Editing (the Atlantis Deception) with Professionals

This is my first post in a while for which I apologise. As many of you will know, I am in the lucky position to have found a publisher (Unbound) willing to take my book and polish it towards that elusive goal of publication.

I have been writing the book on and off for several years, self-editing the manuscript around four times now, each time thinking it was perfect. I was very wrong. I knew it was good as it managed to get through a couple of rounds of the Amazon breakthrough contest but something was definitely lacking. On the verge of ditching the project, I happened upon the Unbound crowdfunding model. Initially I dismissed it any another way of labelling vanity publication but the more I looked into it the more I was convinced this could be the route for me. They had published a number of big names including one of the Pythons and that (along with their distribution contract with Penguin) convinced me to submit my manuscript. After reading they only accept around 10% of applicants I wasn’t expecting much, but two months later I received a contract and the rest, as they say, is history.

Now I am a fair way into the editing process I thought I’d share a few of the insights I’ve received along the way. They are only snapshots, but I believe emphasise the need for professional help at this stage. Within a month of funding I received an editorial report comprising 6 pages of rhetoric essentially ripping my work (or rather what I perceived was ripping my work) to shreds. It took me three days before I could read more than the first page – I’d experienced critics before but never at this level of detail! It took my partner to metaphorically, talk me off the ledge. She told me that I needed to detach myself emotionally from the project and just treat it as a piece of work – work that has now been marked and now needs improvement. Eventually I took this on board and implemented a whole host of changes. As an example of the critique I was given, I have included a brief extract below:

Editorial Report

Basically, I think you have made negative decisions regarding point of view. Usually, in a mystery story, (mystery in its broadest sense), we follow one point of view, the detective-like character, as they uncover the clues and the plot.

Now, perhaps this main detecting point of view can be augmented with the point of view of an antagonist, and/or a sidekick. But still, we are pretty squarely, and most often, with our hero.

But here you have elected to pursue the points of view of your hero, Hunter; a copper, McInerney; then a second copper, Tom; the antagonist, Hans; the sidekick, Sarah; the priest, Nathanial, and the bodyguard, Darren. Plus a few others whom we waver into briefly.

As a result, we are not often enough in the cockpit of the mystery, experiencing it, uncovering it, as your detective figure experiences and uncovers it. If we had pursued only Hunter as he unravelled the mystery, then the mystery would have been pressing and close. As it is, he does not carry the burden of the uncovering substantially. He does not shoulder the protagonism, and we are not with him enough – feeling, sensing, hoping, empathising, closing in on the mystery. Instead the protagonist’s role is split between at least himself and Sarah, at times also Paul and Tom.

Basically, the main protagonist whose point of view we follow in a story like this is the reader’s proxy, our psychological avatar, who uncovers the mystery for us. But you have split the protagonism across characters, and therefore blunted, for me, the dramatic effect of the mystery.

But in sum, each time you jump from one point of view to the next, you risk blocking the experience of the reader and knocking the reader out of an immersive reading experience. The consequence of your narrative decision is that you undercut our sense of empathy with your main character.

Once I’d worked through the points raised in the Editorial Report and implemented a whole host of changes, I submitted a fresh draft for closer examination by the same editor within a structural edit. The manuscript was returned mainly with comments and a limited number of tracked changes. The edit challenged the way the book was written – what I could delete and where the plot needed to be thickened. Another rewrite resulted which I completed in conjunction with the editor, asking questions and gaining an insight into why things didn’t work – particularly when I thought they did. The process certainly opened my eyes to the difference between seeing things through the eyes of a reader and a professional. The novel is certainly much tighter as a result and even if self-publishing, I’d advise taking this route. It is expensive but there is a reason for this, and in the end it will make you work infinitely more saleable.

