15 Proofreading Tips for Writers

Let me ask you a question: How do you feel when you find a grammar error or typo in a book you are reading? Are you sad for the author? Sad for the editor? Do you feel a bit smug that you found the error and obviously no one else did?

What if it were your own writing and someone else caught the error? How would you feel then?

I'm going to give you some proofreading tips to help reduce the amount of errors or typos found in your writing.

Just follow these tips and hopefully one of your readers won't come across an error and feel a bit superior that they found an error you didn't.

Remember this, Mark Twain said, "The difference between the almost-right word & the right word is really a large matter--it's the difference between the lightning-bug & the lightning."

1. The first thing you can do is let your writing rest. For how long? For however long it takes to really get away from it and not have it in your head when you go back to re-read it. According to Hemingway, he wrote the ending to Farewell to Arms 39 times before he was satisfied.

2. Expect to do some rewriting. Leo Tolstoy wrote, "I can't understand how anyone can write without rewriting everything over and over again." Rewriting is the best way to learn to write.

3. Proofread in hard copy only. Reading on a computer is too easy to get lost in the writing and not see the errors.

4. Are you sentences properly constructed and clear?

5. Have you checked all questionable spellings?

6. Is your punctuation correct?

7. Have you used proper transitional expressions to tie your paragraphs together? Your chapters together? Does the continuity of the story flow throughout?

8. Does each scene have one clear and concise point of view?

9. Does your dialogue work with the story theme and move the story along or is it stagnant and conversational?

10. Have you read your story aloud? Have you had someone else read your story aloud to you?

11. Silently read your story backwards. This will help you catch many errors that are "hidden" in the story. You will not be caught up in the story and can focus on the words.

12. Proofread for one kind of error at a time. You will have to read your writing several times, but it's worth it if you can concentrate on only finding one kind of error at a time.

13. Always make sure you have double-checked your facts, figures, and names. There are many times I've read a book where the main character is named something like "Carl" in the first 5 chapters, and later changes to "Charles" in the remaining chapters. It can be very confusing to the reader.

14. Don't always rely on your spellchecker, but use your dictionary as well.

15. Always double check our apostrophes and contractions. Make sure they are constructed properly and fused appropriately.

I'm sure there are more tips out there for proofreading but these tips have done me well when it comes to my own writing. My publisher was always happy to receive one of my manuscripts because they knew they didn't have to put in a lot of time editing it. My manuscripts were one of the cleanest they'd ever seen.

Reference: The Least You Should Know About English by Teresa Ferster Glazier

Copyright: bradcalkins / 123RF Stock Photo

Which Came First, the Reader or the Writer?

What does this mean to you? To be a writer you must first be a reader?

What were you thinking, Michael Chabon, when you spoke or wrote this little missive?

I think as a writer we must keep ourselves strong. We must work out all the muscles necessary to become a good writer. One way to help with working out those muscles its by reading.

When reading, we put on our editor's cap or proofreader's chapeau and work those muscles.

I know, sometimes as a writer, we'd like to read for pleasure.

Is that possible?

Let's think about that? Can you really turn off all your editing techniques and tricks and trades of proofreading and just become a R-E-A-D-E-R?

Belle Beth Cooper has a very unique approach to our dilemma. Five Unconventional Ways to Becoming a Better Writer. 

Belle Beth Cooper states that:  "Even if you’re not a ‘writer’ per se, writing can be highly beneficial. It can be helpful for a number of things:

• help you to work through feelings
• stay positive
• express your thoughts more clearly
• market your product."

Writing can Help you to Work Through your Feelings

Do writers have problems with their feelings? I'd say so, if you consider all the maladies that writers seems to have come up with and the drinking and the drugs and the mental health issues. Yes, I do believe that writing can definitely help with these feelings.

Writing can help a Writer Stay Positive

That's totally awesome and I truly believe it. There's nothing like writing to keep yourself positive. Writing brings out the good in people. Writing and positivity go hand in hand in my book. 

Writing can Help you Express your Thoughts More Clearly

Another benefit from Belle Beth Cooper. She nailed it. Who more than anyone else in the world can express their thoughts more clearly than a writer? 

