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:

• Readability: They help the reader identify the shifts visually.
• Connectivity: They indicate a journey. Indented paragraphs are related to what's come before ... part of the same scene.

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.

• This is standard with narrative and dialogue.
• The convention applies regardless of your line spacing.

NARRATIVE LAYOUT
The following example is taken from Part 5, Chapter 2, of Christopher Priest’s Inverted World (p. 287, 2010):
​

• Paragraph 1 is the first in the chapter.
• The first line is not indented.
• The first lines of the paragraphs that follow it (2) are indented.

And here's an example from Part 2, Chapter 6, p. 147, which shows how the layout works the same after a section break:
​

• Paragraph 1 is the first in the section.
• The first line is not indented.
• The first lines of the paragraphs that follow it (2) are indented.

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):

• Paragraph 1 is the first in the chapter.
• The capital letter on the first and second lines is not indented.
• The first line of the paragraph that follows it (2) is indented.

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):

• Paragraph 1 is the first in the chapter.
• The first line is not indented.
• The first lines of the paragraphs that follow it (2) are indented.

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.

• Regardless of whether the prose is narrative or reported speech, the text is indented.
• The convention applies regardless of line spacing.

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.

1. REPORT: The Outsider, Stephen King, Hodder, 2018, p. 252
2. LIST: Life of Pi, Yann Martel, Canongate, 2002, p. 146
3. TRANSCRIPT: Snap, Belinda Bauer, Black Swan, 2018, p. 36
4. RECORD: Ready Player One, Ernest Cline, Arrow, 2012, p. 300

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.

• Open the Home tab (1).
• Select your text.
• Move your cursor to the ruler and select the top marker (2).
• Drag it to the position of your preferred indent.
• Right-click on the style in the ribbon (3).
• Select 'Update Normal to Match Selection'.​

OR​

• Open the Home tab (1).
• Open the Styles pane via the arrow icon (4).
• Select your text.
• Move your cursor to the ruler and select the top marker (2).
• Drag it to the position of your preferred indent.
• Go to the Styles pane (5) and right-click on the style (6).
• Select 'Update Normal to Match Selection'.​ ​

OR

• Open the Home tab (1).
• Open the Styles pane via the arrow icon (4).
• Go to the Styles pane (5) and right-click on the style (6).
• Select 'Modify' to open the Modify Styles pane (A).
• Click on the Format button in the bottom left-hand corner (B).
• Select Paragraph to open the Paragraph pane (C).
• Make sure you're in the Indents and Spacing tab.
• Look at the Indentations section in the middle. Make sure 'First line' is selected under 'Special:' (D).
• Adjust the first-line indent according to your preference (E).
• Click OK (F).

Create a new style for your full-out paragraphs using the same tools.
​

• If using the ruler, ensure the markers (2) are aligned, one on top of the other.
• If using the styles pane, adjust the indent spacing (E) to zero.

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.

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.

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.

Style guides help you keep track of your preferences, including hyphenation, capitalization, proper-noun spelling, figures and measurements, time and date format.

• If you’re a novelist, use my Style Sheet Template
• If you’re a business writer, check out the Chartered Institute of Editing and Proofreading (CIEP) guide Your House Style

This pro-proofreading checklist 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.

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.

Microsoft Word’s onboard find-and-replace tool enables you to locate and fix problems in your document quickly. This free ebooklet, The Author’s Proofreading Companion, includes a range of handy strings and wildcard searches.

Word's styles palette ensures the different elements of your text are formatted consistently. This tutorial 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.

• Video tutorial
• Written tutorial

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.

Here are 2 tools to help you locate inconsistent spelling:

• TextSTAT: This concordance software generates simple alphabetized word lists that flag up potential problems
• ProperNounAlyse: An excellent macro from editor Paul Beverley that highlights potential inconsistencies in proper-noun usage

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.

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 Check Document button.

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. There’s a tutorial here: ‘Hear text read aloud with Narrator’.

Every editorial report we write for our authors should achieve 7 goals. Some benefit us, some benefit our clients, but they’re all connected. If you feel your report-writing skills could do with a boost, use this goal-based framework to pep things up.

Let's look at the goals in brief; then we'll dig deeper.

