What makes a good WriterThe essence of a good writer
The 4 signs of good writing
What tells you if a font is thick? If you are working for a publisher, as a freelance journalist or edit yourself, the work' qualities must be assessed well. Steve Dunham reviews four good notes in this extract from The Editor's Companion and how to recognise them in each one.
Communicating, even in written form, takes two persons. Whenever an author starts to compose words for publishing, one thing should always be in the foreground: to write is (at least partially) for the good of another. If an author starts without a certain public, the aim of communications still exists.
Lettering must establish a connection between writer and readers. Even the editors must always be able to recall the readers. While both the writer and the readers can profit from the paperwork, it is primarily done for the convenience of the readers in order to streamline the communications processes. In the end, the contents of each text must be of interest to the readers.
Whether it' s a headline or a novel, a rental home or the Bible, every typeface draws the reader by offering something that affects them. It is the job of an editorial staff to take a font and increase its relevancy for the persons who make up the reader or the publisher's markets. Every phrase, says Margaret Palm, should give an impression.
Thus, each section and each section, with more general thoughts as the writer advances up the ladder. Such cohesiveness does not restrict the number of things an author can convey, it organises them. Concentrating on one concept at a given moment ensures clear, straightforward communications.
They do not let the readers guess where the scripture goes. They do not divert the readers' attention with an excursion. Focussed typing, like a focussed photo, displays information clearly. Reverse pyramidal tours start with who, what, when, where, why and how, all in a few words. These five Ws of Journals also offer a guideline for authors and non-fictionists.
The author must tell the readers in a headline who, what, when, where and why - best in the first part. While not all non-fiction books need to be as concise as composing messages, the journalist must be sure that the fundamental facts are conveyed. It is the author's main task to combine words - often numbers and graphs - to exchange notions.
Organising the materials and selecting exactly the right words requires more work than just recording what is in the author's mind. Well-informed authors possess information or notions that the readers do not have. In order to make this information available, the author must use words that the readers understand (or declare what the readers do not understand).
Authors must select what information they want to collect and they must determine what is unnecessary or would incriminate the readers. Attachments, notes and bibliography are a means of communicating. These help the readers to comprehend what the author has to say. It is the editor's task to help the author interact with the readers, and almost all of us - as well as the writers - need help to write.
It' hard for us to say what we mean sometimes. Modifiers ensure that the comma is in the right place. Authors also do much more to ensure good contents, focusing, precise speech and good vocabulary. However, we often work on a script that humans have to understand and we deserve to be able to communicate in a simple and clear way.
Authors can make Big Thinks by using inaccurate speech or completely abusing words. A number of authors can make an impression on themselves by using big words they don't comprehend. In order to make an impression on himself or others, Dave Fessenden, the journalist, described the letter as "the Babel Curse". "He pointed out that the Tower of Babel was constructed by the humans to make a name for themselves and that their speech was confused - a finding still achieved by futile and puffed-up authors, he said.
Authors must be aware of abusive words. Word's Into Type has an outstanding twenty-three page listing of "Words Likely to Be Misused oder Confused"; The Elements of Style has a similar listing, and Merriam-Webster's Collegiate Dictionary has instructions for use for many of these. "It is a tongue that should make an impression on the readers and in particular mislead them.
" What does that mean? An exaggerated ploy of this kind is corrupting communications and derailing the intellectual debate in order to adopt Safire's words. We should primarily take our readers' interests into account when we write and edit. Rather than running Big Thinks, we aim for "simple and understandable" communications. "When a writer submitted his essay for revision, I said to myself, I don't really give a damn about it.
Indeed, it seemed that the writer, like many others, did not take much notice of many things. We switched groups to posture and fix a dozen more mistakes, grade and more. To find out what should be private (he wanted to use it immediately), we had to ask the writer.
When an author does not take grammatical matters into account, he should at least take into account the readers. When you have something to say, take charge of talking about it. Authors who support communications between author and readers must check each font to be published and match the text as closely as possible with the grades of the good font.
Writer Stephen Coonts, in an interview with United States Naval Institute Procedings of the,6 debated the publication of his book (the Naval Institute Press released its first novel, Flight of the Intruder). Then I went to Doubleday, where they have a line reader that looks at the script and inserts and removes some comma.
For most beginners it is difficult to prepare their essays for publication. I' ve worked with a great journalist and learnt a great deal. When I look back, I don't think they had much confidence that I knew what my history was about. At the same time, the people I worked with knew their English and the phrase and how the fiction had to come together.
Coont emphasized that the editorial staff is also making errors. "In her Red Pen blogs, one of my biggest fears as an author is that I will make changes to make it wrong," Laura Moyer commented. Reviewing for focusing, accuracy and vocabulary is much less dangerous than reviewing contents, which takes some skill in the area.
A processing flaw in Under Two Flags: Obviously the publisher did not know the word tumble home, which transformed the phrase into immediately recognisable words (the writer acknowledged that it was a processing mistake, but added: "Unfortunately I was reading evidence"). One danger for writers is to question the importance (instead of looking it up to check it).
The Elements of Edition writer Arthur Plotnik noticed another: Authors "must shy away from a self-proclaimed purity and allow for a certain diversity of expressive possibilities. "Every edit takes diligence to make sure that the font is communicating better than in its initial state. "Are all possible areas of numeric, technical or assessment errors examined"? "searched for typing errors and transposition, especially in" parts that have been "retyped or reorganized" and the parts changed by the publisher "edited and proofread"?
The Plotnik mailing lists show that authors need to be sure that they are actually making the author's letter better. Too much self-confidence comes all too easy, and we have to be careful with the author's work. Providing tips and technique to improve your editorial capabilities, this guide provides the necessary toolkit to achieve high levels of editorial, authoring and publication excellence - every one.
Parts of this section were published in the September 1999 issue of the journal Accenture for Writers and Editor; "Writing for Everybody", Precise for Writers and Editor, Fall 2001; "Better Writing: States thebvious", Transmissions, June-July 2001; and "Big Thinks" and "Word Abuse", Precisions for Writers and Editors, Fall 2001; all copyrights are owned and used with authorization by Analytic Services Inc.
Parts of this section were published in Precision for Writers and Editors, September 1999, Copyright Analytic Services Inc. Editor. The Elements of Machining, p. 3. The Elements of Machining, pp. 35-36.