Editing - Blog Posts

Using my Danganronpa oc making skills from 2021 and edited Franziska to look like my au and also LOGO!!

I have been given to much power at school as of late...

It concerns me greatly 😐

...

But I can't stop! It's too much fun!

🤣🤣🤣

(For really I hope you enjoyed this green screen video I did)

hey guyys does any of you know how to edit ????

i suck at this but i really wanted one of these icons os taylor with a red bull cap with max number, i search everywhere for one but i didnt find any 😭

yall I did the thing

so the overall conclusion from my last post was that, no I was not going crazy. so here's an edit with the song xx

Editing? Oh you mean fic patching.

Weak Words To Cut

Here are some weak words than you can often remove to strengthen your writing. I have made these changes as I edit my own novel, so I included examples from my writing to show you the difference.

When editing and cutting words, we are not talking about dialogue because everyone has a unique way of speaking, and it’s important to keep true to their voice.

Note: these are all general guidelines, and you don’t have to use all or any of them. Creative writing gives you a creative licence to choose how you write. Do what works best for you. Always.

Suddenly: technically speaking, everything happens suddenly, so use the word sparingly or it will lose its effect.

I don’t remember ever seeing a man in such little clothes before, and I suddenly despised the one piece left. I don’t remember ever seeing a man in such little clothes before, and I found myself despising the remaining piece.

Keep: When it disrupts your character’s life, and you want your reader to really take notice.

Cut: if removed and there is no change, then it’s not necessary

Then/Next: this is typically a filler word. All events happen in a sequential state, so it’s not always needed.

Then She was gone, her steps echoing through the halls.

Keep: You want to keep the word typically when something is changing in action, description, etc.

Cut: If removing the word does not change the meaning, then cut it. Typically if this word starts the sentence, it’s unnecessary.

Just: this is a filler word, and can almost always be removed.

I was just a game to him, nothing more.

Keep: if removing it makes your sentence confusing or changes the meaning, then keep it. Usually using the word words well as a limiter word. (Eg. it’s just me and my dogs tonight)

Cut: when it’s unnecessary and changes nothing.

Really/Very: these are weak qualifying/descriptive words, and you can absolutely find a better synonym

Your mother is really nice lovely.

Keep: typically these words are fine to keep when not used to enhance an adjective. (Eg. very next day, really think, very back of…)

Cut: if it’s being used to enhance a weak adjective, cut it and find a better word.

Is/Was: this is usually a passive voice, which isn’t usually the best for fiction novels, active voice is always preferred. Naturally this is a verb that you can’t cut from all places, so here are some tips.

Everyone was too busy focusing on their shopping to notice a human sliding between sales booths. Buyers and sellers occupied themselves with their shopping, too focused to notice a human sliding between sales booths.

Keep: when delivering information quickly its always best to just state the facts, so don’t worry about trying to find flowery words to describe everything.

Cut: If you can show what the person or object is doing instead of simply saying it, then change the sentence.

Started: every action has a start, so don’t write it unless you can tell me why it’s important now to know that’s it’s started.

The boy started to rant in his native tongue. The boy ranted in his native tongue.

Keep: if your scene is being interrupted or is still unfinished, then go ahead. This one is a little harder to see sometimes, so just see how you feel with it in vs removed.

Cut: it’s it’s unnecessary information, and nothing changes to the story or sentence when removed, axe it.

Seemed: again, this is more of a show don’t tell kind of thing

Time seemed to slow slowed as I held Vera tight against me.

Keep: if a character knows something intuitively

Cut: if you can show why the character is perceiving what’s happening

Definitely: this is typically just confirming facts that are already known to be true. Repetition is unnecessary without a purpose.

He definitely saw me, but I wasn’t mad about it. (This instance can for sure be removed, it’s unnecessary. However, I want this emphasis here, so I chose to keep it)

Keep: if it’s your character who is confirming facts as 100% accurate and ridding previous doubt

Cut: remove and nothing changes

Somewhat/Slightly: usually this is used when only trying to use a partial effect of a word, so the easiest fix is to change the word that it’s describing.

