by donalee Moulton

We’ve been talking about the editing process. We started at 30,000 feet looking at the big picture. Now we’re on terra firma.

In my book The Thong Principle: Saying What You Mean and Meaning What You Say, I discuss the various types of editing – and why they are all essential. For many of us, however, editing is synonymous with copyediting.

When you’ve finished the first draft of a book, a weight is lifted. Some writers do a dance of joy. But even as we celebrate an important milestone, we remind ourselves that there is more work to be done. The book needs to be read – line by line – for consistency, conciseness, and clarity. That is the heart of copyediting.

Copyediting is like minor surgery. The impact can be significant, but structural changes and in-depth revisions are not necessary (or have already been done).  This type of editing, the most common for most of what we write, involves editing a document for style, flow, and clarity. It also requires ensuring a consistent tone and pacing. Publishers often call it line editing.

Editors Canada offers the following overview for stylistic editing, or line editing. For many writers, this is what they’re doing when they are copyediting. Ultimately, it doesn’t matter what we call it as long as we do it.

Stylistic Editing

Editing to clarify meaning, ensure coherence and flow, and refine the language. It includes:

• eliminating jargon, clichés, and euphemisms
• establishing or maintaining the language level appropriate for the intended audience, medium, and purpose
• adjusting the length and structure of sentences and paragraphs
• establishing or maintaining tone, mood, style, and authorial voice or level of formality

What’s a Copyeditor To Do

Here are six areas of focus to help ensure your writing resonates with your audience and achieves your purpose.  When you look closely at these elements, you sharpen the writing and the plot. Readers are more likely to be carried along by your words. There will be no head scratching and no rereading to make the meaning is clear.

Check for:

ONE: CLARITY
Look to see if you are using:

• Long sentences that could confuse readers
• Big words readers could stumble over
• Uncommon words that will furrow their brows
• A tone that distracts or conflicts with the content

Bottom line: Make sure the meaning of what you write can’t be misinterpreted.

TWO: TRANSITIONS

• Between sentences
• Between paragraphs
• Movement in time, place, subject

Transitions aren’t usually complex. They flow naturally moving readers through prose with short, everyday words like “however,” “so,” and “then.”

THREE: CONCRETENESS

• Facts and figures
• Specific language
• Action verbs
• Active voice

Readers want us to paint a picture for them – one they can see and one they can believe in.

FOUR: REPETITIVENESS

• Are specific ideas repeated unnecessarily?
• Are words used more than once in sentences? In paragraphs?

Tip: Avoid summarizing. Readers don’t require it, and it slows them down.

FIVE: COMPLETENESS

• Are the 5Ws and how answered?
• Are there any unanswered questions when there shouldn’t be?

Have you emphasized the most important question: Why?

SIX: FLOW

• Does the content make sense
• Do the words move smoothly

Find out for yourself.  Read your writing out loud.

by donalee Moulton

We’ve been talking about editing, an essential element in the writing process that writers relish. When you’re creating characters, polishing plot, and tossing red herrings around to mystify readers, it can be easy to lose sight of the book as a whole, to remember what happened in chapter four when you’re on chapter fourteen.

Writers also get close to their work, sometimes too close. We spend time, often at 4 a.m., thinking about the novel, the action, the actors, the unfolding of the story. It’s hard to see the whole when you’re immersed in the parts.

That’s where editing comes in. But we’ve been talking about editing as if it’s one thing. It isn’t. There are several kinds of editing, and they take place at different points in the writing process.

Substantive Editing.

This is where the high-level work begins, the 30,000-foot view before we delve into the weeds. It involves rethinking and rewriting. This may mean rewriting whole paragraphs or the entire document. It may involve restructuring or reorganizing parts of the text. It may include identifying where new information is required or existing information should be deleted.

Editors Canada has this to say about substantive editing, which is also called structural or developmental editing.

Structural Editing.

Assessing and shaping draft material to improve its organization and content. Changes may be suggested to or drafted for the writer. It may include:
– revising, reordering, cutting, or expanding material
– writing original material
– determining whether permissions are necessary for third-party material
– recasting material that would be better presented in another form
– revising material for a different medium (such as revising print copy for web copy)
– clarifying plot, characterization, or thematic elements

Substantive editing is major surgery. It is about ensuring the medical team is ready to operate. Blood work has been analyzed, the plan for the procedure reviewed, the instruments lined up neatly, everything and everyone sterilized. The goal: to ensure a successful outcome.

