Impostor Syndrome in Writing

pencil-918449_1920There’s this thing called “Impostor Syndrome“, which is essentially when someone is unable to accept that they are skilled or competent in a given area regardless of any achievements or accomplishments that prove otherwise.

People who suffer from it are able to acknowledge their successes, but attribute them to luck or good timing, without being able to take credit for their success personally. They are, in short, incapable of giving credit where credit is due when they are on the receiving end of said credit.

And while there is debate over whether or not it should even be classified as a syndrome, or whether it should even be considered a problem seeing as a massive number of people admit to experiencing it, I think it’s still a valid point of conversation, especially when it comes to my fellow writers.

During my career, I have come across writers of all kinds. There are writers who are beyond confident in their abilities (and who won’t let you forget just how good they are), and there are writers who will quietly and carefully outwrite their peers while refusing to acknowledge their real skills. The rest generally fit somewhere in between.

After training, reviewing, and working with so many writers over the years, I think that I can safely say that the writers I have met who undersell their abilities, the ones who question their competency, are the ones who create the strongest content. It is the writers who still believe they have room to learn and to grow, who take feedback and apply it in earnest, who become the masters.

One of the things I look for when hiring a writer is their ability to take edits without letting their ego get involved because those who can take critiques are the ones who are willing to keep honing their skills, regardless of their level of education or how many years of experience they have.

Even though I have come across a lot of writers who are convinced that they are the next big thing, it’s the ones who have at least a touch of Impostor Syndrome (or self-doubt) that actually go on to do great things.

While confidence is important, letting it overshadow your willingness to learn and to expand as a writer will only stunt your professional growth and keep you from becoming better.

I think a lot of us probably suffer from Impostor Syndrome to some degree, especially when it comes to our writing. Hell, I go to work every day and wonder how someone ever thought it was a good idea to put me in charge of a content team. But then I remember that it wasn’t an accident and that, as far as I know, no bribes were involved in the process.

While you should never let self-doubt take over or keep you from writing, letting go of your ego and accepting that there is probably always going to be a way to improve your content or your skills is often what separates the good writers from the great ones.

In short, a little self-doubt is probably normal and healthy. Too much or too little and you end up crippling your skills.

To find a happy balance, be open to edits and feedback. Take time to look over your own writing and consider where you think your weaknesses are. Remember that writing is subjective and that it’s important to find a balance between the technical and creative aspects of a piece of content in order to make it shine.

 

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Whom Is Dead

sculpture-3055967_1920There are writing rules that we must never break (like using a serial comma), and there are writing rules that are meant to be broken (or dismissed altogether). Part of being a good writer is to know when to break the rules and when to embrace them.

I am a writer in the legal industry, which means that I work with a lot of highly educated, verbose, and technical people. It is my job to take the concepts that these people wish to communicate and shape them into something that an average Joe could understand.

Doing so involves a lot of energy, but after awhile, you get the hang of it. Especially after having spent four years in the trenches and passing your knowledge on to your burgeoning content team.

Recently, one of said team members wrote a blog post about some rather complicated legal process for the general public. Blog posts usually have a lighter tone and style than, say, an article. Aside from social posts, they’re the most casual form of content that we write at my place of employment.

When he sent it to me for review, he had left a comment highlighting the use of “who” in the post, noting that he was aware it should technically be “whom”, but that it threw off the rest of the piece and made it sound pretentious. He said he would change it if I wanted him to.

But he was right, the proper use of “whom’ would have been jarring to the reader, causing them to stagger and interrupting the otherwise smooth flow of the content.

“Leave it out,” I said. “Whom is dead.”

So, he published the post as usual and continued his day as usual. For about five minutes.

A notification.

A comment.

Great.

One of our subscribers had, seemingly, read the post as soon as it appeared in their email inbox, apparently eager to read content that could quite possibly bore a rock to death.

Not only had she read the post, she had left a comment. Regarding—you guessed it—our misuse of “who”. She explained to us (a team of professional writers) that we had made a typo and proceeded to teach us when to use “who” and when to use “whom”. Shame on us.

As you can imagine, we were very thankful (we weren’t).

Though our hearts wanted to reply with a touch of sass, we curbed our desires and explained why we had used “who” instead of “whom”, letting her know that in modern content, especially for online readers, it is often accepted as a style choice as opposed to a hard and fast rule. She didn’t respond.