I looked away, slightly embarrassed.

Keep: if the words is truly the best way to describe what was happening in the sentence.

Cut: when you can use a better word to describe your action/emotion/whatever to be more accurate or it’s unnecessary.

Possibly/Likely/Probably/May/Might: much like some of the other weak words, these are just filler. Something either is or isn’t, and it’s best to describe here you can.

Probably Not with the way he was speaking to her.

Keep: if your character isn’t sure of something

Cut: if you can describe what’s happening, or it can be removed without changing the meaning

Somehow: this is usually an indicator of missing information

I thought I was an average girl in every way, and now I was somehow the first human to ever survive. (I don’t use somehow often. I am keeping it in this instance because none of the characters know how it happened yet.)

Keep: if your character is missing the information and doesn’t know how something became true or transpired

Cut: if you can explain how something came to be.

Adverbs: this is a great category of words to use in writing, but if used too often, it can distract from the story. A good rule is finding an even balance between adverbs and active verbs.

I squeezed her cold hand tightly in mine and made a promise to save her. Clenching her cold hand between mine, I promised to save her.

Keep: if it improves your writing by making it more clear and efficient.

Cut: if it makes more sense to use active verbs to describe what’s going on.

Totally/Completely/Absolutely: all filler words

He grinned at me, his plate almost completely full while mine was near empty. He grinned at me, his plate still full while mine sat devoid of even a crumb.

Keep: if it’s important to the story to know with 100% certainty, and this word gives the most accurate description

Cut: whenever it’s not needed

Thing/It: missing information/ lack of description

I was just accepting all the things they said as truth. I was just accepting all their fantastic explanations as truth.

Keep: if your character doesn’t know what it is

Cut: whenever you can find an actually description or name the object

Have any more words you think should be added to the list? If something does not make sense or you have questions, let me know down below.

If you’ve found this helpful: comment, like, reblog & follow for more :)

Happy Writing!

Hello! Would you mind doing an example of not using filter words in a first person point of view? While I know that you can just switch out the pronouns for I/me/my, I just want to see it in action and when you should (and shouldn't) use the filter words. Thank you!

Hi there! I would love to! I think I’ll start out with an example with filter words and then cut out the filter words to show you the difference.

For those of you who haven’t seen my post on Filter Words.

Now, for the example:

I felt a hand tap my shoulder as I realized I had made a huge mistake. I knew the consequences would be unsettling, but I had no other choice. I saw the light of my desk lamp bounce off of the officer’s badge before I had even turned around. It seemed like I always found my way into trouble.

It was the first thing off the top of my head, so it’s a bit rough sounding….

Now for without filter words (And a bit of revision):

A hand tapped my shoulder as it dawned on me: I had just made a huge mistake. The consequences would be unsettling if I didn’t get out of this mess, but I had no other choice. The light of my desk lamp bounced off of the officer’s badge. I always found my way into trouble.

By taking out filter words, you get right to the point.

I’d also like to add a few more notes that I didn’t have the chance to post previously.

Some Examples of Filtering:

I heard a noise in the hallway.

She felt embarrassed when she tripped.

I saw a light bouncing through the trees.

I tasted the sour tang of raspberries bursting on my tongue.

He smelled his teammate’s BO wafting through the locker room.

She remembered dancing at his wedding.

I think people should be kinder to one another.

How can you apply this?

Read your work to see how many of these filtering words you might be leaning on. Microsoft Word has a great Find and Highlight feature that I love to use when I’m editing. See how you can get rid of these filtering words and take your sentences to the next level by making stronger word choices. Take the above examples, and see how they can be reworked.

FILTERING EXAMPLE: I heard a noise in the hallway.

DESCRIBE THE SOUND: Heels tapped a staccato rhythm in the hallway.

FILTERING EXAMPLE: She felt embarrassed after she tripped.

DESCRIBE WHAT THE FEELING LOOKS LIKE: Her cheeks flushed and her shoulders hunched after she tripped.

