Everything you never wanted to know about what editors research…
Every now and again I get inquiries from family members dealing with a loved one’s possessions who have found a manuscript. Typically they want to know what to do with this compilation of work—and if it’s any good. Sometimes the family is really enthusiastic about the project. Sometimes they haven’t even read it yet. And that’s fair.
Mood: I don’t want to write. I don’t feel like it. The scene I have to write doesn’t match my mood at all and therefore I can’t write anything.
Sound familiar? Good. You’re having a very normal writer experience. The thing is, your mood—as a professional writer, that is—doesn’t matter. Like, at all. If you’re wanting to make a career out of your writing, you’re going to have to get comfortable mighty quickly with writing through discomfort or even your own discordance. But you can do it smartly, in a way that feels less like pulling teeth and more like productive work. If that doesn’t sound appealing, I don’t know what would!
Whenever you’re diving into world creation, it’s important to keep in mind what kind of trash you’re also likely diving into. While you can easily see today’s trash, particularly what’s in your own area, it can be hard to imagine new landscapes of garbage. So that’s what we’re going to overview today: How to forecast your trash, where to find information about the trash of the past, and why it’s so important to get it right.
Finding the right sources, whether you’re a journalist or a novelist, is incredibly important for professional writers. If that material search has ever taken you to the library, you’ll already know what a librarian can do for a writer. If you’ve previously preferred to do all your own sourcing yourself, I hope this article will help you see there are faster and more efficient ways to get what you want—at your local library.
While I’m not likely going to get you excited about more editing, I hope to give you a better idea of what to expect from a sensitivity read, how to find the right readers, and why you should think about it like you do your editing: a sensitivity read gives you the opportunity to achieve additional accuracy. If you want a triple-A approach, that’s the one.
At some point in your writing career, you will ask yourself the question, “Should I say that?” Whether it’s how you’re characterizing a person or the image you’re trying to strike for a company, you’ll wonder if it’s a good idea to publish the potentially offensive material. After all, you are responsible for what you publish. If you’re putting out something unflattering, you open yourself up for libel. But not everything we write needs to be flattering, does it? Sometimes you want to showcase the negatives! Sometimes you want to showcase the negatives! So what can you do to prevent libel in your writing?
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