“Whom” just happens to be another casualty in the transition from print content to digital content; the formal to the informal; the standard practice to the trend. A rule that is becoming something to be broken instead of followed.

May “whom” rest in peace, along with double-spacing after periods and (much to my personal dismay) cursive writing.

On Teaching Substantive Editing

correcting-1870721_1920I have a small writing team of three that I am responsible for. These three are all fairly fresh out of school, and while they learned all of the basics while they were there, they are now coming to grips with the fact that theory and practice are two very different things.

I spend a lot of my time editing their work. Three full-time writers producing content means about half my time is spent using Track Changes. This year, we made it a goal to cut down on my time spent editing by having them learn to edit each other’s work, both through copy and substantive editing.

They have copy editing under control. It’s straightforward. Look for misspelled words, incorrect grammar, do a little fact checking, etc. It’s the kind of copy editing that virtually every writer should practice and that virtually every writing program teaches.

It’s the substantive (or developmental) editing that’s giving me a challenge. While it is my preferred type of editing, and I do it well, teaching it is a whole different sack of potatoes.

When I sit down with a piece to evaluate it based on how well I think it was written for the intended audience, and whether the elements of it fit together smoothly, I do it through feeling. If you’ve done any substantive editing before, you probably understand that this type of editing isn’t based on rules or black and white dos and don’ts.

In all likelihood, you could give an unedited piece to three different professional substantive editors and have them all point out different things.

And that’s what has been so difficult. I need my writers to edit for the same types of things that I do so that the content we create is similar in style, tone, and quality when it goes live. If millions of people are going to be reading our work, I need it to be, at the very least, consistent.

But how do you teach three different people to apply developmental edits in the same way? I still have no idea, but I can tell you how we have started.

Although my job calls strictly for nonfiction content, I find substantive edits much easier to apply to fiction, at least when you are first getting started. Issues with plot, setting, vocabulary, transitions, and organization can be more apparent when you’re reading something that you haven’t written and that is outside of your normal content stream.

Therefore, I set to looking for a good piece for us to practice on. It couldn’t be too long, but it couldn’t be too short, either. It had to be appropriate for work, and it had to be in fairly desperate need of an edit.

Eventually, I happened upon Penny in the Dust by Ernest Buckler. At first glance, the story seemed relatively clean. Upon second glance, the issues started to make their way to the surface. Upon the third glance, I had about 30 comments in Track Changes suggesting rewrites, asking questions about vocabulary, and pointing out setting issues.

It was perfect. I gave it to my writers and told them to get to work. Each edited the story, as did I, and then we met to go over it. I was a little worried that we would all find different issues with it and that it was going to be hard to find common editing ground, but for the most part, we seemed to call out most of the same problems.

They, in their editing infancy, found fewer edits than I did, but they also pointed out some things that I had missed and helped to clarify some of the questions I’d had through their alternate impressions of the story.

I think they still have more to learn as editors, just as I still have to figure out how to be better at teaching subjective skills like substantive editing. But, through a good old fashioned workshop exercise, and a lot of discussion, we’re all starting to find common editing ground, and that’s what’s important.

If you are looking for a piece to practice your substantive editing skills on, I highly suggest Penny in the Dust. The main theme of the story is quite solid and works well as a strong premise, but the execution of the setting, plot, and dialogue is, well, you’ll see.

If you have questions about what edits we made, let me know and I may publish them in a separate post.

A Semblance of Balance

water-747618_1920When life gives you lemons, what do you do?

While some make lemonade, I neglect my blog. Not that I have been handed lemons so much as 34 bags of groceries that I am supposed to carry to my house in one trip. With four of those bags threatening to spill their contents in the driveway. In -40 degrees Celsius.

What I am trying to say is that I have been busy.

The older that I get, the more responsibilities I seem to have each day.

If I want to decrease my chances of having a heart attack and stay in relatively good physical shape I have to exercise and eat healthy.

If I want to expand my knowledge and understanding of the world and the people within it so that I don’t become an ignorant, crotchety old bat in my later years, I need to keep learning.

If I want to be emotionally happy and whole, I need to nurture the important relationships in my life by being present and available to those around me.

And if I want to continue to hone my professional skills, I need to write, edit, read, and learn as much as I can so that I stay on top of things and avoid looking like a fool.

