{"id":164347,"date":"2025-05-09T10:00:00","date_gmt":"2025-05-09T09:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=164347"},"modified":"2025-05-09T10:00:00","modified_gmt":"2025-05-09T09:00:00","slug":"how-i-actually-edit-1","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/how-i-actually-edit-1\/","title":{"rendered":"How I actually edit (I)"},"content":{"rendered":"\n

With the first lesson of our brand new Premium Member course Introduction to Self-Editing<\/a><\/strong> launching this week, I thought I’d share my own editing process with you. I honestly don\u2019t know how much it helps to understand another writer\u2019s process. What matters to you isn\u2019t how I write best, but how you do. There\u2019s not one way to play this game, there are a million. But if you\u2019re interested, and in the hope that it helps, here\u2019s how I edit. <\/p>\n\n\n\n

The first thing to say is that, in my case, there\u2019s no real distinction between my writing and my editing. I self-correct all the time as I write. My paragraphs are very often short, but if I write a reasonably meaty three or four sentence paragraph, I\u2019ll almost always tweak it and nudge it into shape before moving onto the next. Indeed, I quite often edit a sentence before I\u2019ve even hit the final full stop. <\/p>\n\n\n\n

Why so twitchy? Well, a few things. I\u2019m a natural fidget. I\u2019m not at the threshold for ADHD, but I\u2019m certainly that way inclined. But also, I\u2019m like my wife. She can\u2019t quite be content in a messy or ugly room. She\u2019ll always seek to remedy what can be remedied before she can really make herself comfortable and turn to whatever it is that brought her there. <\/p>\n\n\n\n

Same with me and bad sentences. Asking me to write new text when there\u2019s messy text just behind me? It doesn\u2019t work. The nagging distraction of that baggy sentence, that poorly chosen word, will stop me fully attending to whatever\u2019s next. <\/p>\n\n\n\n

Here\u2019s the start of an upcoming Fiona novel: <\/p>\n\n\n\n

Imagine this.<\/em> <\/p>\n\n\n\n

A cold night. A scatter of snow. Not much, but there\u2019s a fierce frost, so the hard surfaces around here \u2013 paving stones, gravel, brick walls, iron gates \u2013 are glazed with diamonds. No leaves left on the trees, or not many, but the tree trunks have an iced glitter, as though constructing some new armour.<\/em> <\/p>\n\n\n\n

The light? Not much. A little moon naked under scraps of cloud. Streetlamps shining their joyless yellow. The colour of the last rags of autumn, but dimmer. More suppressed. Draining colour, not revealing it.<\/em> <\/p>\n\n\n\n

In the street: no cars moving. Almost none parked, if it comes to that. On this street, the cars \u2013 the BMWs and the Mercs, the Range Rovers and the Teslas \u2013 are sheltered behind walls, in garages, protected by the red blinks of security alarms.<\/em> <\/p>\n\n\n\n

And a white van, its lights off.<\/em> <\/p>\n\n\n\n

And two people moving. Not quiet, but not loud. Not furtive, but efficient. Dressed dark, dressed warm. Which, in this weather, is also a way to say that their shapes and faces are lost, muffled, disguised. <\/em><\/p>\n\n\n\n

That\u2019s how the text looks now. It\u2019ll change again before publication, but nothing there really annoys me. <\/p>\n\n\n\n

Here\u2019s my editing journey to get there: <\/p>\n\n\n\n

Imagine this. <\/em><\/p>\n\n\n\n

A cold night. A scatter of snow. <\/em><\/p>\n\n\n\n

These words went down first thing and I haven\u2019t changed them. The first two words are critical: it\u2019s not normal Fiona-speak \u2013 she doesn\u2019t normally address the reader in any way \u2013 but they matter here for a reason which will become clear much, much later. <\/p>\n\n\n\n

The cold \/ scatter of snow details are \u2013 for me \u2013 nice and easy: that way of giving physical detail is an established part of the Fiona voice. I like it because the voice is clear and well-differentiated, but I also love it because it\u2019s so compact. For those writers who are still slave to the \u201cGotta have a main verb\u201d dictum, the same seven words would have come out a bit like this: <\/p>\n\n\n\n

It was a cold night, with a scatter of snow on the ground<\/em>. <\/p>\n\n\n\n

To my mind, all the additional words there are essentially dull and add nothing. So if I were a slave-to-the-verb kind of writer, I\u2019d have added juice. Something like this: <\/p>\n\n\n\n

The night was cold, with a light scatter of snow hardening beneath the frost.<\/em> <\/p>\n\n\n\n

And, OK, I like that more, except I\u2019m always bothered by the word \u2018with\u2019 in this context \u2013 it\u2019s just a lazy way to add bolt detail onto an existing unit. So I\u2019d probably have replaced the \u2018with\u2019, by writing: <\/p>\n\n\n\n

The night was cold and an earlier scatter of snow now hardened beneath the frost.<\/em> <\/p>\n\n\n\n

I\u2019d be pretty much happy with that now \u2013 \u2018hardened\u2019 feels more active and, literally, harder than \u2018hardening\u2019 \u2013 but as I say, my Fiona-voice just skips over all that hoopla, and delivers all the information in two sentence fragments boasting a combined 7 words. <\/p>\n\n\n\n

Then we got to this bit: <\/p>\n\n\n\n

Not much [snow], but there\u2019s a fierce frost, so the hard surfaces around here \u2013 paving stones, gravel, brick walls, iron gates \u2013 are glazed with diamonds. No leaves left on the trees, or not many, but the tree trunks have an iced glitter, as though constructing some new armour.<\/em> <\/p>\n\n\n\n

I had to pick away at that bit to get it into shape. An earlier version used the word \u2018frost\u2019 twice and I kept wanting to glaze things. <\/p>\n\n\n\n