Goals that benefit the editor

• Create the report efficiently
• Demonstrate editorial excellence
• Build trust
• Compel future commissions and recommendations

Goals that benefit the client

• Offer a comprehensive learning tool
• Take a mindful approach
• Provide a solution-based critical review

Efficiency means achieving the three goals that benefit the client without compromising on one iota of quality and without damaging our productivity. We are in business, after all.
​
Creating detailed editorial reports can eat into an editor’s hourly rate. It’s easy – even for experienced sentence-level editors – to omit the time for report-writing when creating a quote; I’ve done it myself. We focus on the number of words per hour we edit, based perhaps on a sample.
​
Or perhaps we have included the report-writing component in our calculations but the author wants to negotiate on price. Every efficiency we incorporate allows us greater choice about whether to accept or reject a client’s proposal.

Our second goal is to demonstrate editorial excellence. Those of you who are members of a national editorial society might well be bound by a code of practice that demands this.

That’s the case for members of the Chartered Institute of Editing and Proofreading (CIEP), which says in its CoP: ‘Good communication between client/employer and freelance/employee is essential.’

Editorial excellence isn’t just about being an expert in typo hunting, grammar correction and stylistic revision. 

Neither does it end with clarity on the project brief or issues of privacy, confidentiality and security. ​

​It’s also about communicating the why of our edits. Comprehensive editorial reports are the perfect communication tool, and the reason why we shouldn’t skimp.

When we communicate the why of our decisions, we build trust.

If a client is anxious about how we’ve edited their work because they don’t understand the changes we’ve made and/or because we’re new to them, trust is low.
​
Part of our job is to earn it. A comprehensive editorial report that demonstrates a deep knowledge of our craft creates author confidence. And that’s the key to a healthy business relationship.

​A client with a detailed editorial report that demonstrates excellence and builds confidence in your ability is more likely to do the following:
​

• Come back to you with their next project
• Wait for you if your schedule is full
• Accept your price
• Recommended you to their friends, family and colleagues

Now let's look at the benefits for the author. 

​Our fifth goal is to provide our authors with an outstanding learning tool, rich in problem/solution-focused detail, which they can use to hone their writing craft. 

The independent-author market is huge, and many in the community lack experience – they’re right at the beginning of their writing journey. They might well have talent by the bucket load but the line work we do is nevertheless extensive.

An editorial report gives us the chance to offer our guidance in a format that’s accessible and clear. And because it’s separate from their book file, they can refer to it time and again.

A comprehensive learning tool includes strengths, too. Writers can learn as much from knowing what they’re doing well – and should continue doing – ​as from knowing how they can up their game.

Our penultimate goal is to show mindfulness. As editors, we can never forget that every one of our author clients has a choice – and they chose us. They also have a passion – their book. 

It takes commitment to write a story, and sometimes not a little courage to place it in the hands of a professional editor, particularly one they haven't worked with before. That decision comes with risk.

For the editor, being selected is a privilege rather than an entitlement. We must respect that choice, the risk taken, and their investment (time and money).

Yes, we should report on weaknesses; that’s how they’ll improve their sentence-level craft. But we must do so gently and respectfully, and complement that analysis with reflection on their strengths.

Many indie-author book files end up in our editing studios without having been evaluated by a developmental editor, a critiquing editor, an experienced beta reader or even a colleague or friend in a writing group.

Our reports need to offer a critical review that explores the book’s sentence-level strengths and weaknesses.

What’s essential is that we offer solutions to any weaknesses we identify. Without those, we risk creating a shopping list of what was good and what wasn’t. That kind of analysis won’t help the author grow as a writer. Neither will it reflect our editorial excellence.

Want to learn how to do it, and love it?
If you’re a sentence-level editor and think your reporting skills could do with a boost, or a new editor who wants to nail it from the start, take a look at my new course, How to Write the Perfect Fiction Editorial Report.

Writing or editing in Microsoft Word on a PC? Save yourself time by learning these 27 keyboard shortcuts. If you don’t want to learn 27, learn just the first one: Save!

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:

• It can work tirelessly
• It is consistent
• It is very fast 

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:
​

• spelling errors
• proper nouns
• headings 
• hyphenation
• formatting issues
• figure, table and box captions
• capitalization
• references and citations

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:
​

1. To gain an overview, use the Alyse macros.
2. To make and record style decisions, combine the client’s brief with your understanding of the overview in (1).
3. To manage the mechanics, FRedit is one option (my preferred), combined with other global macros. Find out more about what FRedit is and how it works via my free book or this video: FRedit for beginners.
4. To manage the meaning and flow, use a range of line-editing macros to speed up the micro-level changes.
5. To double-check after the line edit, rerun some of the Alyse macros to catch previously missed inconsistencies or newly introduced ones.

