Category Archives: Writing

Proofs and Three Parables by George Steiner

Michael LaRocca of MichaelEdits.com

The Wikipedia entry on proofreading includes four works of fiction in which one of the characters is a proofreader. The novella Proofs and Three Parables is one of them. The professore is one of the more memorable protagonists I’ve encountered in a long time. His skill as a proofreader is unrivaled. No mistake escapes him, however tiny, in the most trivial printing jobs. His eyesight has been damaged by years of exacting work, exacerbated by self-neglect, and he may be going blind.

Alas, this is a subplot.

The novella deals mainly with the fall of Communism. It’s the most readable thing I’ve seen on the topic, brief yet illuminating, simple without being simplistic, not as boring as I’m making it sound. The author is also passionately concerned with the tradition, culture, and fate of Judaism.

But I’d rather dwell on the professore’s character as a proofreader because, well, you do know what I do, right?

Now the burn seemed to smart behind his eyes.

Thirty years and more a master of his craft. The quickest, most accurate of proof-readers and correctors in the whole city, perhaps in the province. Working every night, and throughout the night. So that the legal records, deeds of sale, notifications of public finance, contracts, quotations on the bourse, would appear in the morning, flawless, exact to the decimal point. He had not rival in the arts of scruple. They gave him the smallest print to check, the longest columns of figures to justify, the interminable catalogues of lost and found to be auctioned for the post-office and public transport. His proof-readings of the bi-annual telephone directory, of electoral and census rolls, of municipal minutes, were legend. Printing works, the public record office, the courts of law vied for his labours.

But now the sensation of burning, just behind his eyes, felt sharper.

With an opening like that, the reader must read on. I know I did.

(For the record, I’ve only been editing for 28 years, and I use Word to zoom in on small fonts all the time. No phone books, but I’ve done some awesome work with sales catalogs.)

He hated litter. Waste paper struck him as the very waste of waste. At times, if the winds blew a piece towards his feet, he would pick it up, smooth it, read closely and make any correction needed. Then he would deposit it in the garbage receptacle, feeling obscurely rewarded and saddened. Any witness to this rite would have thought him deranged.

I’ve never done this, even though I do pick up litter. The professore is “a man whose obsessive scruple in respect of the minutiae of print, whose bristling distaste in the face of the approximate and the loosely mistaken, were magisterial and pedantic to a degree.” He’s also the kind of man I’d debate the Oxford comma with, but I fear I’d lose in the face of his stamina.

Since I mentioned Judaism, let me quote the professore.

Do you know what the Kabbala teaches? That the sum total of the evil and miseries of mankind arose when a lazy or incompetent scribe misheard, took down erroneously, a single letter, one single solitary letter, in Holy Writ. Every horror since has come on us through and because of that one erratum.

When his replacement replies that proofreading a hand-bill for an auction of used farm implements and manure sacks isn’t important enough to demand perfection, the professore disagrees.

It is just here that it matters more than ever before. To act otherwise is utter contempt. Contempt for those who cannot afford to look at a fine book, at quality paper or crafted type. Contempt for those who have a right under God, yes, under God, to have a flawless hand-bill, also for a sale of manure! It is just for those who live in rural holes, in slums, that we should do the best work. So that some spark of perfection will enter their wretched days. Can’t you understand, how much contempt there is in a false accent or a misplaced serif? As if you spat at another human being.

Technical editing since 1991. Business editing since 2006. MichaelEdits.com

© Michael LaRocca 2018



When Should Writers opt for Self-Publishing over Traditional (Trade) Publishing?

When should writers opt for self-publishing over traditional (trade) publishing? This is a loaded question because the answer might be different for one person than it is for another. It all starts with your own personal preferences and goals as detailed in this blog post from a while back: Ten Questions To Ask Yourself Before Publishing Your Book. From there, it’s important to research the various publishing options available to you to determine which one best complements your goals. I talk about these three book publishing business models in one of my most recent free downloads titled Your Ebook is an Asset … if You Own the Copyright. Here is a brief excerpt from that ebook:

Some authors will submit their manuscripts to a traditional (trade) publisher for consideration in the hopes it will be published for them free of charge. What they might not realize is that whoever is paying for the publication of a book is the one who ends up with primary control over that book. Trade publishers don’t pick up the bill simply out of the kindness of their hearts. They are business people who are buying a product to try to turn a profit for themselves, and that “product” is the copyright ownership of your work (whether permanent or temporary, whether full or partial—it varies with each contract and each publisher).