That’s what writers want for their readers. Substantive editing helps them do that. Editors Canada notes that this type of editing supports writers as they define their goals, identify their readers, and shape the manuscript in the best possible way. It enables writers to clarify the argument, fix the pacing, suggest improvements, and draw missing pieces from the author.

It makes the view from 30,000 feet truly spectacular.

Learn More.

You can learn more about this in donalee’s book The Thong Principle: Saying What You Mean and Meaning What You Say.

by donalee Moulton

Great writers don’t need an editor. They demand one. What first-rate writers understand is that another pair of eyes or a fresh pair of eyes are essential to successful communication. This second looks brings a new perspective, the distance that only time (even a little time) can offer, and renewed energy to improve content.

In my book The Thong Principle: Saying What You Mean and Meaning What you Say, I suggest readers try this exercise. You’ll need a piece of paper, 8.5” x 11” if possible.

Now transform that flat piece of paper into the world’s most wonderful flying machine. The goal is to soar, specifically to fly as far as possible. Take a few minutes to play with different designs, then stand up and launch your creation. How far did it go?

Now let’s rethink, or edit, the exercise. What did your flying machine look like? Something similar to a paper airplane?

Let’s review the instructions, the language. Nowhere did it say to build a paper airplane. It said a flying machine. The goal was distance. What would be an easier way to build a flying machine? What would get us great distance?

Crumpling the paper into a ball would.

That’s what editing does. As we write, whether for a reader or a listener, we dive in. Ideas flow. We create content. We think about our audience. We identify important points to make. We’re in the midst of our content, our characters, and our creativity.

When we edit, we take a step back. We come up for air. We have a different perspective – and a draft on which to overlay a fresh set of eyes. Even short pieces of writing should be edited. We need to think before we walk away. We need to give ourselves time to review and revise. To take one last read through (or think through). You’ll be surprised at what you missed or decide to revise.

Editing is essential to clear, concise, compelling writing. But editing isn’t just one thing. Just as pizza isn’t just one thing. There is deep dish pizza with red carnival spinach. Thin crust pepperoni and Bloomsdale spinach. New York-style pizza with Tyee spinach. Notice though that although the type of pizza is different there are common elements.

That’s also true when it comes to editing. There are three broad types: substantive editing, stylistic editing, and copyediting.

I thought we could spend a little time exploring these different types of editing in future blogs. Until then, I’d love to hear from you about your editing process, what drives you nuts, what makes your heart sing.

by donalee Moulton

• Cardinal is a paranormal mystery set in Nova Scotia — part of the Paranormal Canadiana Collection. It builds around the story of Catherine McIntosh, a little girl who died on April 23, 1889, one month short of her ninth birthday. Many believe Catherine is still with us today, and if you visit her grave in Pictou County, as I did, you will see the tumble of wonderful gifts people have left in her memory. Catherine introduced me to another world, and her story is the heartbeat of the book, my first paranormal mystery.
  
• Private Detective E.M. Montogomery also makes her first book-length appearance in Cardinal.  (Can you guess what E.M. stands for?) The Halifax-based investigator has previously appeared in eight short stories, which have been published in anthologies and magazines across Canada and the U.S. When I was thinking about a main character to interact with Catherine and find a missing flesh-and-blood woman, Em emerged as the frontrunner. Below she meets her client for the first time – and learns this case will not be business as usual.

Day One

Saturday, April 25^th

Halifax, Nova Scotia

Gord Gillis is 62. He’s a retired firefighter. He looks like a 62-year-old firefighter, I think. Now admittedly, I have no idea what a 62-year-old firefighter should look like. Except he should look like Gord Gillis.

It’s a circular argument, and it’s giving me a headache. This is the stage in the client interview where the private detective, that would be me, leans back, nods, makes soothing sounds, and shakes their head in sympathy. I learned this technique when I was a cop with the Halifax Regional Police, and it has served me well as sole owner and employee of Bold Pursuit, although, at the moment, there is no boldness or pursuing required. Just a lot of nodding.

Gord needs to get his fear out before he can move on to dealing with that fear. Which is why I am sitting at a table in the Easy Street Diner sipping a now-cold decaf coffee. And nodding. It’s time to move on. I lean forward and give Gord’s hand, the one hugging his mug for dear life, a sympathetic pat.