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.

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

• Wildcard Cookbook for Microsoft Word: Amazon UK and Amazon US
• Word Tips

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

• Denise Cowle Editorial Services: bit.ly/CowleEditing
• Louise Harnby | Fiction Editor: bit.ly/HarnbyEditing

​Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

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!

Other ways to listen

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:

• Macros how they work in Word
• CatchPhrase
• CitationLister and CitationListChecker
• CompareWordList
• File Cleaner
• FullPointInDialogue and CommaInDialogue
• MultiSwitch
• PerfectIt
• ProperNounAlyse
• SpellingErrorLister
• VisibleTrack

Editing bites

• ​‘Advanced Find and Replace for Microsoft Word’: Available from Jack Lyon
• ‘20-Minute Macro Course’: Available from Tech Tools for Writers

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

• Denise Cowle Editorial Services
• Louise Harnby | Fiction Editor

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

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:

• What PerfectIt does
• Who uses PerfectIt
• What’s new with PerfectIt 4
• Using the onboard styles
• The PerfectIt 4 interface
• How to access PerfectIt on PC and Mac
• How much a subscription costs and what’s included
• Where to download 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

• Denise Cowle Editorial Services (non-fiction)
• Louise Harnby | Proofreader & Copyeditor (fiction)

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

In this episode of The Editing Podcast, Denise and Louise discuss how to prepare your book file for editing ... whether you're doing it yourself or working with an editor.

​Click to listen to Season 2, Episode 1

​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

• Editing in Word, 2nd Edition, by Adrienne Montgomerie
• How to Market a Book, by Joanna Penn

Other resources

• Review of Montgomerie’s Editing in Word, 2nd ed. by Louise Harnby (blog post): 
• How to use styles (video tutorial)
• How to use styles (blog post)
• PerfectIt
• The Author’s Proofreading Companion (booklet containing raw-text tidy-up tips)
• Proofreading checklist (PDF)

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

• Denise Cowle Editorial Services (non-fiction)
• Louise Harnby | Proofreader & Copyeditor (fiction)

​
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

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 the Styles tool is
• The properties you can influence
• How to access the Styles tool
• Why it’ll save you time to use styles
• 3 ways to create a style
• 2 ways to modify a style
• How to assign a style to an element of text
• Troubleshooting
• How heading styles help you navigate

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:

• book title
• author
• chapter titles
• subheadings
• indented body text
• full-out paragraphs in new chapters or sections
• displayed matter such as letters, texts, emails, reports

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:

• paragraph indentation
• spacing above and below the text
• font
• size
• colour
• italicization and bolding
• alignment (left, right, centred and justified)
• page flow (widow/orphan control; ensuring headings and corresponding text don’t fall on separate pages; page breaks)

How to access the Styles tool
There are two ways to access the Styles function onscreen:

1. the Styles gallery in the ribbon
2. the Styles pane

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:

• manually – 2 options
• by updating an existing unused style to match a piece of text you’ve selected or clicked within

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. via the Styles gallery in the ribbon 
2. via the Styles pane

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.

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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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 of Episode 9
Listen to find out more about:

• The different levels of editing
• The order of play – when to do what
• Who else can help – beyond the pro editor
• Planning ahead
• Getting comparative quotations for the job
• Honing story craft
• Manuscript critiques or evaluations
• Learning through example – commissioning mini edits
• Word’s onboard tools, macros and add-ins
• Style sheets

​
Editing bites

• PerfectIt (consistency-checking software)
• Proofreading checklist (free PDF booklet)
• Ask A Book Editor (Facebook group)

Other resources

• A nifty little proofreading and editing macro: ProperNounAlyse (blog post)
• Creating your own style sheet (scroll to bottom of blog post)
• Free downloadable style-sheet template (scroll to bottom of blog post)
• How do I find spelling inconsistencies when proofreading and editing? TextSTAT (blog post)
• How Not to Write a Novel (Howard Mittelmark and Sandra Newman)
• Self-editing your fiction in Word: How to use styles (video tutorial)
• Should a writer hire a freelance editor before submitting to an agent? And should editors accept the work? (blog post)
• The different levels of editing: Proofreading and beyond (blog post)
• The Magic of Fiction (Beth Hill)
• Using proofreading macros: Highlighting confusables with CompareWordList (blog post)
• Write to be Published (Nicola Morgan)

  
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

• Denise Cowle Editorial Services (non-fiction)
• Louise Harnby | Proofreader & Copyeditor (fiction)

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License: http://creativecommons.org/licenses/by/3.0/

​In this article, I offer 12 tips on how to make your book file editor-ready.