The grant of rights clause in a publishing contract is one of the most important clauses because it enumerates the specific rights granted to the publisher by the author. Negotiation of this clause has become even more important in today’s world where increasingly more uses are being developed for literary content.

The scope of the clause may vary widely, it could be all inclusive — granting all the exclusive rights and interests in the author’s work, or the grant could be very narrow — only including a single specific use of the author’s work, or it could be somewhere between these extremes. The critical point is that the publisher only has the right to exploit those rights that are specifically granted to the publisher and any exploitation of rights exceeding the author’s grant could be deemed a copyright infringement of the author’s work.

Copyright ownership of a literary work consists of a bundle of rights which an author, at least theoretically, may assign to the publisher in any manner they choose. Thus, an author may assign all or only a part of his/her rights to one or more publishers while retaining particular rights for himself/herself. (Thomson Reuters, n.d.)

Unfortunately, many authors unwittingly grant all their exclusive rights to one publisher without fully understanding the implications of doing so. As a result, these individuals usually retain only basic rights that recognize them as the author of the work and allow them to be paid a small percentage of its retail price in royalties (usually only up to 10 percent per copy sold). The publisher keeps the rest of the profits because the publisher owns the copyright.

Most trade publishers do not ask for an outright assignment of all exclusive rights under copyright; their contracts usually call for copyright to be in the author’s name. But it’s another story in the world of university presses. Most scholarly publishers routinely present their authors with the single most draconian, unfair clause we routinely encounter, taking all the exclusive rights to an author’s work as if the press itself authored the work: “The Author assigns to Publisher all right, title and interests, including all rights under copyright, in and to the work…”

…The problem is that most academic authors—particularly first-time authors feeling the flames of “publish or perish”—don’t even ask. They do not have agents, do not seek legal advice, and often don’t understand that publishing contracts can be modified. So they don’t ask to keep their copyrights—or for any changes at all. (The Authors Guild, n.d.)

If you choose to follow the traditional route toward publishing a book, you must read and fully understand the contract being presented to you before signing anything away. You should only grant a publishing company the primary and subsidiary rights that it has the full intention (and capability) of exploiting on your behalf so the relationship benefits you both. If any publisher ever tries to tell you otherwise, then walk away.

Interested in reading more about your other two options? You can download a free copy of Your Ebook is an Asset … if You Own the Copyright from your choice of either Amazon, Kobo, or E-Sentral to continue reading. Click on the link for details.



Collaboration: Mental and Emotional Preparation for the Ghostwriting Process

What is a Ghostwriter?

According to The Free Dictionary by Farlex, a ghostwriter is:

n.
a person who writes a speech, book, article, etc., for another person who is named as or presumed to be the author.
[1895–1900, Amer.]

Ghostwriters are often hired by business professionals who wish to produce books and various other marketing materials to promote their leaders, products, or professional services. A published book can lend credibility to one’s offering if it is done properly. If you want to produce a book that presents you as an industry expert in your field, it should be completed by an industry expert in the book publishing and content writing fields. 

Mental and Emotional Preparation for the Ghostwriting Process

Some authors go into the ghostwriting process with the misconception that, once they’ve handed their notes to the professional, their job is done and the book will be written. Yes, a ghostwriter can save a lot of time in terms of the writing portion itself. But it is important to understand that ghostwriting is an ongoing, collaborative process in which the author will be required to answer questions and proof chapters all along the way.




Authors can also expect to go through a series of emotions during the ghostwriting process. It is natural to feel an initial resistance to each new draft—to feel a bit frustrated if things aren’t worded exactly the way the author first envisioned. This is a natural reaction during the ghostwriting process, particularly when it comes to personal books like biographies. Recognizing this, authors should read a draft over once, and then put it away for a couple of days to give their emotions time to settle. If they do this, it will be easier to read it over again, the next time around, with a more objective mindset. In that objective state, they can then feel free to change the words they don’t like or correct the dates, times, and names however they see fit. All authors make better decisions in the objective state than they do in that initial emotional state.