With all of these things, and the limited time available in a day, I often feel as though I am frantically trying to juggle 4 calling birds, 3 French hens, 2 turtledoves, and a partridge in a pear tree all while sitting atop a unicycle going down the autobahn towards oncoming traffic. At night. In the rain.

The truth is, in order to maintain even a semblance of balance, you sometimes have to choose what to set aside in order to make room for something else. For me, that has been my blog. But now, since some things have quieted down, and because I have sorely missed writing about things that are not related to either publishing or my work, I am going to attempt to find some sort of equilibrium between posting all the time and never posting at all.

That being said, finding that balance may take some concerted effort. We’ll see how it goes. I am notoriously bad at keeping my blogs consistent.

Wish me luck.

 

Stop Publishing Typos

 

book-731199_1920If I had a nickel for every time I heard a self-published author excuse their typos due to being unable to afford a professional editor, I would have at least $5.00 by now.

While a manuscript with one or two errors is passable, there’s no reason to send something out into the world that a grade school English teacher would cringe at. Seriously, enough with the half-finished manuscripts, people.

Not being able to afford an editor is no excuse to send a hack-job of a manuscript out into the world—doing so can have even bigger repercussions than just firing up the self-proclaimed grammar Nazis of the online world. Publishing content with multiple errors and mistakes hurts your personal brand and will almost definitely affect your success as a writer.

How? Think of it this way—you, as a writer, are like a business. Your words are what you use to market yourself, from your back cover copy to your query emails. Just like a business, you need to be aware of how you present yourself to the public, whether it’s just a small group of other authors, or you are self-publishing through Amazon. If you present yourself as an author who publishes half-finished content, that is exactly how you will be seen. Just as if a business were to sell damaged products at a discount. Sure, people would buy them, but that business would

If you present yourself as an author who publishes half-finished content, that is exactly how you will be seen.

You need to think of your readers as your potential employers, because in a way, that’s exactly what they are. You’d probably never intentionally submit a resume with a mistake in it, so why on earth would you do so with your story?

I can hear you asking how you are supposed to send out error-free content when you can’t afford to pay $75/hour for an editor. Start by doing the following:

  • Once your story is written, turn off your spell check and read through it on your own.You will see more errors when you aren’t being distracted by irrelevant suggestions from Word.
  • Use Grammarly. The free version is good enough to get you through the basics, and it is much more intelligent than your average word processor’s editor. I use the premium version at work and the free version at home.
  • Find someone to trade drafts with. There are other writers out there just like you, I promise. Find one you like and ask them to review your draft.
  • Refuse to settle for “good enough”. If you want to be recognized for your work on a bigger scale than your local writing group, put in the extra time. Self-editing sucks. We all know it. But do it anyway. Do it once, then do it again.
  • Take your time. Stop trying to pump out books as fast as you can. Write. Edit. Rewrite. Edit. Keep going until it’s better than you thought it could be. Then start to think about publishing. Quality, not quantity.

There are too many e-books out there that, unfortunately, aren’t worth the money that they are being sold for. If you want a strong personal brand as an author, and you want to sell more than 25 copies, you’re going to have to start thinking bigger than just a good idea. Do your best to produce something worth putting out there, and then do even better. The tips discussed can help you to make your manuscript more than just a beginning and an end.

A story is much more than its telling.

What do you think, are typos OK in  published stories? Are you focused on quality or quantity?

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What Exactly is Poor Writing?

What Exactly is Poor Writing?Any of you who have editing experience can back me up when I say that it is a very tiring process, especially when the piece you are reviewing is poorly written. And while the perceived quality of writing is subjective, there are a few key indicators that it isn’t just you, that the writing itself is the problem.

Poor writing doesn’t necessarily mean bad spelling and questionable grammar. It can refer to the structure and style as well. When reviewing your work, or that of others, be sure to pay attention to the following things to see if the piece just doesn’t mesh with your preferred style, or if it really does need to be reworked.

Beginnings. Whether it’s a blog post, a short story, or a paragraph of copy, every piece of writing needs to have an opening line at the very least, if not an entire paragraph or even page. How that beginning is crafted can tell you a lot about someone’s writing skills. Weak beginnings cause readers to lose interest immediately, and they act as one of the most important parts of content.

Transitions. Transitions are when you go from one thought to another. They are what leads the reader from the end of one idea to the beginning of another smoothly so that there is a consistent flow to the writing. Poorly written transitions are jarring and they throw the reader out of the content, causing confusion and backtracking.