Writing can Help you Market your Product

Yes, and I say this with much chagrin, because most writers do not like to market their own product. But, who knows their material better than anyone else? Who has the ability to create the marketing material better than anyone else? The writer.

But, where does this all lead back to my first question: Which came first, the reader or the writer?

To put it logically, there wasn't something to read until something was written. So, of course, the writer came before the reader.

So, then as Michael Chabon did say, "Being a Writer is about Being a Reader First."

So then, what are the benefits of being a Reader first?

Belle Beth Cooper wrote an article, Become a Better Writer with These Important Reading Skills First

In it she quotes the following:

Reading—the good and the bad—inspires you. It develops your palate for all the tricks that writers have invented over the years. You can learn from textbooks about the writing craft, but there’s no substitute for discovering for yourself how a writer pulls off a trick. Then that becomes part of your experience. – Roz Morris

Read, read, read. Read everything—trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write. If it is good, you’ll find out. If it’s not, throw it out the window. – William Faulkner

Belle Beth Cooper came up with five unconventional ways to become better writers by the way we read.

1. Skip Sections

"According to Ms Cooper, I’ve actually realized recently that there is a kind of freedom in giving up that feeling of needing to see everything. Sometimes, it’s okay to skip parts. Especially if they’re not relevant to you. Readers on the web skim for a reason. In fact, it has almost become our default way of reading"

2. Quit Altogether

Ms. Cooper says, "Reading is meant to be a fun activity. Your brain doesn’t want to slog through something it finds boring. In How to Talk About Books You Haven’t Read, Pierre Bayard defends the habit of not reading as something we should all do more of:P

To speak without shame about books we haven’t read, we would thus do well to free ourselves of the oppressive image of cultural literacy without gaps, as transmitted and imposed by family and school, for we can strive toward this image for a lifetime without ever managing to coincide with it.

If we really respect our time, let’s spend it on things we enjoy and reading that has long-term benefits for us."

3. Read Things You Hadn't Thought About Reading

Read, read, read. Read everything—trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write. If it is good, you’ll find out. If it’s not, throw it out the window. – William Faulkner

"If you’re stuck in a reading rut like me, try pushing yourself to try a new genre or writing style now and then." per Ms Cooper.

4. Walk Away and Take Notes

 To get more out of the books you are reading you should be taking breaks from them and taking notes about what you have read.

Believe it or not, it helps test your comprehension and your brain's ability to assimilate what it's read.  

"Mary Gordon wrote about how copying sections from books and taking notes on what she’s read helps inspire her own words

Before I take pen to paper, I read. I can’t begin my day reading fiction; I need the more intimate tone of letters and journals. From these journals and letters—the horse’s mouth—I copy something that has taken my fancy, some exemplum or casual observation I take as advice. These usually go into the Swedish journal, except for the occasional sentence that shimmers on its own, and then it goes into the handmade Vermonter.

I move to Proust; three pages read in English, the same three in French. In my Proust notebook I write down whatever it is I’ve made of those dense and demanding sentences. Then I turn to my journal, where I feel free to write whatever narcissistic nonsense comes into my head."

5. Fight Back

This is what Ms. Cooper says, "Finding something you care about is worth cherishing. If you want to rant against the author’s premise or post a rebuttal to their argument, go for it. This will make your brain work really hard, as you analyze their ideas and form your own in response."

What do you think? Did Ms. Cooper hit the nail on the head? I think so.

And as Paul Graham said, “writing doesn’t just communicate ideas; it generates them.” So get reading, get writing, and watch the ideas start flowing!

So, what do you think of all this?

Writing Tips - Quest for the Quintessential Query Letter

The Query Letter -- the elusive quarry. We know near perfect ones exist. Editors expound those that come across their desk. Writers rave about their flawless recipe of words that caught an editor’s interest. 

Everywhere you go in the writing world, someone offers you tips or advice to create a query letter. Ever since I realized I could sell my writing, I’ve been on a quest, searching for the perfect formula to create the quintessential query letter.

