8 Steps to Proofreading Your Work

This article provides a brief overview of my approach to any new manuscripts sent to me for review and feedback. I hope you enjoy looking over my processes and I look forward to hearing from you if you decide that you'd like to work with me! Please also feel free to use these tips and insight to develop your work independently! Without further ado...

#1: FLUENCY

Am I reading your work without having to reread it? That's a really good sign. If not, the first thing I look at is your sentence structure.

Often, sentence length will impact the fluency of your storytelling. Whilst I understand the temptation to give the reader lots of information at once, sometimes a comma or a full stop can be a necessary luxury. If you tend to write long sentences, then it shows you have an acute eye for detail and word building when you're writing. That's excellent. My job is to help you communicate the description with a reader, so that they're able to savour each little bit.

Many writers will also fall foul to incomplete sentences. Neglecting connectives and articles can give a colloquial, conversation feel to a specific type of narrator, but it needs to be done right. It's an effective technique, but use it sparingly for maximum impact. I'll identify the better, and worse, areas to implement this throughout your text.

Frequent use of 'that', 'those' and obscure references (done with good intention to add suspense or mystery), can misplace a reader. I take care to help you recognise where the reader might be left stranded in your story, and we work to alleviate their confusion.

#2: TECHNIQUE

Variety is key here. I've experienced a lot of authors who flood the text with their signature technique. They might have mastered metaphor, or feel most comfortable with alliteration. However, even when done well, repeating techniques can clutter the text and slow down the reading process. A reader with a good memory will pick up on the fact that you've used the same adjective three times in the same chapter, and they might start to wonder if you have a favourite word!

This is sometimes exacerbated when an author learns a new word, that isn't common vocabulary, and they want to throw it in absolutely everywhere. It stands out the first time, brilliantly, and then the second and third time, less brilliantly. Make sure that you're not repeating any technique more than necessary (sentence structure, sentence openers, speech patterns, dialogue tags, etc.), even if they are your favourite. Less is more.

#3: NICHE

If you've read the above passage and you're starting to panic that your favourite technique has bled into your text a little too much, don't worry. I'm not here to shame you. If your niche as an author is clear to me from reading your text, that's wonderful. It's one of the most exciting 'issues' I like to address.

I collect together your stylistic tendencies, and identify which ones you have the best command of in your writing. I share ideas with you, about how we can harness these to your advantage and enhance your book. Passion isn't the worst thing to find in a first draft! We're just going to organise your abilities, to be as effective as possible. It's really as fun as it sounds, I promise. There's a reason this is one of my favourite parts.

#4: ANSWERS

This is a more generalised method to reading your work. I look at your overall worldbuilding, and conjure all the questions I can, in response to points you've made or details you've included. The aim of this is to churn up and fix all the plot holes before your book gets sent out to an eagle-eyed audience. In other words, we're going to get there first. For instance, in Chapter One, you've said that your character has struck their opponent on their right cheek, but in Chapter Three, you've said that character is right-handed. These are little details and inconsistencies that readers might pick up on, if (when!) your book becomes a bestseller.

Whilst the example above isn't the worst-case scenario, there could be bigger inconsistencies that haven't crossed your mind. Naturally, of course, you're trying to create a world, write, stay motivated, dream up your characters - so there will undoubtedly be things that fall under the radar. I approach your text with fresh eyes, and make sure that your worldbuilding and explanations are consistent and logical.

In the beginning, you (as the author) know more than the reader. I'm gauging the reader's needs versus their wants in every stage of your book. You want to strike balance. Hold back the things they want to know, to make them read on. Give them the things they need to know, to ensure the story makes sense, and to offer them a reason to be invested in your characters and their fates. It's about issuing enough answers, not all the answers.

#5: PACE

Pacing is crucial to any book, but also is extremely subjective. A certain number of readers might appreciate a promptly-moving plot, where they receive new information to feed their interest and keep them reading. Other readers might need a slower pace, and be much more fascinated with the character development and word-building aspects. There is no one-size-fits-all approach to pace, as long as something happens between the front and back page. This is something I struggled with in the wake of writing my first novel. Then I realised, the best person to base a successful pace off, is yourself. What do you want the focus to be in your book?

Whilst the goal (slow- or fast-paced) is down to you, there are several features that you can use to alter the result. Having more than one narrator, could impact how fast you're able to tell the story from different perspectives, or it could impede your progress by having to introduce each one in the beginning. The length of the chapters is something a lot of readers will note determines the pace of a book.

The overall consensus to achieving a manageable plot, is to try to position your reader the whole way through. This can be done by using effective chapter titles, reducing the complexity by not attempting multiple time frames, and including natural breaks (e.g. let the story's events, rather than your impulses, dictate the chapter divides). This is one of the most difficult things to get right, in my opinion, so if you're struggling with this, please reach out!

#6: GENERAL (A.K.A, THE STUFF EVERY PROOFREADER DOES)

I put less emphasis on accuracy, because quite frankly, I don't think it is as important as the other things listed here. The final stage of refining a piece of work, later down the line, is reserved for paying attention to 'correct' and 'incorrect'. I personally think that's an intense expectation to apply to you after you've just finished your dream book, especially if it's the first time trusting someone with reading it. I try to highlight all the positives in your work, and congratulate you for your effort, your discipline, your ambition and all the things you've done well.

Many authors aren't confident in the conventions of language, spelling and/or punctuation. They just want to write. If we pressure authors to get it right first time, many wouldn't even pick up a pen. These authors may have a better imagination than most, and their stories might not ever see daylight. This is why my corrections to your grammar will be subtle and discreet. I'm looking at your ability to inspire emotion, not making a big deal out of the fact you can't distinguish between there/their/they're. You're in compassionate and safe hands, if spelling is something you struggle with. I'll make those small adjustments in the background, whilst praising you for everything else.

#7: FLOURISH

There's telling a story, and then there's telling a story. You need elements of each, working in harmony, to attract readers. The good news is: everyone on earth has the power to do both. Think about a friend or a colleague, talking about something they aren't too invested in. Perhaps they're filling you in on the piece of work they've just completed. It serves a communicative purpose. It might not be the most interesting thing ever, but it's important information.

Then, picture them telling you something that they are excited about. Their face is animated and you can physically feel the enthusiasm. This is illustrative information, something they want you to know. It serves an emotive purpose. Everyone is capable of issuing these two moods in their speech. It's up to you, as a creative, to mirror that in your writing. Including both important and emotive elements in your work, will give the reader momentum, and inspire them to follow your narrative. Bonus points if you can mould these two impressions together within paragraphs, without the reader noticing.

#8: COMMITMENT

I'm looking beyond your work, at you. Authors with good communication, a preparedness for feedback, and determination - can execute a great editing session. It can be really promising when an author is on board with being inundated with suggestions. However, as someone who (honestly) isn't too enthusiastic about editing my own work, I understand that you might enter the process with a bit of reluctance. This is okay. As long as you're committed to the process, we will work together to make it fun and inspiring for you. Remember, the goal is to shape your book so it's ready for the exciting next steps. We're both going to connect with your story on a higher level and find your perfect.

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I hope you've found this list useful, and you've found some advice you can apply to your manuscript or work in progress. If you need any further assistance, or just a second pair of eyes, please reach out through the Services section of my website. I'd be more than happy to delve into your writing with you!

Thank you for reading!