My final brush with the professionals came at the copy edit stage. Unbound provided me with a different editor (and fresh pair of eyes) which initially filled me with dread and a little fear. What if he disagreed with all the changes and asked for yet another rewrite? After a month the report dropped on my desk and certainly didn’t disappoint. The copy editor probed the manuscript with what might be described as a finer sieve, delving deeper into the minutiae of my work. Again, as an example of what one might expect please find an extract below (keep in mind this arrived alongside the manuscript and hundreds of tracked changes):

edit tracked example

The Copy Edit

My main issues with the text are: 1. Sentence construction – more specifically, how you use clauses. More specifically still, commas and semicolons. There are many instances of what is known as ‘comma splicing’, where you use a comma to join what are effectively two separate sentences. Sometimes this sort of thing can be used for effect (all rules for this sort of stuff can be broken under some circumstances), but here it generally seems to be an error. Conversely, you also use semicolons wrongly a lot, usually where a comma is needed instead (before a clause rather than a complete sentence). In general, semicolons should be used sparsely anyway (if you’re interested, the book The Bestseller Code suggests there is some evidence that readers are put off by them, in this sort of genre at least). I have tried to fix all of these things. 2. Overuse of capitals. Again, I have hopefully fixed this. Sometimes there are cases where they are needed (I’ve kept them for the Order, unless referring to ‘an order’ more generally; I’ve kept ‘the Pyramids’ for the specific monuments, but not for more general references to a pyramid or pyramids). I’ve tended to use lower case for the sun, as that’s common modern style. Generally, things like capitals snag the eye a little, so are best avoided unless needed for sense. 3. Occasionally overdone or slack expressions. A particular persistent example is things like ‘He appeared to be pulling at something and something heavy.’ – I’ve favoured simplifying where possible, with just a handful of cases left as they were for effect. 4. There are a number of places where ‘he’ is confusing, so I have tried to sort those out too. 5. It’s a shame, as I like the name, but I wonder if you might want to change the name of Lucien Knight – something made me google it, and I discovered a Lucien Knight is the hero of a series of erotic bestsellers! 6. Chapters in parts 2 and 3 needed renumbering – perhaps some chapters were cut? In a few places there are some abrupt transitions – I’ve attempted to suggest solutions in the comments. 7. There’s quite a lot of adrenaline surging (no capital needed, by the way) – you might want to chop a few instances, but up to you.

I have still a couple of hoops to jump through before my elusive publication date is announced but so far the opportunity to work with Unbound has been amazing. I cannot thank the professionals enough for their time and effort spent with me. I have certainly been through the ringer emotionally speaking but come out the other side without too many scars and all the better for the experience. I do not know what the future holds but whether Unbound choose to publish my next novel or not, I will be seeking the advice of professional editors in the future. They are invaluable in creating a creditable and professional persona for an author’s work. I’d previously hoped to skimp on aspects of the edit when considering self-publishing – now I know this is where the bulk of any budget should be spent. There’s no point building a house if you haven’t got strong foundations.

If you are interested in the Unbound model, please take a look at Unbound.com.

In terms of my own work, hopefully my next post will detail cover creation and why books (of new authors at least) are always judged by their covers!

 

XWWX THE ALANTIS DECEPTION SAND limited edtion print

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Donald Trump ate my Hamster – Crowdfunding a Novel

Fake news but amused me when I saw the shock tactic title on youtube. https://www.youtube.com/watch?v=wckL_lqL4aE – The video is irrelevant but I’m guessing the title may have drawn in more viewers than it should have received! Perhaps it’s something I should learn from…

I’ve just sat through my lunchbreak re-tweeting anything of vague interest appearing on my feed whilst intermittently checking the landing page of my crowdfunding project. Life has certainly changed from those heady and long forgotten days of just logging in and simply writing for the sheer joy of it.

I’m now a nervous wreck of a man, complete with sweaty palms and a nervous tick as I patiently pray for someone somewhere to click on my project – and God forbid – pledge their support. 96% now… 96 – a number I loved two days ago and now loath with abandon at its stubborn refusal to remove itself from my screen, making way for my new and upcoming love… number 97.

My relationship with Penguin’s crowdfunding publishing platform, Unbound, began almost six months ago now. Little did I know when I whooped and hollered at my acceptance email that this single word, crowdfunding, would impact on my life in so many different ways.

I’d just entered a world I knew nothing about, a world full of sharks wanting to separate you from your hard earned cash.