What I’ve discovered is that if you go to any resource website or read any writing resource book, you’re guaranteed to find at least one, probably more, articles about query letters. It’s overwhelming to say the least.

Did you ever wonder why there are so many articles? Because there isn’t just one perfect format. Nope. You can stop searching for the magic formula. It doesn’t exist.

However, even though I’ve discovered that there is no ONE perfect query letter, there are specific qualities of the query letter that can come close to perfection. We all know that for as many editors there are in the publishing world, you’ll find that many types of query letters. Each one was created to catch an editor’s eye. What did it?

What I’ve found in common with every article written about query letters is the basic structure. It doesn’t matter whether you are pitching an idea for an article, short story, novel, or non-fiction book, the structure of the query letter is still the same.

For simplicity’s sake, we’ll break down the query letter into its essential parts. Some of them may look as if they are over simplified and obvious, but you’d be surprised at how often they are forgotten in the rush and excitement of production.

Overall Look

Start with a professional look to your letter. Use stationery imprinted with your name and address. Now, this doesn’t mean spending a load of money for printed stationery. Just make sure your letterhead format is professional.

Make use of your word processing software to give your letter a little touch of class. You’d be amazed at what a header and footer line can do.

IMPORTANT: Study the publisher’s guidelines. Follow them to the letter. No exceptions! Don’t waste the editor’s time if your book, article, or short story doesn’t meet the publisher’s needs.

TIP: Use the publisher’s guidelines to adjust any nuances in your query letter. Don’t get stuck in a generic format that can’t be adjusted for each editor. They can pick out a standard format at twenty paces. Make that editor feel as if you’re writing this letter just for them.

Address and Salutations

Always address your letter to a real person rather than a generic department title. Reading “Dear Acquisitions Editor” is akin to reading “Dear Occupant.” Don’t do it. Use the correct address and don’t forget suite numbers.

TIP: Make sure you have the correct spelling and gender titles.

What’s the best source for getting the correct name and spelling? The publishing company or magazine you want to send your query letter. Call and ask the person who answers the phone. It’s that simple. Use the Writer’s Market to get addresses and telephone numbers. Look in the magazine for the credits section. You’ll find names and numbers there.

IMPORTANT: Now is not the time to be shy.

Don’t make the mistake of addressing your letter to an editor who no longer works at the company or use the wrong title. No one likes to be addressed as a Mister if she is a Miss or vice versa.

First Paragraph

Make sure you know where your book, article, or short story fits in the publishing world. This means you must know the tone, length, story line, and market. If you are expecting the editor to figure this information out for you, don’t hold your breath. That’s your job.

Your first paragraph should describe your book, article, or short story, the tone, word length, and where it fits in the market. Make sure you use a title when describing your work, even if it isn’t the exact title you want. Preface the title with the word “working.”

TIP: If someone has referred you to the publisher, don’t forget to mention that important fact in your opening sentence. If you met the editor at a conference and he/she asked you to submit, mention that also.

Second Paragraph

Use the second paragraph of your query letter to hook the editor. This is where you tell the editor about your book, article, or short story.

Be sensitive to the editor’s needs and time. Now is not the time to spend pages explaining your idea in excruciating detail. Be succinct and brief.

IMPORTANT: Practice putting the basic premise of your book, article, or story into twenty-five words or less.

If you can’t explain the gist of your book, article, or short story in twenty-five words or less, you may not have a good grasp of what you want to write about. If you can’t explain it, how can you expect an editor to understand it?

Third Paragraph

The third paragraph should describe you, your writing experience, and any publishing history.

TIP: Don’t forget to mention any relevant information such as memberships, career, or other expertise you have to help you write your article, book, or short story.

Final Paragraph and Signature

Always end your letter by asking the editor if you can send him/her your entire article, manuscript, or outline in the case of a non-fiction book.

Don’t forget to thank the editor for taking the time to read your query and let the editor know that you look forward to hearing from him/her at their earliest convenience.

SASE

Don’t ever, ever forget to include a self-addressed stamped envelope. Use a postage stamp rather than a metered stamp. The editor many not get to your query for up to a month or more. The metered stamp may have expired by then.