Syntax. Syntax is a tricky little beast. It’s more of an ingrained skill than one that you can pick up from studying. It’s the proper structure of sentences and words within them, and while it can sometimes be difficult to tell if someone is using proper syntax, there’s no denying when it is being misused. Poor syntax is confusing, jarring, and hard to read. I relate it to trying to swim through molasses.

Vocabulary. Repetition, lack of variety, and a penchant for either over-complicated or under-complicated word choices are all indications that the content isn’t ready for publication. While every writer has a style (that’s how Rowling was found out when she wrote The Casual Vacancy“), refusing to add a little spice to your content by means of a new word once in awhile can give off a feeling of laziness and amateurism.

Reading level. Reading level doesn’t just mean whether your content should be rated R or not. It means what grade level would be able to read the piece without difficulty. If the content is for a YA audience, then the language should match that. Just as there would be a difference between a blog post and an article for a scholarly journal. If the reading level doesn’t suit the audience, they will either lose interest because the content is too simple, or they will become frustrated because it is too hard to understand.

Punctuation. Surprisingly, punctuation can have a slot all of its own. When you see content that is written like this: “the wind HOWLED!! they couldn’t decide whether: to run or to stay in the cave?”, you know it’s not ready. Poor use of punctuation is a good way to see that the writer doesn’t have a grasp on the basics and that they need to do some more learning before they send anything else to someone for review.

Conclusions. Just like beginnings, there are conclusions to everything. Emails, lines of copy, short stories, research papers, and books. They all have endings, and while endings are never the same, and can be crafted from many different styles, how they are written can leave a reader feeling like they wasted their time.


Any one of these on its own can be a small issue that just needs some polishing, but when you combine a few of them into a single writing sample, it’s fairly easy to see that whatever you are reviewing requires some heavy edits.

The good news is that all of these things can be fixed with healthy doses of reading and writing. Often, I find that the best advice to give when handing back poor writing is to tell the writer to read more. Read pieces similar to what you are trying to create and pay attention to how they handled problem areas.

If you have issues with transitions, look at how other writers navigate through them. Pick up tricks and tools from other content before you take to the keyboard again so that you will already know how to fix your bad habits when they rear their heads.

What’s one of your worst writing habits? How did you fix it? Do you find that reading helps to make better writers?

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Editing Like A Boss

How to Edit Like a BossEditors are expensive. It’s a painful truth for writers who are trying to get their work to a publisher while working a less enjoyable job in the meantime to pay the bills. That’s why so many writers choose to exchange their work with others in similar situations. I mean, if you can write, you can edit, no? No. But you can provide a decent service if you make an effort.

So, as an editor, I want to share some tips about how to edit a piece of someone else’s fiction without coming off like a loathsome toad.

Tip One: Learn how to use Track Changes in Microsoft Word. This one little function will help your edits to look professional, and any suggestions or changes you make are much easier to implement this way. You’ll be doing a world of good for both yourself and the writer.

Another tip with Track Changes is to take advantage of both the inline editing feature as well as comments. Fix errors and so on inline, and leave suggestions or encouragement in the comments.

Tip Two: Red doesn’t have to mean “bad”. Not all of the red markup that an author sees needs to be negative. Make note of specifically strong passages or unexpected cliffhangers. Tell them where the dialogue is working and where they described something perfectly. This helps to show the writer that you paid attention to the whole story instead of only focusing on what wasn’t working.

Tip Three: Only provide helpful insight. If you don’t have a suggestion as to how something could be fixed, or you can’t quite figure out what is working, leave it. You are there to be helpful, not to provide useless feedback. If something is really rubbing you the wrong way, but you can’t figure out why, mark it and come back to it later. But don’t hand it over until you can explain what isn’t working and why. How is a writer supposed to fix an issue if the reader can’t tell them what is wrong?

Tip Four: Pick your battles. This is not your story, it belongs to someone else. Take your personal opinion out of the mix and substitute a good helping of understanding. If you prefer serial commas and the author doesn’t, don’t feel like you need to explain why they are superior or start putting them in every list of three or more items.

However, if you feel very strongly that a character would not react a certain way, that’s an example of when you can feel free to make a note of it.

Tip Five: Make a style sheet and ask the author style questions before you start. If you don’t know what a style sheet is, you should probably do a little research.