Analogy for Ghostwriting

A big part of a police officer’s job is to write reports—to try to interpret the recollections of various witnesses and to create the most accurate appraisal of a situation as possible. The biggest challenge in writing this report is that although each witness saw the same thing, they’ll all tend to give the police officer a different account mainly because each of them was viewing it from a different vantage point. An officer can only take what he or she is given and translate it as factually as possible.

Ghostwriters have a similar challenge when it comes to interpreting the notes they receive from authors and trying to turn those words into a veritable yet readable, marketable story. Sometimes, the ghostwriter might interpret some things a bit differently than the author initially intended. That’s okay. It can all be fixed along the way, which is why we say that this is an ongoing, collaborative process—just as the entire hybrid publishing process is. It is a partnership from start to finish. If authors can keep this analogy and these tips in mind throughout the ghostwriting process, they will be more patient with it, which will make it run much more smoothly for them and their writing partner. In the end, they’ll come out of it with an amazing book of which they can both be very proud.

Also read: Working With a Ghostwriter to Write a Book

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2018 Polished Publishing Group (PPG). All rights reserved.

How to Hit a Writing Deadline

Oh, deadlines. The bane of most people’s existences. But, in my opinion, absolutely necessary for a writer if your goal is to publish your book in this lifetime.

Deadlines can be difficult for a variety of reasons. Sometimes, they feel too short and you find yourself putting all of your energy into one project which leads to you neglecting other things. Other times, you may put it off until the last minute and then rush like crazy to get everything done on time.

Either way, when you’re given a deadline (whether it’s self-imposed or imposed by another person), you have to do everything in your power to hit it. So, how do you do this?

Plan Out Your Time

I know. I keep saying this. Because it’s important!

Don’t just wing it and hope for the best. Before you start, plan things out and figure out roughly how much time it’s going to take to knock out this particular book project. Then, spread it out over time and leave yourself some wiggle room in case things change or go wrong. Be diligent, but also be flexible.

I know how many words I can write per hour. So I plan things accordingly, breaking it down by hours per day of writing, then by week, then by month, et cetera. I know in advance how many pages or chapters I plan to accomplish within each time slot.




I acknowledge that not everyone likes the idea of a writing plan (a.k.a. an book outline), as indicated in this earlier guest post by Jennifer D. Foster titled The Ins and Outs of Outlines: Plotters Versus Pantsers. I personally never used an outline for any of my fictional novellas, but I started using one for my non-fiction books and have continued with this ever since. I find myself way more productive when I’m working with a set of plans and deadlines. I keep promises to myself.

Don’t Wait Until the Last Minute

When you plan out your time, stick to the plan.  Make sure you keep your promises to yourself, too. Create a rewards system, if possible, that allows for you to get what you want if you get your job done. Give yourself a cookie. Literally. Whatever helps you to stay on task.

Ask Questions and Get Answers Quickly

If you have a question during your book research, consult Google for an immediate answer instead of spending all day ruminating. The Internet is a great start in terms of helping you find the resources you may need to complete your project. It can also provide you with the citations you’ll need for your bibliography at the back of a non-fiction book. (Just make sure you fact-check the things you’re finding.)

Deadlines can be stressful, but they aren’t the end of the world. Keep these things in mind and you’ll meet your deadlines. Before you know it, you’ll have completed your book! What an accomplishment!

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2018 Polished Publishing Group (PPG). All rights reserved.

How to Stick to a Schedule When You Write From Home

When you tell someone you’re a writer who works from home, one of the first comments you might hear is, “Wow, so you can write whenever you want?” Well, yes and no. Despite your best intentions, you may find that it’s difficult to stay on track with your writing. If that’s the case, you may end up working seven days per week or pounding away on your laptop from morning to night, dreaming about the day when you can finally take it easy. Thankfully, it doesn’t have to be like that. Here are four tips to try if you feel like you’re writing (or trying to write) 24/7 and getting nothing done.