“We have thousands of contacts ready to crowdfund your project!” – No you don’t…

“We can market you on Twitter (or Facebook) to our 500,000 followers!” – Fake followers…

“We can DM all your Twitter followers and guarantee £££!” – Errr no you can’t…

There are so many of these preying vulture sites out in the internet ether, I can’t keep up. Maybe some of them do work, but I can safely say most of them will not work for first time authors. If you are currently in the same crowdfunding boat as I am, then as far as I have worked out there are really only three “guaranteed” mechanisms at your disposal. Your friends and family, their friends and family and anyone you have ever worked or had a relationship with in any capacity. This is where the majority of your initial pledges will be coming from.

It is all very well looking at Facebook and Twitter and dreaming but once online, your project will join hundreds of thousands of others, all of which are competing for the attention of potential backers and readers. It’s a tough environment to enter – as I know all too well.

Since the start of my campaign I’ve tweeted nearly two thousand times, acquired nearly ten thousand followers and spent hours doing so. So much so, there are people out there thinking I’m a bot! The infamous twitter trolls are certainly out there but luckily I don’t seem to be coming across too many. Those crossing my path just get blocked and quickly. I’m told engaging with them is the worst thing you can do. Plus it feels good to block rude people. It’s bizarre that people who have no interest in what you’re doing seem to want to interact more than those who are interested! I digress.

Although I’ve picked up four or five pledges via Twitter, I’m hoping the platform will show it’s true worth once the book is actually published. People are much more likely to spend two or three pounds/dollars or a product they will receive immediately rather than for something to arrive later. It’s probably the same for Facebook but I’m struggling with that medium at the moment (over and above contacting my own friend base).

The same long game style tactic goes for my Website. The first thing I was advised to do was set up a website “to legitimise” my claim to be an author. Although initially good fun, keeping it up to date with interesting blogs and information is not an easy task. Just coming up with potential topics is hard enough. Then you’ve got to write it, find interesting pictures, edit it, worry that it’s crap and then release it anyway. Again I know this is all a necessary evil to inspire whoever might be reading to click a link, but it’s something else I didn’t really think about when signing off with a flourish at the end of my novel.

I’ve been very lucky with my backers so far and in particular my brother in law and his Company have been amazing. Without him I’m not sure what I would be doing now. Writing off for Company sponsorship might have been a possibility; along with setting up workshops; pledge parties; reading to children at local libraries and perhaps a talk or two on the crowdfunding process. These tactics are now all in reserve for the sequel’s campaign (the well of goodwill from my friends and family is definitely drying by the day…) and I expect the night terrors leading up to such events will form the subject of another blog.

I don’t know who I’ve aimed this blog at but if you want to share your experiences or perhaps use me to bounce some ideas off, please don’t hesitate to get in touch.

In the meantime, if you fancy taking a look at my project please find it at https://unbound.com/books/the-atlantis-deception

Thank you for your time and I look forward to hearing from you.

XWWX ATLANTIS SANDS OF RA

I’ve Published my book – So what do I do now?

Although in the midst of a tricky crowdfunding sell on my latest novel, ‘The Atlantis Deception,’ I have started to think about the processes to come – the copyediting; the proof reading; the advertising – should I put my eggs in the google advertising basket, Facebook ads, amazon ads, or maybe all three? How should I use Goodreads to its full advantage – and what about twitter, Instagram, Facebook, LinkedIn? Is my website good enough? Are my blogs frequent enough – Is my content even worth reading?

At this point, with my meltdown in full swing, I turned off the computer and crawled under my desk.

I needed to get back to the basics and focus on the why as oppose to the, ‘just do it because everyone else is doing it.’ Forgetting about the pre-publishing bit, I know I need to throw myself into aspects of post publication marketing even now and I need a plan of attack. Without a focus and simply an aimless approach I will achieve nothing and probably just give up, disheartened, like hundreds of authors before me, by the enormity of the task. Even with a plan it still feels like I’m trying to break through a wall with a toothpick.