IMPORTANT: Make it easy and convenient for the editor to respond to you!

Clips

Some editors ask to see “proof” of previous publishing experience. Others don’t. Read the guidelines carefully so that you know if you should include them or not.

TIP: Make sure they are clean copies (either a tear sheet from the magazine or printed from the internet.) Don’t ever include them in the body of your query letter.

Secret Ingredient

So, what makes the query letter perfect to an editor? You. Only you can add that one special ingredient that will make or break your query letter. Your unique voice. That’s what the editors are looking for.

Of course, good grammar and spelling help too! But, most of all, you must leap from the page or screen and grab the editor’s attention. It’s your first chance to make the editor notice you. You know the old saying, “First impressions count.” Make this one count the most!. Don’t blow it.

IMPORTANT: However, don’t get so caught up in the structure that your personal writing voice doesn’t shine through your query letter. Be unique.

Be yourself and let your writing speak to the editor. That’s what counts.

Writing Tips - Overcoming the Fear of Writing a Synopsis

If you noticed, I didn’t title this article “Overcoming YOUR Fear of Writing a Synopsis.” I don’t think you own the fear anymore than I do or any other writer. We all share a common emotion, one that can be summed up in one word: Formidable.

What is it about this particular piece of writing that brings out more moans and groans from writers than a roomful of sixth graders getting a surprise math test?

What is a Synopsis?

Look at the word. Synopsis. Say it with me. “Sin-op-sissss.” Even the sound of the word emanates dread.

What is a synopsis? Webster’s defines it as “a shortened statement or outline, as of a narrative. Abstract.”

Nothing sounds particularly evil in that definition. Let’s look at it a little closer – “shortened statement or outline.” Hey, look at that. “outline.” Now there is a little word we’re all familiar with. Does “outline” make you cringe as much as “synopsis?” What about “shortened statement?” Not me. Probably not you, either.

Start with a Simple Sentence

Let’s start with the shortened statement. I’ll use the popular children’s story, Lady and the Tramp to help demonstrate my points.

What is our story about?

“Lady and the Tramp is a story about dogs.”

True, but the portrayal is dry and uninteresting. Would you want to just read a story about dogs? What makes this dog story different? Let’s see if we can add some more information to better describe the story.

“Lady and the Tramp is about two dogs from different sides of the track.”

Good. Now we know that there are two main characters. And, we know that these two characters are different in some way. Let’s see if we can do a little bit better.

“Lady and the Tramp tells the adventures of an upper-class, well bred cocker spaniel and a roguish mutt from the wrong side of the tracks.”

Okay. Now we have some description and a hint at a story. We know that these two distinctly different characters are going to have at least one adventure.

Describe Your Story in 25 Words or Less

So, now we need to think about our audience. The synopsis generally goes to an editor, agent, or publisher. So, we must capture their attention. Give them something to grab onto and not let go. This is where you can really get creative and meet the “describe your story in 25 words or less” challenge.

“Lady and the Tramp is filled with exciting adventures of Lady, a lovingly pampered cocker spaniel and Tramp, a roguish mutt from across the tracks.”

Whew! There it is – 25 words – exactly. We’ve just written a strong hook for the opening of our synopsis.

Every synopsis should start out with a statement that describes your story in approximately 25 words. However, don’t be a stickler about trying to hit the “magic” number. There isn’t really a magic number. But, keeping your description to approximately 25 words helps to focus your writing on the key elements of your story.

Key Elements – Not That Difficult to Identify

Speaking of key elements, those are what we now need to identify so that we can create our synopsis.

Wait, wait. Stop groaning. I promise we’ll go slowly. Okay?

I think I’ve read every article and book written on creating a synopsis and even though every writer has their own formula for creating the “perfect synopsis,” I admit that authors agree on one thing – You need to practice. So, my suggestion is that you do what I’ve done here. You find some simple stories and practice creating the synopsis for them. Once you’re able to pick out the key elements easily, you’re ready to create a synopsis for your own story.

So, back to our story, Lady and the Tramp.

First Element - Structure

The basic structure of the synopsis should be a complete summary of your story from beginning to end, written in present tense. Simple, right? So far. Let’s see how that helps us with our story.