FILTERING EXAMPLE: I saw a light bouncing through the trees.

DESCRIBE THE SIGHT: A light bounced through the trees.

FILTERING EXAMPLE: I tasted the sour tang of raspberries bursting on my tongue.

DESCRIBE THE TASTE: The sour tang of raspberries burst on my tongue.

FILTERING EXAMPLE: He smelled his teammate’s BO wafting through the locker room.

DESCRIBE THE SMELL: His teammate’s BO wafted through the locker room.

FILTERING EXAMPLE: She remembered dancing at his wedding.

DESCRIBE THE MEMORY: She had danced at his wedding.

FILTERING EXAMPLE: I think people should be kinder to one another.

DESCRIBE THE THOUGHT: People should be kinder to one another.

See what a difference it makes when you get rid of the filter? It’s simply not necessary to use them. By ditching them, you avoid “telling,” your voice is more active, and your pacing is helped along.

The above list is not comprehensive as there are many examples of filtering words. The idea is to be aware of the concept so that you can recognize instances of it happening in your work. Be aware of where you want to place the energy and power in your sentences. Let your observations flow through your characters with immediacy.

Ok, sorry for the lengthy answer, I know you just wanted an example…. sorry!

If you have any questions, feel free to ask at my ask box

So, so many works I’ve read could be vastly improved with tightening and shaving of superfluous words. Wordiness is an easy stumbling block, as we’re used to how we talk. We’re used to how others (long ago) wrote. But times change, my friend, and so do expectations of the writer. We don’t get paid by the word in fiction. So show your smarts and say as much as you can with as much power as you can in as few words as possible.

Here are a few things you can cut without reserve to help shorten your story right now. And as you catch yourself using these words in your next draft, hit that backspace before you finish the sentence! It’s okay if you already have. You can go delete them now. No one will ever know.

Moment/Second/Minute

It’s so tempting. I am guilty of using this word like fertilizer in my first drafts. But most of the time, these words aren’t needed at all. They add nothing.

He sat down for a moment, sipping his coffee. vs. He sat down and sipped at his coffee.

But he only did it for a moment, you say!

He sat down for a moment, sipping his coffee. When the door opened a second later, he shot to his feet. vs. He sat down and sipped his coffee. The door opened, and before he could swallow his first sip, he shot to his feet.

I know, this is about making your writing more concise and my “right” example has more words than the first example. But what’s the difference? The words used in the second sentence are more tangible. They give a visual that “a second later” and “for a moment” don’t. And you could leave that part out, of course, if you’re really going for trimming word count. It doesn’t paint quite the same image, but “The door opened and he shot to his feet.” is a perfectly good sentence.

Suddenly/All of a sudden

You’ve heard this one, before, surely. These words are used…when? When you’re trying to portray suddenness. Surprise, perhaps. So why are you adding in extra words to slow down the pace?

She flipped on the TV and reclined in her chair. All of sudden, the TV flashed a bright light and the power went out. vs. She flipped on the TV and reclined in her chair. The TV flashed once before the lights went dark. The power was out.

That sense of immediacy is felt when stuff just happens. So let it happen. If it’s rhythm you’re worried about, then find more useful words to create the rhythm. Notice that I didn’t just cut “All of a sudden” out of the sentence and leave it. I reworded it a bit to make it stronger.

Finally

It can be a useful word, but more often than not, it’s just taking up space.

Really/Very

Just…delete them.

To alter a Mark Twain quote:

“Substitute ’[fucking]’ every time you’re inclined to write ‘very;’ your editor will delete it and the writing will be just as it should be.”

But seriously, if you’re saying, “She was breathing very hard.” You could just cut the “very” and say, “She was breathing hard.” Or, even better, “She was panting.” Or, EVEN BETTER: “She panted.”

Himself/herself/myself/themselves

Reflexive nouns have a specific purpose, though they can still often be avoided. They fall into the category of “use only when it’s confusing otherwise.”

Correct: He looked at himself in the mirror. Better: He looked in the mirror.

