Showing posts with label revisions. Show all posts
Showing posts with label revisions. Show all posts

Sunday, April 7, 2013

Basic Formatting of Your Manuscript (Formatting 101)

by Jodie Renner, editor and author

Often, the first thing I have to do when I receive a manuscript for potential editing, before starting my sample edit, is to reformat it, so it’s easier for me to read. Here are some guidelines for formatting your manuscript before submitting it to a freelance editor, a formatter, a contest, an agent, or a publisher. Most of these instructions are for Microsoft Word, 2007 or later.

1. For editing, your manuscript needs to be in Microsoft Word (Microsoft Office). This is a must, as almost all editors use Word’s Track Changes. 

2. Send the manuscript as a .doc or .docx, unless instructed otherwise. Some contests prefer or require rich text format (.rtf) or even plain text (.txt), but most submissions want .doc or .docx documents.

3. The preferred font is Times New Roman. It’s easier to read than many other fonts.
The font size should be 12-point.

4. To change the font and size for the whole manuscript instantly, click Control + A (for All) at the same time, which highlights the entire manuscript, then change the font and size by using the toolbar on “Home,” and then click “Enter.”

5. Left-justify the text, rather than justifying both sides. That way, it’s easier for the editor to spot spacing errors. That means the text is lined up straight down the left side (except for indents), but the right side is jagged, depending on the length of the last word in the line. To do that, click Control + A, then click the left-justify icon on the toolbar along the top (Click tab for Home first). You can also do that by clicking on the little arrow to the bottom and right of “Paragraph,” then click on the down arrow beside “Alignment” and click on “Left.”

6. Use only one space between sentences, not two. Two spaces between the period and capital went out with manual typewriters.

7. Do not press “Enter” at the ends of the lines to add an extra line-space between the lines. This is a HUGE no-no! It causes major headaches and a lot of frustration. As soon as a few words are added or deleted (which is what editing’s all about), everything screws up. So make sure that when you’re typing and you come to the end of a line, do not press “Enter” unless it’s for a new paragraph. Let the text “wrap” around on its own.

8. A quick and easy way to double-space your whole manuscript: Control + A (for “all”), then Control + 2 (Click on Ctrl and on 2 at the same time). Voilà! It’s done! To change the whole manuscript back to single spacing later, click on Ctrl + A, then Ctrl + 1.

9. To see at a glance all kinds of formatting errors, click on the paragraph symbol on the toolbar along the top. It’s called a “Pilcrow” and it looks like a backward “P”. Here it is: ¶. You’ll see dots where spaces are and a ¶ for every hard return (Enter), at the end of a paragraph or for an empty line space between paragraphs.

10. Correct spacing between sentences. Click on that ¶ symbol again to see a dot for every space (click of the space bar). If you have two (or 3 or 4) dots instead of one between sentences (between the period and the next capital), you need to take out the extra spaces and just have one space between sentences. You can fix that for the whole manuscript in a second or two by using Find and Replace. Click on “Replace,” then after “Find what” hit the space bar twice (if you have 2 spaces). Then after “Replace with” click the space bar once. Then click on “Replace all” and Voilà again! All fixed! (Unless of course you sometimes have 3 or even 4 spaces between random sentences, as I occasionally see in my editing - a heavy or over-enthusiastic thumb, I guess.)

11. Correct line-spacing and paragraphing: Click on that ¶ symbol in the toolbar again. You’ll see the pilcrow symbol ¶ at the end of every paragraph, to indicate a hard return (“Enter”), and then again at the beginning of a line-space. If you see the ¶ at the end of every line, all down the right margin, that’s a real problem – the biggest formatting mistake of all! You need to remove those pilcrows (returns) at the end of every line, either by using your “Delete” or “Backspace” keys before or after them, or by doing a “Find and Replace.” After “Find” you type in this: ^p (for the pilcrow or paragraph mark). After “Replace” you just hit the space bar once, to replace the carriage return with a space.

When you click on that pilcrow sign ¶, also look for extra dots at the beginnings of paragraphs, before the first indented word, and take them all out. There should just be the indents, with no extra dots in front of them. (I see that quite a lot in manuscripts I edit.)

Note that you should only see the pilcrow ¶ in two places – at the end of a paragraph, and on any blank line. If you see a ¶ anywhere other than those two locations, it’s misplaced and will probably cause some type of inadvertent mischief. 