“Lady and the Tramp is filled with exciting adventures of Lady, a lovingly pampered cocker spaniel and Tramp, a roguish mutt from across the tracks.

Lady’s owners love her but ignore her when their baby arrives. The owners leave her with a cat-loving aunt who locks Lady out of the house.

Lady runs away and straight into a street-wise mutt named Tramp who shows her how good he has it being free from owners.

Lady is caught by the dog catcher and spends time in the pound learning some of Tramp’s secrets. Hurt and jealous, Lady is returned home and exiled to the doghouse once again.

Lady discovers a rat making its way into the house and is helpless to defend her home. Tramp helps her by getting into the house and killing the rat. However, he’s accused of attacking the baby and is placed in the dog catcher’s wagon to be taken to the pound.

Lady’s owners return home just in time to see how Lady has been treated and have Lady show them the dead rat.”

More Key Elements – Setting, Main Characters, Conflict

Not bad for a first draft. We’re missing a few items that would make the story more dramatic and compelling for the editor, but those can be added easily. First, we should make sure that we’ve established the setting for the story and identified our main characters.

We’ll have to identify real conflict between these characters and their motivations. Then, we’ll have to show the resolution of the conflict. It isn’t as important to name every character in the synopsis, but you must name your main characters.

Final Key Elements – Tell Your Ending

Finally, we must make sure that we’ve wrapped up our story and told our ending. Yes, that’s what I said, we tell our ending in the synopsis. You must never, ever tease editors and leave them guessing about the ending of story.

As a side note for romance writers: If your story is a romance, make sure you always establish the love relationship between the two main characters by showing how they met and why they’re fighting against their attraction.

 With that advice, let’s see how our synopsis shapes up after adding these key elements.

“Lady and the Tramp is an early twentieth century story filled with exciting adventures of Lady, a lovingly pampered cocker spaniel and Tramp, a roguish mutt from across the tracks in New England.

Lady’s owners lavish attention on her until a new baby arrives that takes all their attention. Ignoring Lady’s needs, they go away on a trip leaving her and the baby with a callous aunt and her two Siamese cats that wreak havoc. Lady, wrongly accused of the mischievous cats’ pranks, ends up in the backyard doghouse and eventually fitted for a muzzle.

Fearful, Lady runs away and straight into a street-wise mutt named Tramp who shows her how good he has it being free from owners. He treats her to a night on the town, complete with a romantic Italian dinner from his favorite restaurant.

Unfortunately, even though he protects Lady from a vicious dog attack, Tramp can’t protect her from the dog catcher. Lady spends time in the pound learning some of Tramp’s secrets from his other wayward, albeit, intimate acquaintances. Hurt and jealous, Lady returns home and is once again exiled to the doghouse.

Lady’s other neighborhood dog-friends advice her to forget this scoundrel and chivalrously offer to take care of her.

Tramp returns, hoping to change Lady’s mind about him. She rejects his advances and sends him on his way.

Moments later she’s alarmed that an ugly rat enters the house, but can’t do anything about it because she’s chained. Tramp comes to the rescue by finding a way into the house and killing the rat before it can harm the baby.

However, the heartless aunt accuses Tramp of attacking the baby and calls the dog catcher who places him in the wagon to be taken to the pound.

Lady’s owners return home just in time to see how Lady has been treated and have Lady show them the dead rat. Lady’s friends run to stop the dog catcher’s wagon and everyone is reunited after a thrilling chase scene.

When the commotion settles, Tramp chooses the family life and abandons his drifting ways to stay with Lady and her owners.”

And, there you have it. Your synopsis. Was that so painful?

This synopsis is rather short when compared to the longer books you desire to write. Don’t let that intimidate you. The concept is still the same.

Final Advice

Editors have specific requirements when it comes to the length of your synopsis. Unfortunately, just like snowflakes, no two editors are the same. One editor requires a ten-page synopsis while another may only want two pages.

My advice to you is that you follow the requirements of the editor and make sure you include enough information in your synopsis to tell your story but not so much to slow it down. Focus on the story’s development from beginning to end and make sure you emphasize the resolution of the conflict and/or romance.