Set Specific Working Hours

One of the perks of self-employment is that you can work whenever you want. That’s also one of the drawbacks. When you have the freedom to meet a deadline at your convenience, it’s easy to spend the entire day writing. Regain control of your work life by setting specific hours for yourself.

Be practical when you set your hours. If you’re a night owl, don’t schedule yourself a day shift. If you have small children at home, consider working late at night or before the sun rises. You may also find it easier to schedule a split shift, such as four hours for work, four hours for errands and a lunch break, and four more hours of writing. Do what works best for you and your lifestyle, because it will be easier to stick with a schedule that meets your needs.




Take Breaks

When you punch in a time clock outside of your home, you probably never miss a lunch break or 15-minute rest break. That’s not the case for many who write from home. It’s easy to skip breaks because you think you don’t need them or feel like you’re being lazy if you stop writing for a few minutes, but this can take a huge toll on you.

Failing to take a break can cause you to feel burned out. You may start to hate what you’re doing if you never take a moment to do something else. Set an alarm to remind yourself to take regular breaks, and make sure that you actually escape your home office for a bit. Walk around the block, drive down the street to grab a bite to eat, or meet up with friends. Your brain and body will thank you.

Eliminate Distractions

Distractions come in different forms from fun Facebook games to uninvited neighbors who never seem to go home. If the Internet is a major distraction for you, try an app like Focus Booster. You can use the app to block social networking sites, YouTube, or even your personal email account when you’re busy with a writing project.

It’s slightly harder to eliminate other distractions, such as chatty family members or neighbours; but it can be done. In fact, if you follow the two steps listed above this one, you may find that it’s easier to prevent these types of distractions. Uninvited guests may be less likely to stop by if they know you have set writing hours and regular break times, and people may stop asking you for rides to the post office or grocery store if they know you’re busy writing your next book.




Reward Productivity

No matter how much you love your career, there will be days when you just don’t feel like being productive. You’ve probably outgrown star stickers and pencil toppers, but you can improve motivation by rewarding yourself in other ways.

Start by setting small, easy-to-achieve goals, such as, “I will write for 30 minutes and then spend five minutes watching motivational YouTube videos.” (Or whatever works for you, of course!) As your focus increases, you can change your hourly goals to daily goals, like, “I can order pizza tonight if I finish writing these two pages by 4 PM.” You can even set weekly goals, like, “I will buy a new pair of jogging shoes if I meet all of my deadlines on time this week.”

Working from home can be rewarding for writers, but it can also be difficult. Eliminate distractions and stick to a regular schedule by trying the four tips above. Good luck with your book!

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2018 Polished Publishing Group (PPG). All rights reserved.

More Writing Hours Versus More Productivity

We all know those people who spend every waking moment at the office. We admire them and their efforts, and we imagine they must be getting so much more done than everyone else. Sure, sometimes this is true; but other times it’s just a matter of poor time management. More writing hours don’t necessarily equal more productivity or progress. Compact, focused work is just as (if not more) effective in the long run.

I try to get my writing done in small, but controlled bursts. Instead of spending my entire day sitting at a desk or sitting at a coffee shop, I schedule my work time and break time, then stick to it. I set and meet my own deadlines.




When I’m writing, I’m focused on writing. When I’m on a break, I don’t think about writing; I just relax and enjoy the break. Not only does this help me to get more done, but it helps prevent the feeling of overwhelm that comes from trying to do too much at once, and it also helps to prevent exhaustion.

Exhausting yourself can give you an immediate gain; but, over the long-term, it’s also bound to lead to unhealthy fatigue and resentment. That’s not what you want. What you’re after is an achievable routine that is customized to your life and your schedule so you can easily stick to it. Do this, and you’ll have that book written—and published!—before you know it!

More tips on how to stick to a schedule when you work from home and how to meet a writing deadline will follow this week. Stay tuned.

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2018 Polished Publishing Group (PPG). All rights reserved.

Copywriters and Ghostwriters: What They Have in Common

© hobvias sudoneighm

This content first appeared on Digital Point Forum and has been republished here with permission from the author.

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Some people have asked me, “What is the difference between a copywriter and a ghostwriter What are their similarities?”