12. Paragraphing for fiction: For fiction manuscripts, don’t add an extra line-space between paragraphs. Just leave it at your normal double-spacing. Press “Enter” at the end of the last paragraph, then indent the new paragraph (0.3 to 0.5 inch) using the built-in paragraph styles, rather than tabs or spaces. (See #15 below for instructions on how to indent the right way.)

13. Paragraphing for nonfiction: Nonfiction usually uses block formatting, with no indents for new paragraphs but instead an extra space between paragraphs. 

14. General rule for indenting and spacing paragraphs: If you indent your paragraphs, don’t leave an extra space between paragraphs; if you don’t indent, insert the extra space between paragraphs.

15. How to indent the first line of each paragraph: 

Do not click repeatedly on the space bar to indent! Click on that pilcrow again ¶ and if you see 2-6 dots at the beginning of the paragraph, you’ve used the space bar to indent. That’s another big no-no, and a bit of a headache to fix, especially if you don’t always use the exact same number of spaces. Using the “Tab” key to indent paragraphs is also not the best. By far the best way to indent for the first line of a new paragraph is to use Word’s formatting. To do this for the whole manuscript at once, use Control + A (for All), then, in the toolbar along the top, click on the little arrow to the bottom right of “Paragraph” (in Word 2010), then under “Special” click on “First line,” then 0.5" or 0.4" or 0.3". Don’t go for less than .3" or more than .5".

And by the way, by popular current convention, the first line of a new chapter or scene is not usually indented - don't ask me why!

16. To center your title and chapter headings, do not repeatedly click on the space bar. Again, if you click on the pilcrow (¶) and you can see a bunch of dots in front of the title, you’ve used the space bar to get it over there in the middle. And don’t use the Tab key for that, either. Instead, highlight the title with your cursor, then click on the centering in the toolbar along the top, under the “Home” tab. Or go to “Paragraph” below that, and click on the arrow in the lower right corner, then go to “Alignment,” then click the down arrow and choose “Centering.”  A quick trick for centering a word or phrase is to click your cursor in the middle of it, then click Ctrl + E. (Thanks to Hitch for this one!)

17. For extra line spaces between chapters, do not repeatedly click on Enter or Return. To force a page break at the end of a chapter (in Word 2010), place your cursor at the end of the chapter, usually on the line below the last sentence, then, in the toolbar along the top, click on the tab “Insert” then click on “Page Break.” In Word 2007, click on “Page Layout” in the toolbar, then click on “Breaks”, then on “Page.” Another quick trick? Press CTRL+Enter. This will give you a forced page break for the end of each chapter. Do not do this at the end of a normal page, only for the end of a chapter. (Thanks, Hitch, for another trick!)

18. Your next chapter heading (chapter name or number) should start at least 3 line-spaces down from the top of the page. 

19. For more advanced, specific formatting, read the guidelines set out by the agent or publisher. Or stay tuned for “Formatting 102,” to appear here at some future time. And of course, formatting for publication, for example on Kindle, involves a lot more that's not discussed here! Especially if you're writing nonfiction like I do, with subheadings and lists.

20. And a few quick notes about formatting for dialogue:  

Make a new paragraph for each new person talking. Also a new paragraph for someone else reacting to the previous speaker.

Comma after “said”: He said, “How are you?”

Comma at the end of the spoken sentence, where a period would normally go, inside the last quotation mark: “Come with me,” she said.



Jodie Renner has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: Writing a Killer Thriller and Fire up Your Fiction (Style That Sizzles & Pacing for Power), which has won two book awards so far. Look for her third book, out soon. For more info, please visit Jodie’s author website or editor website, her other blogs, Resources for Writers and The Kill Zone, or find her on Facebook, Twitter, and Google+. And sign up for her newsletter.

Monday, May 21, 2012

Cut the Clutter and Streamline Your Writing, Part III


by Jodie Renner, editor, author, speaker    
 

In Part I of this series, I gave some tips and examples for streamlining your writing to make your message more accessible and compelling. In Part II, we saw some specific examples of words and phrases to cut or reduce, to write more powerfully.