If you’re having trouble writing your synopsis, don’t beat yourself up about it. Go back to your story. Have you developed the plot completely? Do you understand your characters and their motivation? Is your conflict believable and resolvable? If you can’t answer those questions, the problem isn’t with your synopsis. If you don’t understand your story how do you expect an editor to?

Good luck and remember to practice, practice, practice.

Lady and the Tramp is owned by © Disney Enterprises, Inc. All rights reserved.

Image credit: studiom1 / 123RF Stock Photo

Writing Tips - The First Five Pages

Every writer should own a copy of literary agent, Noah Lukeman's The First Five Pages. If you've ever been rejected for any type of writing project, this book is for you.

As the subtitle states, it's a "Writer's Guide to Staying Out of the Rejection Pile."

I've read this book. It is small but filled with so much information about how to make your manuscript the best it can be. Lukeman gives examples and writing exercises to help you learn. He knows what he's talking about. As a literary agent he sees messed-up manuscripts every day. He knows what it takes to make a manuscript acceptable.

If I were you, I'd follow his advice.

I couldn't possibly cover every single item from his book in this post, but I can give you an overview and pick out one or two points that will show you how to improve your manuscript.


From Noah Lukeman's Introduction: "There are no rules to assure great writing, but there are ways to avoid bad writing. This, simply, is the focus of this book: to learn how to identify and avoid bad writing. We all fall prey to it, to different degrees, even the greatest writers, even in the midst of their greatest works. by scrutinizing the following examples of what not to do, you will learn to spot those ailments in your own writing; by working with the solutions and exercises, you may, over time, bridge the gap and come to the realization of what to do. There is no guarantee that you will come to this realization, but if you do, at least it will be your own. Because ultimately, the only person who can teach you about writing is yourself."

Most importantly, you need to get your manuscript noticed. It's probably been sitting on an agent's desk for months waiting for some intern or editorial assistant to read it. The agent won't even see it unless your manuscript makes it past the intern. Like it or not, the intern will be reading your manuscript with an eye to find fault so he can get through it as quickly as possible and move on to the next one.

Here are a few things you can do to help better position your manuscript on the agent's desk:

1. Devote extensive time to research. The number one reason the aspiring writer gets rejected is because he has approached an agent or editor inappropriate for his work.

2. Let an agent or editor know why you're contacting him specifically. Use your advance research and be specific. A better way of catching an agent's eye is to tell him off the bat that you noticed he agented a specific title and that your manuscript is similar.

3. Approach agents and editors with care. Know their requirements for submission. If you are submitting to an editor that only takes agented submissions, be aware and submit to an agent first. The best submission is a one-page query letter with a self-addressed stamped envelope (SASE). Agents and editors are more likely to open smaller envelopes than larger ones because they know the larger ones contain manuscripts that require time to read. Time they don't have.

According to Lukeman, "...the quickest and easiest way to reject a manuscript is to look for the overuse, or misuse, of adjectives and adverbs."

Lukeman gives us six reasons why manuscripts stuffed with adjectives and adverbs won't work:

1. More is less. When a string of adjectives or adverbs is used, they detract from each other.

2. It can be demeaning to the reader when the writer fills in every last detail for him. It assumes he has no imagination of his own.

3. It is often preferable to leave things blank and force the reader to use his imagination - that way he makes the text his own, becomes more fully engaged in the manuscript. He won't set it down if it's his.

4. Writers who overuse adjectives and adverbs tend to use common ones -- usually ones they've heard used in the same context before -- and the hackneyed result is immediately apparent.

5. Adjectives and adverbs often, ironically,'weaken their subjects.

6. Finally, the overall effect of a text encumbered with adjectives, adverbs and the inevitable commas in between makes for very slow, awkward reading.

Noah Lukeman continually stresses the craft of writing, because ultimately it comes down to this one question. Ask yourself if you knew you'd never be published would you still write? If the answer is "yes", then you are truly writing for the art of it.

If you want to be a writer. Be a writer. Don't let anything get in your way.