So what is important? What should I (and therefore you) be trying to improve as I hurtle into the world of publishing? I’ve come up with five target areas I can influence:

  1. Cover Art
  2. Teaser paragraph
  3. Trailer
  4. Reviews
  5. Traffic

I’m linked to a publisher now and I still not certain how the cover art will be dealt with. That said I’ve still commissioned a local artist to generate some advertising posters to support the launch of the novel when it happens. Imagery is so important in this field and given we are artists ourselves, often overlooked. It is ironic that the phrase, ‘never judge a book by its cover,’ couldn’t be more wrong in the literary world – for the first time author (assuming the title pricks the interest of a reader) this is absolutely what our work will be judged on. If the cover does its job, the reader will then move onto the teaser paragraph. Test your cover image before revealing it to the world – if you are online only, ensure it is striking enough to work as an Amazon thumbnail. If you wouldn’t click on it yourself, go back to the drawing board.

I’ve included a couple of images John has created for me. If you like his style and would like to work with him, please drop me a line.

The teaser paragraph is your clincher, you’ve reeled in your potential reader with an interesting title and excellent art work – now you need to wow him and her with your ability to weave an interesting story. Similar to the cover art, you need to do the groundwork. Find out what works and what really doesn’t. Check out the number of hits you’re getting and dump accordingly. Once you hit on the winning formula your views to buys ratio should start to fly!

Item number three on the list is the book trailer. This is a new(ish) method of advertising to me and something I’ve had to create as part of my Unbound crowdfunding project. With little budget I’ve found this tough to engage with and although my trailer (uploaded to YouTube) is okay, an investment of (at most) two or three hundred pounds would make it amazing. Once published this is where my initial budget will be heading. There are so many thousands of books out there now and I believe this is a nailed on game changer and something that will help me stand out from the crowd. In case you are already at the point of requiring a book trailer, these are a selection of developers I have come across so far.

(under 1minute book trailer, around $250).

http://www.3dtree.net/ http://www.vimeo.com/user4056030 (usman-rafi@hotmail.com) http://ligastudio.webs.com/ http://www.mindofminnich.com http://www.pixelgenio.com/ http://pcledera.webs.com/ http://www.thedesigncrew.biz/

Lowest Price (Less than $150): http://redlotusproductions.wordpress

Reviews: This is where social media starts to come into play. Reviews are key (if you believe the hype, Google analytics and Amazon itself) to generating the next of my goals, traffic. Optimising your cover and teaser paragraph will not mean anything without traffic. First and foremost, try and make everyone you know to both buy your book and leave some kind of review. They should be truthful to some extent – we’ve all seen those self-published books with twenty or so five star reviews and they stand out like a sore thumb. That said they will at least move you along the path. It’s then down to begging and pleading (Facebook, Twitter, LinkedIn); giving away free copies, doing favours and swapping reviews with other authors in the same boat. With any luck over time enough reviews (hopefully good) will land on your plate for Google and Amazon to take notice. Then you’re away!

Once you set out your plan of action and allocate your budget appropriately, the publishing game suddenly doesn’t seem quite so complex. Maybe it’s even a game we can win. Just remember everything you do should be geared towards one thing – persuading readers to click your BUY IT NOW button!

I am still actively seeking pledges for my latest novel, ‘The Atlantis Deception’ which is on the road to being published by the crowdfunding publisher, Unbound. If you like Michael Crichton with a little Clive Cussler on the side, please check out the project at https://unbound.com/books/the-atlantis-deception/ and perhaps consider becoming a patron of the creative arts.

Volcano2

Where is my Muse? – Motivation for bloggers and writers

Another ridiculously hot day here in the south of England, once again hitting 30°C – bordering on assault for my pasty Scottish skin!

It’s tough to concentrate and lethargy has definitely set in. It got me thinking about how I manage to find the motivation to actually pick up a pen or tap away on the keyboard. I’ve come up with a few and it would be interesting to hear what others might add to this far from finite list.