Here, we continue to explore ways to cut out the deadwood by avoiding repetitions and convoluted phrasing and going for clear, concise writing. Remember, it’s about direct communication and carrying your reader along with the story. Don’t muddle your message with a lot of extra words that just clutter up the sentence and hamper the free flow of ideas.

Avoid repetitions and redundancies in all their forms: two words meaning the same thing; saying something in five or six words when you can express it with one or two; and phrases or sentences that keep saying the same thing over and over in different ways.
 

Redundant Phrases. Avoid this kind of “repetitive redundancy”:

Repetitive phrase:                 Concise equivalent:

basic fundamentals                 fundamentals

honest truth                             truth

future plans                             plans

regular routine                         routine

past history                              history

final outcome                          outcome

extremely unique                     unique

repeat again                             repeat

totally unanimous                    unanimous

sudden impulse                       impulse

unexpected surprise                surprise

overused cliché                       cliché

What’s the problem? It’s obvious — the only kind of truth is honest truth, an impulse is sudden, repeat means to do something again, a surprise is by nature unexpected, and so on.

Cut out the deadwood, words that restate what is obvious by the rest of the sentence, words that just repeat what you’ve already said, words that are just adding clutter to your sentence. For example, the phrases in brackets are redundant here:

We passed an abandoned house [that nobody lived in] on a deserted street [with no one around].

At this [point in] time, [the truth is that] complaints are increasing [in number], but I don’t see that as a problem [to be solved].

Cluttering your sentences with too many unnecessary words can subliminally irritate your reader. Here a few examples of this “little word pile-up” tendency:

Instead of:                              Use:

in spite of the fact that            although

as a result of                            because

came in contact with                met

at this point in time                  now

during the time that                 while

he is a man who                        he

make use of                              use

with reference to                      about


Here are some examples, altered and disguised from my fiction editing, of trimming excess words:

Before: He was shooting off his mouth in the bar last night telling everybody that he was going to find the bastard that ratted on him.

After: He was shooting off his mouth in the bar last night about finding the bastard that ratted on him.

Before: Jennifer ran along the tunnel and up the stone steps to the walkway. She hesitated for only a moment at the top in order to jam the hand gun she was holding into her waistband and give her time to figure out where to run.

After: Jennifer ran along the tunnel and up the stone steps to the walkway. At the top, she stopped to jam the gun into her waistband and figure out where to run.


Finally, avoid convoluted phrasing and leave out unnecessary little details that just serve to distract the reader, who wonders for an instant why they’re there and if they’re significant:

Before: He had arrived at the coffee machine and was punching the buttons on its front with an outstretched index finger when a voice from behind him broke him away from his thoughts.

After: He was punching the buttons on the coffee machine when a voice behind him broke into his thoughts.

In the first example, we have way too much minute detail. What else would he be punching the buttons with besides his finger? And we don’t need to know which finger or that it’s outstretched. Everybody does it pretty much the same. Avoid having minute details like this that just clutter up your prose.


Before: The officer was indicating with a hand gesture a door that was behind and off to the right of McKay. Angular snarl stuck to his face, he swung his head around to look in the direction the other officer was pointing.

After: The officer gestured to a door behind McKay. Snarling, he turned to look behind him.


Before: “Bastards. Why am I always the last to know?” Pivoting, the detective walked in the direction of the station's front desk with a purposeful, nearly aggressive, gait.  He shoved himself bodily through the swinging door and locked eye contact with the uniformed officer on reception duty.
 
After: “Bastards. Why am I always the last to know?” Pivoting, the detective marched toward the front desk. He slammed through the swinging door and glared at the officer on reception duty.

Copyright © Jodie Renner, May 2012


Also, see my article entitled “Clear, Concise, Powerful Nonfiction Writing.”


Next: Resist the Urge to Explain (RUE), and One Plus One Equals One-Half




 Jodie Renner is a freelance fiction editor and the award-winning author of three craft-of-writing guides in her series An Editor’s Guide to Writing Compelling Fiction: Captivate Your Readers, Fire up Your Fiction, and Writing a Killer Thriller, as well as two clickable time-saving e-resources, Quick Clicks: Spelling List and Quick Clicks: Word Usage. She has also organized two anthologies for charity, incl. Childhood Regained – Stories of Hope for Asian Child Workers. You can find Jodie at www.JodieRenner.com, www.JodieRennerEditing.com, her blog, http://jodierennerediting.blogspot.com/, and on Facebook and Twitter.