Well, I’ll start with the primary difference. It’s a simple difference. A copywriter is mainly concerned with producing sales and marketing copy for a client whereas a ghostwriter is someone who writes a book for someone else (whether it be non-fiction or fiction). The term “ghostwriter” simply means that, although they’ve written the book, they remain anonymous (a “ghost”) to that book’s readers because they aren’t listed as the author. The person/organization the book was written for is listed as the author … which is very similar to copywriting, isn’t it? The freelance copywriter rarely, if ever, receives public credit for the content they’ve written for someone else.




Which brings me to even more similarities between these two terms. The list of similarities–what they have in common–comprises much more. Here’s a short list:

1. Both ghostwriters and copywriters produce content for their clients. 
2. As stated above, neither ghostwriters nor copywriters receive public credit for the content they produce for their clients.
3. Both ghostwriting and copywriting are collaborative processes in that these writers need to gain a clear understanding of what their clients want ahead of time before they begin a project, and they may need to edit/correct it along with way once it has been proofread by the client.

There are three points to get that list started. How about if someone else jumps in here and picks up where I left off? What else do these two roles have in common?

Seek Inspiration from Writers Who Have Succeeded Before You

Possibly one of the most inspirational author success stories of this century is that of JK Rowling. I write in a different genre than she does. I have a different audience altogether. But it is her human story that fascinates me most, so I go in search of great articles about her such as this one: JK Rowling gives advice to aspiring young writers in challenging situations. I seek her knowledge and advice from afar when I need it. (Thank God for the Internet! What did we ever do before we had this valuable tool at our disposal?)

This woman not only understands the unique challenges that writers everywhere face, but she has also experienced her share of adversity that most everyone can relate to on some level. Poverty. Divorce. Single parenting. The loss of a loved one. She found the way to continue writing through all of it.




That’s what I want you to take away from today’s email: she found the way to continue writing through all of it. And look at where she is now!

Nobody is saying it’s going to be easy all the time. There is work to be done if you want to finish writing your book and see it published at long last.

But I’m telling you it’s possible. That’s all you need to know for now. The rest will follow. The answers—and the way—will fall into place if you really want this and are prepared to work for it through everything life throws at you during the process. Have faith.

Now get back to your writing! That’s an order! 😉

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2018 Polished Publishing Group (PPG). All rights reserved.

Unique Writing Advice from Margaret Atwood

I came across some writing tips by Margaret Atwood on BrainPickings.org the other day titled “Margaret Atwood’s 10 Rules of Writing.” Her advice for writing while on an airplane is quite interesting … and a sign of our times, I suppose. It made me laugh.

Presumably, most of us “write” with a keyboard now, not a pencil. But she makes a good point about backing up your work with a memory stick if you’re a digital writer. Great advice! There’s nothing worse than spending several hours writing anything only to lose the data because your computer crashes.

But listen. You should definitely read Margaret’s advice. The BrainPickings blog has included some great tips from her that we haven’t covered on this blog so far. This is one of the reasons why I recommend reading other people’s work, other people’s advice, et cetera. We can all learn from each other.




On that note, this content first appeared on BrainPickings.org and is being reshared here for your enjoyment:

Margaret Atwood’s 10 Rules of Writing

  1. Take a pencil to write with on aeroplanes. Pens leak. But if the pencil breaks, you can’t sharpen it on the plane, because you can’t take knives with you. Therefore: take two pencils.
  2. If both pencils break, you can do a rough sharpening job with a nail file of the metal or glass type.
  3. Take something to write on. Paper is good. In a pinch, pieces of wood or your arm will do.
  4. If you’re using a computer, always safeguard new text with a ­memory stick.
  5. Do back exercises. Pain is distracting.
  6. Hold the reader’s attention. (This is likely to work better if you can hold your own.) But you don’t know who the reader is, so it’s like shooting fish with a slingshot in the dark. What ­fascinates A will bore the pants off B.
  7. You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there’s no free lunch. Writing is work. It’s also gambling. You don’t get a pension plan. Other people can help you a bit, but ­essentially you’re on your own. ­Nobody is making you do this: you chose it, so don’t whine.
  8. You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You’ve been backstage. You’ve seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a ­romantic relationship, unless you want to break up.
  9. Don’t sit down in the middle of the woods. If you’re lost in the plot or blocked, retrace your steps to where you went wrong. Then take the other road. And/or change the person. Change the tense. Change the opening page.
  10. Prayer might work. Or reading ­something else. Or a constant visual­ization of the holy grail that is the finished, published version of your resplendent book.