  1. Setting aside a specific and recurrent period of time: Sounds obvious but it works for me. If I know my witching hours are between 8 and 10, I tend not to procrastinate so much and get down to the serious job of creating content. If I sit down ad hoc, I tend to play about on Twitter, Facebook or the like and eventually the time drips away with little to show for my efforts.
  2. The right time: This sort of relates to the above and is personal to the individual. The muse in my head seems to perform better late at night so my creative time has adjusted accordingly. If there’s a time when you’re more alert, make this your daily writing time.
  3. A comfortable space: Again this is personal but I always feel I need a clean and comfortable environment to work in. If my space isn’t just right I go a little bit OCD and clean up everything in the vicinity. I don’t want anything on show past the bare minimum! I suppose the opposite may be true of others and clutter may invoke your muse but the space should and will inevitably match your personality and fit the creative you.
  4. A blank canvas. Switch off your phone. E-mail, smart phones, tablets, and any other electronics-are the enemies of writing. They are the Devil when it comes to distraction and eating away precious writing time. Every notification will pull you into a zone incompatible with creativity. I’m not suggesting doing this if you’re a doctor on call but other than that turn then off – maybe even lock them away! Any messages will still be there when your period of creativity is over.
  5. Ritual: I’m not saying you should be chalking a pentagon into your carpet and chanting at its centre – well unless that floats your boat – but a ritual of sorts might help get you in the grove. I have a set of Star Wars models that must always be arranged in a certain order before I start, but I guess a hat or lucky pants might also do the trick!
  6. A daily quota of words: Back to a familiar one – simply setting a target. I may set aside two hours a day but the word count is the motivation within that period. 1000 words tends to be my minimum and once achieved I can relax. Sometimes I use all my dedicated time to its full and in other instances I finish early but either way having a target quota is essential. If nothing else it is proof you have achieved a tangible result for your efforts that day.
  7. Record and set your targets: I keep an A4 calendar on my desk with daily targets and actual results registered. It gives me an enormous sense of well-being (to quote Blur). It’s nice to see progression and gives you an idea of time frames (first draft will be complete in June – for example).

So that’s me. I’m sure there are many more examples out there and please feel free to share. It would be nice to engage with one or two of you out there in the internet ether.

I hope this has been of benefit and I would appreciate it if you could like or share the post.

I am still actively seeking pledges for my latest novel, ‘The Atlantis Deception’ which is on the road to being published by the crowdfunding publisher, Unbound. If you like Michael Crichton with a little Clive Cussler on the side, please check out the project at https://unbound.com/books/the-atlantis-deception/ and perhaps consider becoming a patron of the creative arts.

Self Editing and Pro Writing Aid

A few years ago, after fiddling around for the umpteenth time with my first novel I happened across a conversation on one of the various boards I’m affiliated with. The discussion concerned professional editing, the huge cost and what one might do to mitigate such cost. A larger than life contributor started by informing me (without reading any of my work) that no one should publish their first novel. Apparently all first novels are only good for one thing, the slush pile and learning how not to find oneself in the slush pile again. Having spent hundreds of hours honing my characters and plot, this wasn’t quite what I’d hoped to hear. With a sigh I could almost hear through my router, the lady in question pointed me in the direction of two online editing tools; Autocrit and Pro Writing Aid.

“Log in, upload your work and either of them will tell you how far you are behind the curve.”

With a, ’I’ll show you,’ attitude, I dutifully did as I was told. I’ve been hooked ever since.

The entirety of my 105,000 word tome has now passed through Pro Writing Aid and I feel I can comment with a degree of expertise on its functionality. I have tried Autocrit but the price held me back from engaging fully.

For the purpose of this blog however, I’ve decided to give them a side by side test using a few paragraphs from my latest novel, ‘The First Shot Fired, Rosewell.’ Although a PWA user, I will attempt to approach this as a neutral.

(Ten minutes later) I’ve just attempted to elicit the free analysis from Autocrit and stumbled into a slight problem – Autocrit no longer provides a ‘free’ analysis, but rather a very generic report (https://www.autocrit.com/). The Autocrit team then require a payment of $30 before I can proceed to see the detail. The interface itself is impressive and the slaes pitch certainly says all the right things. However, given the free version of PWA exists I can’t really see the benefit of paying so much (I bought a two year licence to the premium version of PWA for $40).