“Nell sounds wonderful,” I say.

“Ms. Montgomery, you have to believe me. She would never leave me.” Gord says this emphatically. A hint of spittle makes its way to the corner of his lips. A hint of uncertainty travels with it.

I give Gord’s hand another gentle pat. I tell him to call me Em, like we are old friends enjoying an early morning chat. “Let’s not get ahead of ourselves. Tell me everything you know. Even the tiniest detail can be helpful.”

Gord has a lot of details, and in the end, very little information to help me locate his missing wife. Nell went to Pictou, about a two-hour drive from Halifax, on Monday. She’s trying to find a brother she didn’t know existed until her mother died a few months ago. The deal was Nell would visit the newspaper office, the library, and the genealogy centre. She also intended to talk to the locals to see if any of them knew anything about her brother. She was also going to have lunch with a former colleague from the RCMP.

“It was a long shot, but Nell felt she had to go.” Gord picks at his napkin, turns and looks out the window. “She said he was family. You don’t turn your back on family.”

“Someone did,” I point out softly.

Gord brings his eyes and his attention back to the table. “Nell’s mother died in January. MAID. She had stomach cancer and opted for an assisted death. That gave her time to get her affairs in order.”

I wait. Unburdening takes time. I also learned this when I was a cop. It’s Interrogation 101. Gord plucks at his napkin. He is reminding himself he is not sharing family secrets; he is helping to find his missing wife. “Nell’s father got a girl pregnant when they were both sixteen. We’re not sure what happened to the baby. All we know is the baby was a boy, and he was born in the spring of 1955.”

Gord returns to plucking the napkin, or what is left of it. “It sounds so silly when I say it out loud, but we thought that might be enough to find him. Pictou is small, like 3,000 people small. And Nell had to try.”

It’s clear I’m heading to Pictou, and I’d like to get under way as quickly as possible. Gord will have to be nudged. I reach over and take the napkin away from him. I wad it in a ball and toss it on my plate. “What makes you think Nell is missing?”

Gord reaches for what is left of his napkin. He looks down at the shredded paper. Finally, he looks up at me. “The ghost.”

By donalee Moulton

            Writers are always looking to get the word out about their latest book. Readers are always looking for information about their favorite authors and looking to discover new favorites. Media plays a key role in getting information into everyone’s hands.

            As a freelance journalist and a communications director, I’ve spent a lot of time trying to figure out how to make stories appealing to reporters. Now I find myself doing the same thing as a mystery writer. In part, that’s why a friend and I wrote Newsworthy: Media Relations Without the Spin (Business Expert Press). I thought I’d share some of what we discuss with you.

We talk about news as if it’s one thing. Did you hear the news? According to the news …. It was in the news. News isn’t one thing. It’s many things. In particular, it is two things: hard and soft.

Hard news is often what draws us in and keeps us reading, listening, and watching. You’ll find it on the front page, at the start of a newscast, and at the top of the hour. Hard news is big news: controversy and crisis. It is immediate, and it is important. It’s often called “breaking news.”

Soft news does not send us scrambling. It is the intersection between information and entertainment. It is not usually immediate—you can learn about the signs of stroke or how to make an easy apple pie without apples at any point in time—and it is increasingly about personalities, famous and otherwise.

Many companies have carved a niche in the soft news market. Dove, for example, is known for its “Real Beauty” campaign, which uses social media and other media platforms to promote body positivity and self-acceptance, going beyond traditional product marketing. Airbnb, Inc., uses social media and its blog to share stories about travel, local culture, and the experiences its platform facilitates, reinforcing its brand values and creating a sense of community.

To understand the distinction between hard and soft news, take a look at these headlines: 

Hard news:
20% Increase in Leafy Green Consumption Among Teens

Soft news:
Why Spinach Smoothies Are Suddenly Cool — Even for Picky Eaters

Hard news:
School Board Introduces Weight Limits for Student Backpacks

Soft news:
The Weirdest Things Teachers Have Found in Student Backpacks

Topics and timeliness are only two of the features that serve to classify news as hard or soft. How the story is told also differs. Hard news almost invariably starts up front with the “headline” then provides the details to flesh out the headline. Soft news has more options; it can be more creative and more flexible in its structure and content.

Kinda like a good mystery.