How to Structure Your Book Outline

How do you write a book? One page at a time. Then again, some days it’s one paragraph at a time, isn’t it? I can relate!

But where do you even begin writing all those pages? That’s the real question. The task can seem daunting at the beginning.

Well, here’s a guideline you may find helpful. It’s a matter of starting out with a simple outline in point form and building it from there. I’ll use a non-fiction “how to publish a book” template as an example outline only because there are usually more points in a non-fiction Table of Contents than there will be in a fictional novel.

First and foremost, I divide my book into sections:

Section One: The Types of Book Publishers

Section Two: Understanding Copyright

Section Three: Book Sales and Marketing

Section Four: The Publishing Process

Section Five: Today’s Book Printing and Non-Printing Options




Now that I know there will be five sections to my book, I want to fill those in further within my outline. What will I be talking about within each section? It’s now time to write the titles of each chapter in between the above outline points:

Section One: The Types of Book Publishers

– Ten Questions to Ask Yourself Before Publishing Your Book

– Traditional (Trade) Publishing

– Vanity Publishing (Book Production and Formatting for Self-Published “Indie” Authors)

– Supported Self-Publishing (A.K.A. Assisted Self-Publishing, Hybrid Publishing)

Section Two: Understanding Copyright

– An Elementary Introduction to International Copyright

– Copyright Simplified: Understanding Publishing Contracts

Section Three: Book Sales and Marketing

– Traditional Sales Techniques

– Contemporary Online Sales Techniques

Section Four: The Publishing Process

– How to Write a Book

– How to Submit Your Manuscript to a Publisher

– ISBNs and Barcodes

– Publishing Agreements

– Professional Editing

– Professional Graphic Design

– Fact Checking and Indexing

– Professional Proofreading

– Book Reviews

– Distribution

Section Five: Today’s Book Printing and Non-Printing Options

– Ebooks

– Print-on-Demand (POD)

– Digital Printing

– Offset Printing

There you have it. You have your book’s rough outline now. It’s as simple as that. Some sections and chapters will be heavier than others, and that’s okay. You may also want to fill in more points for each individual chapter as you go along. That’s fine, too.




Once you’ve done that, you can now set up your writing schedule and deadlines for completion of the book based on this outline. Guesstimate how much time you think each individual list point will take you to write. One hour, two hours? There’s no right or wrong answer. It’s up to you. You’re simply trying to figure out roughly how long it’s going to take to finish this book so you can plan for it.

I recommend setting a goal for yourself to write at least one hour per day, six hours per week, every single week to completion of every point on your outline. This is a totally achievable goal that will help you stay on track because it gives you a flexible but consistent writing schedule to follow each week. Everyone can set aside one hour per day—even the busiest of people—if they really want to. And this schedule even gives you one day off every week!

As you write, the points on your outline may change a wee bit. You may think of additional chapters to add in, and that’s fine. My only caution to you is DON’T EDIT YOURSELF EVERY SINGLE TIME YOU SIT DOWN TO WRITE. You can waste hours upon hours by fixating on one sentence or paragraph, trying to edit it over and over again, rather than just moving on and writing the next one. Don’t do it. That’s when you’ll get stuck in a loop, unable to move forward. The idea here is to write something new every day so that you can move forward and finish the book—not edit it to perfection. There’s no such thing as perfection.

“If I waited for perfection I would never write a word.”
~Margaret Atwood

Let another editor polish your book for you once you’ve finished writing it. Take your own editor’s hat off. Put it away. In fact, shove it into the far back corner of your closet, close that door, and LOCK IT! The only hat you need to be wearing is that of the writer. Are you ready to complete your own outline now?

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As a user of this website, you are authorized only to view, copy, print, and distribute the documents on this website so long as: one (1) the document is used for informational purposes only; and two (2) any copy of the document (or portion thereof) includes the following copyright notice: Copyright © 2018 Polished Publishing Group (PPG). All rights reserved.