Glancing through their sales pitch I have noticed something new – advertised as follows:

‘Want to know how your writing stacks up against other published works of fiction? AutoCrit compares words and sentence constructions from your manuscript to successful published fiction, including mass-market paperbacks and bestsellers.’

It might be a gimmick, but it sounds interesting! I’m still not convinced though; as far as I can see the free version of PWA does virtually everything AutoCrit does, and in my opinion, a little more. I know more is not always necessarily better, but when it comes to free, it’s hard to beat.

To give an idea of what the PWA software can do I uploaded a few hundred words into the programme and received the following comprehensive report:

Key Actions

  1. A high “glue index” suggests you’re using lots of filler words. Try reducing these. Look at the sticky sentences section below for more specific guidance.

Document Statistics (The key statistics about your document)

594 Word Count

95 Sentences

61 Paragraphs

2,568 Characters

No Spaces

3,396 Characters

With Spaces

Vocabulary

318 Unique Words

291 Word Families

Most Unusual Words

  1. yup
  2. granddad
  3. nappies
  4. refocusing
  5. smirked

Most Used Words

the 37
and 14
of 13
to 10
on 9
a 9
in 9
John 8
‘s 8
Major 8

Your vocabulary was more dynamic (unique words/total) than 52% of ProWritingAid users

Readability Measures (Your text analyzed using common readability measures)

Tip! Readability scores are calculated using a combination of words per sentence and syllables per word. Grade Scores correspond to US school grades. i.e. 5th Grade is very easy to read and easily understood by an average 11-year-old student. To improve readability use shorter words and sentences.

84 Flesch Reading Ease

Target > 60

Grade Level Measures

Flesch-Kincaid Grade 3.1
Coleman-Liau 4.9
Automated Readability Index 2.1
Dale-Chall Grade 7 – 8

Other Measures

Flesch Reading Ease 84.1
Dale-Chall 6.6

Readability by Paragraph

 

22 Easy-to-Read Paragraphs

1 Slightly Difficult-to-Read Paragraph

2 Very Difficult-to-Read Paragraphs

Overused Words (Words and phrases that are overused compared to published books)

Tip! We compare your document to published writing in the same genre to show overused words and constructs. Identifying and reducing these will improve your writing. Note: Often this requires more than substituting a different word.

1 Overused Words

generic descriptions (watch/notice/observe/very) 3 Reduce by 1

14 Not Overused

have 4 Not overused
just/then 4 Not overused
could 2 Not overused
feel/feels/feeling/felt 1 Not overused
believe/think 1 Not overused

Sentence Structure

Tip! Varying your sentence length keeps the reader engaged. Too many long sentences are hard to read.

5.9 Sentence Variety

Target > 3

6.3 Sentence Length

Target between 11 and 18

0 Long Sentences

Your sentence variety was higher than 30% of ProWritingAid users

Your sentence length was higher than 12% of ProWritingAid users

Sentence Lengths (The length of all the sentences in your document. Varying your sentence length engages your reader.)

Tip! Look for areas where all your sentences are around the same length. These areas will benefit from more variety to maintain the reader’s interest.

 

Writing Style

Tip! Highlights common style issues such as passive voice, hidden verbs and adverb usage.

4 Passive Index

Target < 25

0 Hidden Verbs

Target 0

3 Adverbs

2 outside Dialogue

Most Used Adverbs

Surely 1
exceptionally 1
instantaneously 1

0 Repeated Sentence Starts

Target 0

4 Style Suggestions

Top Style Suggestions

You have to let Let 1
began pointing – pointed 1
in turn (omit) 1
Alright – All right 1

Your readability was better (suggestions/sentences) than 78% of ProWritingAid users

Grammar & Spelling

29 Grammar Issues

Top Grammar Suggestions

15
‘Because I still have an ounce of 1
‘What more can there be? We’re stood 1
‘Dr Hunter, what you know is just 1
‘Yup,’ said the Major. ‘Look at Nazi Germany. If 1

1 Spelling Issues

Top Spelling Suggestions

iPhone – orphan|earphone|oven|affine|avenue 1

Your grammar was better (mistakes/sentences) than 67% of ProWritingAid users

Sticky Sentences (Sticky Sentences contain too many common words. They slow your reader down.)

