for.
“I don’t need to use techie tools … my eyes are good enough”
Macros don’t get tired. Macros don’t get distracted. I don’t believe any proofreader who claims they can do as good a job with their eyes alone as they can do with their eyes and some electronic assistance. It’s a case of using these kinds of tools as well as, not instead of, the eyes and brain.
I could have relied on my eyes to find all of the above problems, and in a small file I would hope to have hit the mark 100%. But if I’d been working on 100,000 words of text, and there were twenty key characters, a plethora of grammatical glitches, two major plot holes, numerous layout problems, and a mixture of hundreds of other inconsistencies regarding hyphenation, capitalization, punctuation and regional spelling variation, there would have been a lot of problems to solve; I want to utilize every tool available to help me do that. Yes, my eyes and brain are two of those tools. But using macros like ProperNounAlyse and others (PerfectIt, for example, just because it’s another favourite!) speeds me up, pure and simple, and massively reduces the chance of a miss. I ran ProperNounAlyse on a recent fiction proofread for an independent author who is a phenomenally good writer – great plot, excellent pacing, engaging characters. But he was so busy crafting the 95,000 words it took to build a fantastic story that he’d introduced a lot of proper-noun inconsistencies. That’s fine – it’s not his job to deal with these; it’s mine. It took me minutes, rather than hours, to locate them and deal with them. And I know I found them – every one of them. What will the client remember?
If you’re still reluctant to try out ProperNounAlyse (or any other editorial tool for that matter), consider this: What will the client remember? The three hundred mistakes that you spotted or the three howlers you missed?
When it comes to proper nouns, especially in large volumes of character-based editorial work, it’s too easy to miss a discrepancy. And character names stand out to readers. Taking just a few minutes to run a simple-to-use macro might determine whether your client thinks your work was pretty good or outstanding. Which of those is likely to gain you a repeat booking or a referral to another potential client? About Louise Harnby
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) and co-hosts The Editing Podcast.
If you’re thinking about becoming a proofreader, it’s important to understand that this term can mean different things in different contexts and with different client groups. This article focuses on working with raw text.
Who are your clients?
What type of proofreading you want to do and which group of clients you want to be work-ready for will determine the choices you make with regard to training.
Some proofreaders work directly with the creators of the written materials – independent authors, students and business professionals, for example. These clients send Word files and the proofreader amends the files directly (often with Track Changes switched on so that the client can see what’s been changed). Others work for intermediaries such as publishers and project-management agencies. Here the author supplies the text files; then the in-house project manager (PM) organizes the various elements of the production process – including copyediting, proofreading, typesetting and printing. After copyediting and typesetting, the PM supplies page proofs to the proofreader, who makes annotations that identify where there are problems to be attended to. The proofreader does not amend the text directly. In Part I, I gave the new entrant to the field an overview of what it’s like to be a proofreader working with page proofs. Here in Part II, I consider proofreading that involves working directly with the raw-text Word files. Which clients prefer to work in Word?
Most of the proofreading done in Word stems from having been commissioned directly by the content creator – a business executive, a self-publishing author or a student.
Academic writers, particularly those submitting articles to journals and for whom your first language is their second, are also likely to send Word files. Only one of my publisher clients would ask me to proofread in Word. What is the proofreader looking for?
It depends on the client's expectations (see below: Disadvantages) and your terms and conditions. Certainly, when it comes to proofreading for non-publisher clients, the definition of proofreading starts to look unclear and the boundaries between this and copyediting become blurred.
Unlike with page proofs, we can't check the final designed layout of the file but we still need to read every word. Some of the issues dealt with in the list below would be acceptable to the proofreader working for an academic author but not when working with a Master's student. (Some clients might even want/expect a level of restructuring, rewriting and checking that a proofreader wouldn't consider to be within their remit.)
What are the advantages?
What are the disadvantages?
There are still legal issues to consider …
Even if you are working directly with the primary authors of the content, you still need to get their permission to upload their text to third-party sites if you want to utilize software that's not on your computer.
The files you've been sent from Indie authors, students and businesses are their property and they send them to you in good faith, so you must get permission for their content to leave your computer. What does this mean for training?
Knowing the software ...
If you want to proofread in Word, you'll need to be proficient in using it. Word is one of the most powerful pieces of word-processing software available, and there's a huge amount you can do with it if you want to proofread (or edit) efficiently. You might therefore need to supplement your proofreading training with learning that focuses on using macros, making the best of Find/Replace and wildcards, using Track Changes, and Microsoft Word usage in general. There's still the issue of how much to interfere ... If you do end up proofreading for a publisher client who wants you to work in Word, it will be necessary to consider the issue of when to leave well enough alone, as discussed in Part I. However, independent authors looking for a proofreader may actually be expecting a deeper edit and will be disappointed if you're not prepared to rewrite sentences for them. If you've not had experience of, or training in, editing, you may find that a 'proofreading' project ends up being a bigger bite than you can chew. One of my colleagues feels that specific training in editing isn't always critical when working with business clients, whereas for self-publishing novelists it would be very important. I'm inclined to agree. One person might be relatively comfortable suggesting improved sentence construction to a business client but very wary of doing so with an author of fiction. What this shows is how blurry the edges can become and how important it is to have a detailed conversation before you begin a project. I often encourage independent fiction authors looking for a proofreader to consider commissioning editing first. Editors with both editing and proofreading skills are better placed to take on jobs for non-publisher clients that fall in the editing camp, or somewhere between editing and proofing (proofediting). If you think you'll end up straying beyond the realm of proofreading, you might consider adding copyediting courses into your training mix. Think about what type of client you're going to be working for to help you decide what's appropriate. Summing up …
Proofreading isn't some catch-all phrase that means the same thing to every client group. What you actually do, on which medium, how much you interfere, the extent to which you can use complementary tools, and the expectations of the client will differ greatly.
This means a range of competencies will need to be acquired depending on whom you’re working for. Your training will need to match the requirements of various client groups – a publisher’s expectations in terms of industry-recognized standards will be different from a business executive’s or student’s, so take care to research any proofreading training syllabus carefully to make sure it’s providing you with the skill set relevant to your target client group. Your training should suit your needs, your business plan, your objectives – and what will be right for one person may not be right for another.
Read this article's sister post: Not all proofreading is the same: Part I – Working with page proofs.
About Louise Harnby
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) and co-hosts The Editing Podcast.
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