Essentially, it’s a document where you keep a list of proper spellings, grammar and punctuation choices, and writing rules specific to the manuscript you are reviewing. Before you make one, ask the author how to spell all of the character names correctly, if they prefer to spell out numbers, and so on.

Watching for these things will help you to edit not only the story and the bare minimum when it comes to errors, but more technical issues that would get picked out by editors and publishers.

Tip Six: Before handing over the manuscript with all of your edits, write a letter about your thoughts in general. Start with a paragraph or two that includes what you enjoyed the most about the manuscript. This could include things like: dialogue, descriptions, character interactions, setting, etc.

Use another paragraph to briefly list the most common high-level things that you picked out that could use work, like common misspellings, poor syntax, or poor transitions between chapters.

Tip Seven: Be open to scheduling a conversation about your edits. It can be hard to want to dedicate more of your time, for free, to going over edits, so limit it to a one or two hour conversation with the writer. This should be after they have had a chance to review your suggestions and write up a list of questions about any of your thoughts.

In this meeting (in-person, over the phone, online, wherever) reiterate what they did well and offer to look over any changes they have made based on your suggestions. Be kind and courteous, while still holding your ground about anything that you felt strongly about.


 

Never forget that the work isn’t your own, and that even though you have made suggestions, you shouldn’t assume that any or all of them will be incorporated into the final version.

The most important part of editing like a boss is knowing how to balance both criticism and encouragement in a way that is helpful, clear, and consistent. Take time to review your edits, to ensure that they make sense and provide value before sending anything away, and be open to discussing what you had to say. When in doubt, think about how you would feel if the tables were turned.

Do you exchange work with other writers? Have you come away satisfied, or feeling like it wasn’t worth it?

I’ll be on Facebook until next time.

The Wordsmith and The Raven

raven-1002849_1920 (1)

171 years ago today, The Raven, by Edgar Allan Poe was first published. The perceptive among you have most likely already come to the conclusion that the name of this blog is in tribute to that poem; quoth the raven, quoth the wordsmith.

This has always been one of my favorite pieces from Poe. The rhythm is pure perfection with the words fitting snugly together without any jagged edges or awkward pauses. Even if you aren’t a fan of the meaning, you can appreciate the pure artistry that went into crafting this masterpiece.

The first line, “Once upon a midnight dreary, while I pondered, weak and weary,” is the writing equivalent of a master-crafted sword. The rhyme and rhythm lend themselves to an effortless pace, letting the reader recite the prose the way it should be without having to try. It makes even the most stilted and awkward reader sound like a bard of old.

And it’s all because Poe pieced the words together in such a way that they read beautifully no matter how you say them. I can’t even imagine how long it took to write the entire poem, since there are so many lines like it within the full work. The vocabulary it would take to write something like this is baffling alone, especially seeing as it was made during a time when you couldn’t just Google “what rhymes with Lenore”.

As a writing exercise, as well as a small tribute to the man who sparked my penchant for prose, I decided to challenge myself to rewrite a small part of the poem:

Once upon an “edits day” dreary, while I right-clicked, weak and weary,
Over many a dull and lifeless lines of Calibri; page 90 of 324—
   While I backspaced, nearly crying, suddenly there came a sighing,
As of a laptop gently dying, dying without a save, I’m sure.
“It will recover,” I muttered, “feeling anxious to the core—
          I think I remember it has before.”

   Then this soft and distant voice reminded me I’ll have no choice,
But to edit it all again if it doesn’t back-up or restore,
   “Quiet, self!” I did decree, “Surely it’s just a myth,
you’re computer skills certainly aren’t that poor!
Tell me I’ll learn this time for sure?!”
         Quoth the Wordsmith, “It’s your not ‘you’re’.”

I thought this would take a few minutes, but it took me nearly an hour. If you’re a fan of Poe, I encourage you to join me in celebrating The Raven‘s publishing anniversary by leaving a few lines of your own.

Here’s to Poe, and all those who inspire us. May your words live forever!

I’ll be on Facebook until next time.

Creative Ways to Volunteer

Creative Ways to VolunteerIn my experience, volunteering is essential to building writing skills and references. While it can be a bit of a pain to work for free, it helps you to build your resume and portfolio, which you need to do in order to nab that eventual writing position.

Most people start with contacting local newspapers, magazines, or blogs to get their first gig, but many of these places have been inundated with applications and likely aren’t looking for volunteers. Not hearing back can get frustrating, and I know better than anyone that there are only so many places that you can offer services to.