The leaves on trees bit is sort of dull, except that the reader has no idea yet of time of year, so this was my way of telling the reader that we were in November, not January. <\/p>\n\n\n\n

The list of hard surfaces \u2013 paving stones and the rest \u2013 is also dull, but it\u2019s dull in a quiet suburban way, which is just right for the location. I do not love the \u2018around here\u2019 phrase. Where else would the hard surfaces be? So those two words need to go: an edit that still needs to happen. <\/p>\n\n\n\n

I like the \u2018some new armour\u2019 image: that\u2019s true to Fiona\u2019s voice, but it also delivers a sense of battle-readiness. <\/p>\n\n\n\n

The next paragraph also needed some tweaking and plucking: <\/p>\n\n\n\n

The light? Not much. A little moon naked under scraps of cloud. Streetlamps shining their joyless yellow. The colour of the last rags of autumn, but dimmer. More suppressed. Draining colour, not revealing it.<\/em> <\/p>\n\n\n\n

Again, the first two sentence fragments (four words in total) just went down on the page and stayed there. The moon and cloud stuff is quite like me \u2013 I\u2019ve probably used something like that phrase before \u2013 but I\u2019m happy with it. Should it be a little moon or not? I don\u2019t quite know, but it\u2019s going to stay little for now. <\/p>\n\n\n\n

Also (I\u2019m only just noticing now; I don\u2019t observe these things as I write) I especially like it that we have these themes of battle and vulnerability emerging from the text. Although we\u2019re really just describing a theme, we already have a hint of battle (armour), a hint of vulnerability (a naked moon) and references to draining colour \u2013 a disguise, not a revelation. All this means that the description has a kind of sprung quality. Nothing dark has happened yet, but you already know this is a crime novel, not a romance. <\/p>\n\n\n\n

Then I had to tinker quite a lot to get the next bit right. I want to paint the colour of a suburban street, with a little snow on the ground, not much of a moon, and sodium-type street lighting. I could just say \u2018The street is it by yellowy-orange sodium lights\u2019 or something like that. But the point isn\u2019t really the colour, is it? It\u2019s the feeling. And what is the feeling? Well, that\u2019s the bit I had to struggle to get to. <\/p>\n\n\n\n

What I\u2019ve ended up with combines joyless<\/em>, rags<\/em>, dim<\/em>, suppressed<\/em> and draining colour<\/em>. Listed out like that, it feels alarmingly single-note, but I think it works OK on the page. In effect, we start out with a colour description (\u2018joyless yellow\u2019) then work through a chain of thought to figure out that what\u2019s really happening here is an emptying out of colour, not any kind of addition. <\/p>\n\n\n\n

Oh yes, and some editors would worry about the repetition of the word \u2018colour\u2019, but I\u2019m not fussed. The repetition doesn\u2019t feel accidental or obtrusive, so it\u2019s fine with me. <\/p>\n\n\n\n

And so on. <\/p>\n\n\n\n

The two people in the white van dump a corpse in one of these wealthy suburban gardens and then vanish. The book is about the investigation and shenanigans that follow. The chapter doesn\u2019t quite say \u2018they dump a corpse\u2019, but it gets reasonably close\u2026 and this is a crime novel, so readers assume (correctly) that murder is going to be on the agenda. <\/p>\n\n\n\n

All this is how my editing process runs, always. It often starts before I hit a full-stop. It usually starts before I reach the end of a paragraph. It is very pedantic. It cares about two unnecessary words or a not-quite-perfect word choice. <\/p>\n\n\n\n

It\u2019s utterly hard-wired and instinctive. The act of writing and the act of editing are so conjoined, I don\u2019t really think of them as separate. <\/p>\n\n\n\n

I don\u2019t consult a style manual for these edits. In the end, what drives me is a sense of dissatisfaction with bad text and happiness with good text. My whole writing-editing journey is just about making 1,000,000 tiny choices that move me from a mostly-grumpy place to a largely-happy one.<\/p>\n\n\n\n

Next week, I\u2019ll talk a bit about my more macro-edits. Till then, I have the moon to worry about. Little, or not little? Hmm\u2026 <\/p>\n\n\n\n

***<\/p>\n\n\n\n

FEEDBACK FRIDAY<\/strong><\/p>\n\n\n\n

For the next few weeks, instead of posting into the Feedback Friday forum, I want you to post into the Introduction To Self-Editing forum<\/a>. Remember, to log in first. The task I set each week will correlate with what Debi Alper teaches in that week’s lesson, so if you’re not a Premium Member yet and want to get the video teaching that goes along with the task, you can join here<\/a>, or purchase the course as a one-off here<\/a>.<\/p>\n\n\n\n

This week’s assignment from the course:<\/p>\n\n\n\n

Share a plot summary (can be written out as a synopsis or just with bullet points) in the forum<\/a>. Point out where you think tweaks to structure, plot, and pace might be required, and see if others agree.<\/p>\n\n\n\n

Til soon. <\/p>\n\n\n\n

Harry<\/p>\n","protected":false},"excerpt":{"rendered":"

With the first lesson of our brand new Premium Member course Introduction to Self-Editing launching this week, I thought I’d share my own editing process with you. I honestly don\u2019t know how much it helps to understand another writer\u2019s process. What matters to you isn\u2019t how I write best, but how you do. There\u2019s not<\/p>\n","protected":false},"author":32,"featured_media":98318,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[286,29213,29298],"class_list":["post-164347","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harrys-friday-email","tag-editing","tag-harry-friday-email","tag-self-editing"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/how-i-actually-edit-1\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How I actually edit (I) – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"With the first lesson of our brand new Premium Member course Introduction to Self-Editing launching this week, I thought I’d share my own editing process with you. 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