Editing Checklist

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This checklist is based on one we prepared for one of our editorial interns. It does not cover everything, and different writers and editors will disagree with some points. Also, you may be familiar with many of these points, but even an experienced writer may benefit from an occasional reminder. No guideline applies to every situation; but we hope you find these useful. (Let us know!)
(minor revisions October 28, 1997)

This page includes the following sections:

1. The importance of overall reactions
2. Structure
3. Style
4. Special Considerations
5. Suggestions from successful poets

   Note: Many of these points are written in terms of stories, but most of the same principles also apply to poetry.

     

Overall reactions

Before trying to analyze the details of structure and writing style, take a minute to review your overall impressions of the story or poem. A writer needs to find a way to read his or her work with the same open mind they might find if they handed it to someone who didn't know them and had never seen it before -- after all that is exactly who will be reading it if it is published!.

• First and foremost, did you enjoy reading this story or poem?  
  
• Do you want to pass it on to a friend?
  
• Did you care about the characters and what happened to them?
  
• Are the characters' actions consistent, believable?
  Does the story spring from who the characters are, or is it driven by "plot"?
  
• Does it say something?
  When you were finished, did it leave you with something to think about?

Structure

• Is the focus clear? Can you state what it's about in no more than four or five sentences?
  
• Does each sentence and paragraph have a role in the story? Or do some events or characters seem important and interesting as you are reading, but turn out to be unimportant?
  
  For poems, does each word add something to the poem? Someone once said that a poet expresses the most meaning with the fewest words. We believe that economy of words is important -- if some words are there just to rhyme or to make a line the right length, we think it detracts from the poem.
  
• Is there a central conflict or source of tension that serves to drive or unify the story?
  Is the conflict revealed within the first page or two?
  
• Where does tension peak?
  If tension peaks too soon, a reader may lose interest -- but too many ups and downs can be like "crying wolf".
  
• Does the story get started in the first paragraph? Setting the stage can be important for the writer, but it's often an impediment to the reader. Too much lead-in just delays beginning the story. (And it's usually "telling.")
  
• Is the opening a real part of the story or something contrived as a "good opening"?
  
• Does the ending follow from what comes before? Even if it's a surprise ending, is it reasonable? Does it flow naturally from the characters or situation you have developed?

Style

• Does the story or poem show what happens, not tell about it or what it means or what the reader should think? Showing the setting, emotion, and events are gifts the writer gives the readers, letting them experience the action firsthand. An example from a story:
  • "Mike was one of those guys who never did his dishes." tells us a little bit about how the writer sees Mike, but "Mike put the dirty dish on the counter because the sink was already piled high." lets the reader see the situation and form his or her own opinion about what it means.
• Is the language crisp and precise? Is it free of excess or worn-out adjectives, phrases, and metaphors?
  
• Are the sentences clear and direct? Watch for passive voice, indirect word order, or long or convoluted sentences.
  
• Does every scene, every paragraph, every word contribute to the development of the story and characters?
  
• Are verb tenses correct and consistent? Some verb forms, such as the past perfect ("had ---") and past progressive ("--ing") are particularly noticeable and tend to break the flow of the story. They should be used only where appropriate.
  
• Are details accurate? If a story or poem includes historical, scientific, geographic, or any other kind of technical details, make sure it is accurate. Check it!
  
• Does a poem rely on imagery and precise language and avoid abstractions?
  
• Are grammar, punctuation and spelling correct? (!)

  Here's a little something one of our poet friends sent us just for fun -- it helps show how important a single letter can be!

Special considerations

• Is the story based on a true situation or event?
  Being accurate does not necessarily make a good story -- it is often necessary to let go of the truth to bring the story alive. Cut details that don't fit this story (even if they are meaningful), combine minor characters if needed to keep things clear, and follow a good story structure. (This includes using profanity to make dialogue "authentic".) Life rarely presents things in such a concentrated and orderly package -- that's where the writer's talent comes into play.
  
• If the story or poem includes violence, sex, or profanity, is it necessary? Does it really contribute to character development or to the reader's understanding of the story or poem? Such items should be excluded unless they are necessary to develop the story or ideas. (Many readers do not like any violence, sex, or profanity.)
  
• If it's a love story or a love poem is it outstanding? Falling in love, being in love, and unrequited love inspire lots of writing and lots of cliches. A poem or story must be truly exceptional to stand out in this field.
  
• Is it about writing or poetry or the experience of being a writer? As a rule, Echoes does not publish this type of material, because it usually is of interest only to the writer and other writers.
  

Suggestions from successful poets . . .

"First of all, read the above editing suggestions -- I think they all apply to poetry too!"

"Avoid abstractions. Use words with tangible meaning for your readers. For example, 'The morning was dark and gloomy' would be more forceful if rewritten as 'The sunrise was muted by storm clouds/each one surging layers of black.' "

"Make the language rich with metaphors, similes, and personification."

"Use language that is appropriate to the subject."

"Beware of those favorite phrases. People (including me) become infatuated by phrases they think make a good point or just 'sound poetic.' I try to read my poetry with the eye of a first-time reader to see if it makes sense, and I encourage others to do the same."

"Thematic consistency is more important than metrical or rhyming consistency. The poem must tell a story or bring a moment to life, and it must make sense."

---

Our thanks to the following writers for contributing their tips and suggestions on the art of writing:

Jerry H. Jenkins
Bert Moore
Dana Rae Pomeroy
Jack Slattery
Jack Welch

Do you have a tip that might help other writers? Let us know and we may be able to include it in a future update. Send an e-mail message with "Writer tips" as the subject, and be sure to include your name, address, and biographical information. (We will not be able to acknowledge each suggestion individually.)

We also recommend Victory Crane's How to Critique Fiction.