That’s when you need to start getting creative about who you offer your skills to, and just how you offer them. You may have a specific type of writing that you are interested in, but when you’re first starting out, you may have to relax your grip a little in the beginning.

Think about this: basically everything on the internet is content-based. Everyone needs writers. Turn your eyes to charities, small local businesses, and museums. Read up on how to write social media posts, listicles, how-to posts, informational articles, and everything in between. The more skills that you have to give, the more someone is likely to pick you up.

It’s also a good idea to start a blog or site of your own to showcase what you can do. Look for content that needs a good polish in ads, on websites, social media pages, and so on. You are the superhero of good content; where there’s bad writing, you’re there! When you find it, write a polite proposal that talks about how what you do could benefit the business/charity/individual, and highlight that in return, you just want to build your portfolio.

If that doesn’t work, place an ad yourself. Writing today isn’t limited to online content, you can also use your skills to help people by offering to help write speeches, eulogies, obituaries, wedding vows, and more. This makes for unique content that looks good among your other samples, and it’s also a way to use your superhero writing skills for good.

Again, I know it’s not ideal to work for free, but when you’re fresh out of school, and employers are looking for candidates with experience, you have limited options in how you can make yourself stand out. It also gives you a great opportunity to learn new skills and to make excellent professional connections.

Besides, the holiday season is the best time for giving. Even if you don’t have money to donate, you have valuable skills that may even help to make someone’s Christmas all the brighter. Be creative and be open to new things and you’ll build a strong portfolio in no time.

What volunteering or portfolio tips do you have? What is the most unique writing you’ve done?

I’ll be on Facebook until next time.

Typos: When Are They Acceptable?

Typos and ErrorsTypos. Everyone makes them. Editors, writers, communications professionals, teachers, and just about everyone else in between. They can be embarrassing, uncomfortable, and sometimes downright awkward. But sometimes they can do more than cause you to flush and send a quick correction.

Sometimes, typos can make or break a job application, or cause a reader to leave you a negative review. But how do you know when you should do an extensive edit and when you’re OK to worry a little less about the technical side of things? I mean, coming from a writer and editor, it’s just about impossible to produce error-free content every time.

First, let’s start with the difference between a typo and amateur writing. A typo is when you make a mistake, like typing “dacning” instead of “dancing”, or missing a single letter in a word by accident, like “smeling” instead of “smelling”. Common mistakes are acceptable in casual writing, like texts, blog posts, or quick emails to friends.

Amateur writing is when you use “it’s” instead of “its”, or you have trouble figuring out the differences between “to”, “too”, and “two”, or “there”, “their”, and “they’re”. These are the kinds of mistakes that push you below the competition, and send readers off to leave two star reviews after reading a few pages.

If you read my post from a couple of weeks ago, you know that I’ve spent a lot of time over the last month or so reviewing writing samples and resumes to fill a junior writing position where I work. To be honest, we have received a couple of samples that had errors that we were willing to overlook, but only because the quality of the writing was so high and the errors so small.

Even so, if you’re sending out writing that will likely be reviewed by expert readers or writers, you had better make sure that your spelling and grammar skills are up to scratch. A small error or two between a resume, cover letter, and 2-3 samples is understandable. But sending along a sample where your first word is “It’s” instead of “Its” is a little too  much.

The same goes for any kind of creative writing. If you’re scribbling in your journal, typo away! But if you’re either self-publishing or submitting to publishers, you should be certain to take a very, very close look at your writing. Like I’ve said before, if you aren’t willing to put in the time with your writing, why should your readers?

To avoid mistakes and errors that make your writing look poor, try to:

  • Pay careful attention to the beginning and end of your piece, errors stuffed within the content are a bit more understandable and harder to find.
  • Re-read after every edit as making changes can leave behind unintentional errors.
  • Take time between edits and reads so that you don’t hurry through the content out of boredom.
  • Make sure that you take time to learn best spelling and grammar practices, even if it isn’t your thing.

And remember, everyone, even pros, make mistakes. It happens. But if it’s something important, take the time to make the piece shine instead of risking a job offer over a silly typo.

What’s your editing process like? How do you make sure your content has no errors? Have you tried to learn about spelling and grammar from a professional standpoint?

I’ll be on Facebook until next time.