Monday, November 7, 2011

Cutting and Slashing is Not Always a Crime

by Allan Leverone, novelist

This is my second guest appearance at Crime Fiction Collective, and I’d like to thank Jodie Renner for giving me the opportunity to be here today, while she’s off on another trip. And what the hell, I didn’t put you guys out of business back in July, so what are the odds I’ll do so today?

If you’re a regular reader of Crime Fiction Collective, you know Jodie is a professional editor. As such, most of her posts are about writing and editing effective fiction, a subject near and dear to my heart as an author.

When I signed the contract with Medallion Press for publication of my first thriller, Final Vector, I was absolutely certain I had submitted to them a tight, suspenseful thriller. And I had. But going through the editing process with my editor at Medallion, Lorie Popp, was an eye-opening experience. Together we took a good book and made it outstanding.

I elected to approach a different Indie publisher, StoneHouse Ink, with my next thriller, The Lonely Mile, after hearing my friend, bestselling author Vincent Zandri, rave about how those folks at StoneHouse/StoneGate were doing everything right. But I knew I would only have one chance to impress them, and I couldn’t get out of my mind what a difference Lorie Popp had made with Final Vector over at Medallion. 

So I researched freelance editors, eventually approaching Jodie Renner, who specializes, as you know, in thrillers. Again, I felt I had written a tight, suspenseful book. And again, I had. But working with Jodie resulted in even tighter writing, a faster pace, and tenser, more suspenseful scenes, which allowed me to submit to StoneHouse a manuscript that would stand out against the many outstanding books being submitted by many outstanding authors.

It didn’t take long to receive an enthusiastic response from StoneHouse regarding my submission. I signed a contract for publication of The Lonely Mile in e-book form, and the novel was released in July, receiving virtually all outstanding reviews. The paperback edition was just released in October.

The most gratifying part of having worked with Jodie? When the manuscript went through the editing process at StoneHouse, it emerged virtually unchanged from the product she and I worked so hard on a few months prior, with the exception of a couple of scene changes to permit the book to better fit the target audience at StoneHouse.

With the onslaught of self-published books available now, thanks to the e-book revolution, I believe it is incumbent upon anyone interested in establishing a career as a professional novelist to produce the highest-quality work possible. It’s probably more important now than it was ten years ago. The moment an author gets branded as an amateur in this market, he’s done.

Is working with an editor easy? No. Ask any writer, and she’ll tell you letting go of those precious words she has worked so hard to create can be agonizing. But it’s also necessary. As the creator of the project, the author is far too invested in it to see the work objectively. The editor has no such investment in those words, and is (or should be) only interested in helping the author create the best possible product.

Is working with an editor cheap? Again, no. Freelance editors are in business to make money, just like any other professional. If your goal as an author is to rush your work into the marketplace in order to “make a killing” by selling an inferior product or a product not ready for prime time, good luck with that. You might make some money initially, but readers are not stupid, and they don’t appreciate being taken advantage of. You’ll find out pretty quickly the only killing being done is to your career. It’s going to be short-lived.

But if your goal as an author is to create quality work, which will stand the test of time and which readers will not feel cheated plunking their hard-earned money down to buy, the investment of time and money into professional editing is irreplaceable.

So there’s my rant for today. And to answer your question, no, Jodie did not have anything to do with this post! She gave me free rein and did not suggest any potential topics. I owe a lot to my positive editorial experience with Lorie at Medallion Press and with freelance editor Jodie Renner, and I thought this might be the perfect forum to express my gratitude and acknowledge how critical their help was in producing work of which I could be proud.


Allan Leverone is a three-time Derringer Award finalist, as well as a 2011 Pushcart Prize nominee. He is the author of the thrillers Final Vector and The Lonely Mile, as well as the novella Darkness Falls. His paranormal suspense novel, Paskagankee, will be released soon by StoneGate Ink.




Jodie Renner, a freelance fiction editor specializing in thrillers and other fast-paced fiction, has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER and STYLE THAT SIZZLES & PACING FOR POWER. Both titles are available in e-book and paperback.
For more info, please visit Jodie’s author website or editor website, or find her on Facebook or Twitter.