Tip! Sticky sentences are ones containing a high percentage of glue words. Glue words are the 200 or so most common words in English (excluding the personal pronouns). You can think of the glue words as the empty space in your writing. The more of them there are the more empty space your readers have to pass through to get to the actual meaning. By cutting down the amount of glue words in your sentences you help expose the true meaning and make the reader’s job easier.

8 Sticky Sentences

Target 0

46.5% Glue Index

Target < 40%

Your glue index was better (glue words/total) than 30% of ProWritingAid users

Dialogue

13.6% Dialogue

52.9% Dialogue Tagged

Top Dialogue Tags

say 7
ask 1
retort 1

Your use of dialogue tags was higher than 73% of ProWritingAid users

Pacing (Shows areas of slower pacing by looking at verb tenses.)

Tip! Dark areas in the chart indicate areas of slow pacing (backstory in creative writing). Where you have large chunks of slower pacing, try to add some faster pacing to keep the reader more engaged.

1.4% Slow Pacing

Transitions (Looks at words and phrases that link your writing together)

Tip! Transitions are useful when you’re trying to structure an argument. They link your sentences together forming a flowing and cohesive structure.

3.2% Transitions

Target > 25%

Top Transitions

since 2
Surely 1

Repeated Phrases

Top 3-word phrases

let us help 2
to the next 2
the Major pulled 2

Top 2-word phrases

the Major 8
said John 3
Got it 2
the door 2
his body 2

Top 1-word phrases

said 8
John 6
door 4
just 4
Solomon 3

Cliches & Redundancies (Cliches can make your writing sound tired)

0 Cliches

1 Redundancies

Top Redundancies Found

hurry it up 1

Consistency (Checks for consistent spelling, hyphenation and capitalization.)

1 Inconsistent Spelling

Target 0

0 Inconsistent Hyphenation

Target 0

2 Inconsistent Capitalization

Target 0

Usage Consistency

Curls/Smart Double Quotes 2
Straight Double Quotes 0
Curly/Smart Single Quotes 73
Straight Single Quotes 0
Ellipsis characters 1 Fix
Three dots 1 Fix
Hyphens 3
En-dash 0
Em-dash 0

Other Items

Diction

up 3 Avoid using prepositions such as “up” as the last word in a sentence
of 2 Avoid using prepositions such as “of” as the last word in a sentence
about 1 Avoid using prepositions such as “about” as the last word in a sentence
as 1 Avoid using prepositions such as “as” as the last word in a sentence
at 1 Avoid using prepositions such as “at” as the last word in a sentence

Vague & Abstract Words

all 2 Vague
like 2 Vague
cold 1 Vague
about 1 Vague
would 1 Vague

Corporate Wording

exceptionally 1 Try to use a simpler wording. Examples: only when; in this case

 

As you can see the report is very comprehensive and will certainly give even the most pedantic of writers something to think about. Although I must admit to ignoring at least half the reports, the grammar/spelling, repeated words, consistency, and adverb reports have been a godsend.

I’m currently in the middle of crowdfunding my first novel, The Atlantis Deception, via Unbound.com. I firmly believe they would have rejected it had the novel not been edited via PWA before submission. With any luck the copy editing process will also be less traumatic!

In summary, if you are considering using an online editing tool, and have sufficient funds, I’d suggest comparing the two yourself. If not just go with Pro Writing Aid and see how you get on. It is free and good free stuff is hard to pass up.

If you have found this blog useful I would really appreciate your support in pledging to publish, ‘The Atlantis Deception.’ The £10 pledge is currently half price with promo code atlantis5. Thank you for your time and I look forward to hearing from you.

https://unbound.com/books/the-atlantis-deception/

Best wishes, Mark

(I should add I’m not affiliated to either programme in any way – just though it would make an interesting blog!)