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: 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. 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. Number of files
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. 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. Colours
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.

A couple of 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. Paragraphs
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. 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. 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?

• It means you won’t need to hit the return button 23+ times to get the cursor to the top of the next page when you begin a new chapter.
• You’ll provide your editor with a quick way of ensuring that all chapters are listed chronologically because they’ll appear in a list in Word’s Navigation menu. If your chapters are numbered, any problems will be easy to identify.

8. 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. Section breaks
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. Pictures/images
If your editor needs to check copy against images and their captions, consider placing these in a separate 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. Manual tables of contents
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. Manual index
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: The Author’s Proofreading Companion.

Fancy watching a video instead? Here you go!

There's a new podcast in town ... or there will be in January 2019! And it's all about editing and writing for indie authors.

What is it and who is it for?
Editing your book is essential, whether you do it yourself or work with a pro. This podcast will explore ways in which independent authors can make their publishing journeys easier.

If you want to learn how to improve your writing and self-editing with tips, tools and guidance, The Editing Podcast is for you.

Who are the hosts?
Denise Cowle and Louise Harnby are your hosts. We thought it would be fun to have two of us talking with each other rather than one of us talk at you. 

Plus, we have different but complementary specialist experience, which means we can cover more topics with authority.

​Why should you bother listening?
Because we really do know what we're talking about!

• We're experienced professional editors who've edited millions of words in fiction and non-fiction.
• We're Advanced Professional Members of the Society for Editors and Proofreaders.
• We're champions of independent publishing, although we both have extensive experience of working with mainstream publishers too.
• We provide training for fellow editors to help them improve their skills and grow their editorial businesses.

We have a lot in common! Having said that, our editing passions have gone in different directions. Denise is a non-fiction editor while Louise is a fiction specialist. That means we can ensure the episodes are balanced, and of value to indie authors regardless of subject or genre.

What we'll be talking about
We currently have over 50 topics lined up for discussion. Here's a selection that will give you a flavour of what's in the pipeline:

• The different levels of editing and the order of play
• The benefits of working with a professional editor
• How much pro editing costs, and how you can save money
• Self-editing tools
• Style manuals: what they are and how you should use them
• Common problems in beginner writing and how to solve them
• Sample edits: costs, benefits and evaluation
• Style sheets: what to include and how to use them
• Working with editors from other countries: benefits and challenges
• Zombie rules: why what you were taught at school isn’t necessarily best for your writing.
• Spelling variations
• Formatting guidance based on industry standards
• The editing you need if you're working with an agent
• Publishing lingo explained

When and how often will we air?
Season 1 of The Editing Podcast will air weekly from January 2019.

Each season will include 10 standalone episodes of complementary topics. That means you can listen to them when you want and in the order of your choosing. 

You'll be able to access the podcast via Apple Podcasts, Spotify, YouTube, our websites, and a number of other well-known podcatchers.
​
Get in touch or subscribe
We’re really looking forward to making your writing and editing life easier! To stay in the loop, visit The Editing Podcast’s Facebook page and subscribe to our YouTube channel.

And if there's a problem you'd like us to solve on the podcast, get in touch.

If the thought of punctuating your novel’s dialogue brings you out in a sweat, let me mop your brow with these 7 tips.

In this article, we'll look at the following:
​

1. How to indicate speech
2. Creating pauses and trail-offs
3. Showing interruptions
4. How to punctuate tagged speech
5. Working with broken-up dialogue
6. Handling vocative expressions
7. Dealing with faltering speech​

​1. Indicating speech
Quotation marks – or speech marks – are how authors usually indicate the spoken word. There are two choices – singles or doubles. Either are acceptable.
 
In US fiction publishing it’s more common to use doubles; in British fiction singles dominate. That doesn’t mean you must use doubles if you’re an American author or singles if you’re a British author. It’s not about right or wrong but about style, preference and convention.
 
Think about what your reader will expect to see and what’s standard where you live. The Chicago Manual of Style (CMOS) recommends doubles, but acknowledges that the convention is for singles in the UK and elsewhere.
 
The most important thing is to be consistent and never use two single quotation marks instead of a double.
 
The following passages from published works illustrate each style: