Top 10 Essential Copy-Editing Tips

Top 10 Essential Copy-Editing Tips

Every year, we’re lucky to have great sponsors for our nonprofit events. ProWritingAid, a 2022 NaNo sponsor, helps you turn your rough first draft into a clean, clear, publish-ready manuscript. Today, Hayley Milliman, Head of Education at ProWritinAid, shares some tips on how to successfully copy-edit. For more in-depth explanation, catch the webcast on Wednesday, February 23!

The Writer’s Goal: keep your readers immersed in the world, characters, and story you’ve created.  

Your imagination, understanding of story, and ability to write to the human experience will help you achieve that goal in part. Your work also needs to be reader-friendly, clear, and free of errors. 

Why Do I Need to Copy-Edit?

Clunky, error-filled work sabotages your efforts. Readers will give up if they keep having to untangle unclear thoughts or stumble on grammatical errors or poorly structured sentences and phrases. 

Remember, “the pen is mightier than the sword.” Use it not just to create characters and their universes, but for copy-editing those universes and giving your reader a rich, engaging, un-put-downable experience. 

Follow these 10 tips to help you through the copy-editing process. 

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some writer snob somewhere: Do not start sentences with But or And because doing so is grammatically incorrect.

me, writing my fic: But I don’t care. And you can’t stop me.

5 editor’s secrets to help you write like a pro

1. Sentences can only do one thing at a time.

Have you ever heard a four-year-old run out of breath before she can finish her thought? I edit a lot of sentences that work the same way. You need a noun, you need a verb, you might need an object. Give some serious thought to stopping right there.

Sentences are building blocks, not bungee cords; they’re not meant to be stretched to the limit. I’m not saying you necessarily want a Hemingway-esque series of clipped short sentences, but most writers benefit from dividing their longest sentences into shorter, more muscular ones.

2. Paragraphs can only do one thing at a time.

A paragraph supports a single idea. Construct complex arguments by combining simple ideas that follow logically. Every time you address a new idea, add a line break. Short paragraphs are the most readable; few should be more than three or four sentences long. This is more important if you’re writing for the Web.

3. Look closely at -ing

Nouns ending in -ing are fine. (Strong writing, IT consulting, great fishing.) But constructions like “I am running,” “a forum for building consensus,” or “The new team will be managing” are inherently weak. Rewrite them to “I run,” “a forum to build consensus,” and “the team will manage.” You’re on the right track when the rewrite has fewer words (see below).

(If for some insane reason you want to get all geeky about this, you can read the Wikipedia article on gerunds and present participles. But you don’t have to know the underlying grammatical rules to make this work. Rewrite -ing when you can, and your writing will grow muscles you didn’t know it had.)

4. Omit unnecessary words.

I know we all heard this in high school, but we weren’t listening. (Mostly because it’s hard.) It’s doubly hard when you’re editing your own writing—we put all that work into getting words onto the page, and by god we need a damned good reason to get rid of them.

Here’s your damned good reason: extra words drain life from your work. The fewer words used to express an idea, the more punch it has. Therefore:

Summer months Regional level The entire country On a daily basis (usually best rewritten to “every day”) She knew that it was good. Very (I just caught one above: four-year-old little girl)

You can nearly always improve sentences by rewriting them in fewer words.

5. Reframe 90% of the passive voice.

French speakers consider an elegantly managed passive voice to be the height of refinement. But here in the good old U.S. (or Australia, Great Britain, etc.), we value action. We do things is inherently more interesting than Things are done by us. Passive voicemuddies your writing; when the actor is hidden, the action makes less sense.

Bonus: Use spell-check

There’s no excuse for teh in anything more formal than a Twitter tweet.

Also, “a lot” and “all right” are always spelled as two words. You can trust me, I’m an editor.

Easy reading is damned hard writing. ~ Nathaniel Hawthorne

Creating a magical system is sooo hard 😭 Does anyone have any advice that can help me?

Writing about a child rapist did not make Vladimir Nabokov a child rapist.

Writing about an authoritarian theocracy did not make Margaret Atwood an authoritarian theocrat.

Writing about adultery did not make Leo Tolstoy an adulterer.

Writing about a ghost did not make Toni Morrison a ghost.

Writing about a murderer did not make Fyodor Dostoevsky a murderer.

Writing about a teenage addict did not make Isabel Allende a teenage addict.

Writing about dragons and ice zombies did not make George R.R. Martin either of those things.

Writing about rich heiresses, socially awkward bachelors, and cougar widows did not make Jane Austen any of those things.

Writing about people who can control earthquakes did not make N.K. Jemisin able to control earthquakes.

Writing about your favorite characters and/or ships in situations that you choose does not make you a bad person.

It’s a shame that in this day and age these things need to be said.

A (Non-Exhaustive) List of (Red-ish) Flags In Writing

Particularly when writing people with a marginalized identity that you don't hold, it can be hard to tell what is an issue if you're not familiar with it. Research should be your main reference point, but sometimes you need to go with your instincts.

Here is a very non-exhaustive list of things that should flag to you that you need to take another look at it and do some more research:

Is a person/culture/group presented as "backwards", irrational, un-modern, or uniformly aggressive?

Am I using coded language (e.g. thug, slut, slow) to describe a character?

Am I associating sexual habits or preferences with a certain race, religion, gender, or class?

Am I dismissing or making light of devestating historical events that appear or are referenced in the story?

Am I prioritizing the rehabilitation of individuals or groups who commited violence, particularly at the expense of those who experienced that violence?

Are my characters, particularly my marginalized characters, embodying stereotypes with no other characteristics?

Do my marginalized characters exist simply so I can say I have included marginalized characters?

Am I applying every marginalization to one character so that I don't have to "deal with it" in other characters?

Do marginalizations, particularly disabilities, only appear when convenient?

Do marginalized characters, particularly Characters of Color, exist only to guide or care for white characters?