Incorrect: She gave them to Andrew and myself before leaving. Correct: She gave them to Andrew and me before leaving.

Technically correct I guess: I haven’t eaten lunch myself. (Intensive pronoun; aka waste of words) Better: I haven’t eaten lunch.

Intensive pronouns add emphasis, but that emphasis is negligible and often negated by the power of tightening your narrative.

That

You can likely cut 60% of your “that"s and your story will be unaffected. Sometimes, you do need to add a “that” here and there for clarification, but not always. And sometimes it’s just plain incorrect.

The jacket was the coolest one that he’d ever owned. vs. The jacket was the coolest one he’d ever owned.

In other cases, you might do well to substitute “that” with “which.” Though, if you’re doing this, make sure you do it properly. That change can often alter the meaning of your sentence. That can be for the better, though.

The vandalism that read “Bad Wolf” made Rose nervous. vs. The vandalism, which read “Bad Wolf,” made Rose nervous.

Do you see the difference? In the first sentence, the words are what make Rose nervous. In the second, the vandalism itself makes Rose nervous, and it happens to say “Bad Wolf.” In this case, if you’ve watched Doctor Who, then you know the first example is the correct one.

So when you’re sharing details using “that” or “which,” contemplate how important they are to meaning of the sentence to determine which type of clause you need to use.

Then

Or worse, “And then.”

It makes your writing sound a bit juvenile. Either cut it entirely, or substitute “and.”

She jumped into the pool, then hit her head on the bottom. vs. She jumped into the pool and hit her head on the bottom.

And then, after all that time, she fell asleep. vs. After all that time, she fell asleep.

Even

Sometime “even” can help emphasize a situation or behavior, but when it’s used in narrative improperly, it sounds childish and silly.

He couldn’t even breathe. vs. He couldn’t breathe.

Even with the new hair gel, his hair was terrible. (This one is fine, though you could still cut that “even” if you really wanted to…)

Just

Just…Delete it.

Breathe/breath/exhale/inhale/sigh/nod/shrug

Another one I’m so guilty of. In my first drafts, I tend to talk about how a character is breathing, or when they’re sighing like nobody’s business. I know a lot of writers who are guilty of this, too. It’s a great tool to use scarcely. In intense moments, you can let your character take a final deep breath to calm themselves. When a character almost drowns, those first few sweet breaths are important. But you readers know that people breath all the time. And just because you need a beat in your dialogue doesn’t mean you need to remind your reader that the character is still breathing or moving.

Rather/quite/somewhat

She was rather tall. She was tall. He was quite idiotic. He was idiotic. They were somewhat snazzy. They were snazzy. Why do you need those words? Kill ‘em.

Start/begin

This is a great example of fluff.

She started to run toward the shop. vs. She ran toward the shop.

He began scolding them for their performance. vs. He scolded them for their performance.

There are obviously uses for this word, like anything. He started the car. Begin your tests! But when you’re using it to slow the action and the pace of your narrative, then consider heavily if you need it. You probably don’t.

In order to/in an attempt to

Phrases that add unneeded complications, cumbersome wording…kill ‘em!

She bit down in an attempt to stop herself from screaming. vs. She bit down to stop herself from screaming.

Was able to

He was able to call. vs. He could call. OR He called.

This is one that isn’t inherently bad, but it can easily be overused and cutting it will help simplify your narrative.

Due to

Ugh. Are you trying to sound proper and stuffy? Because that’s a reason, I guess, to use this phrase…and yet it sounds like doodoo. (Yes. I’m an adult.) Rephrase. Use “Because of” or just avoid the need altogether.

We stopped due to traffic. vs. We stopped because of traffic. OR (Strength of narrative!) We stopped mid-highway. The parked cars went on beyond the curve of the road, out of sight.

Visibly/obviously/apparently/audibly

These are a sign of telling in your narrative when you should probably be showing.

She was visibly shaking. –> She shivered, hugging her upper arms. He was obviously tired. –> He yawned and tripped on his own feet as he crossed the room. They were apparently angry. –> They stomped and shouted, demanding attention. She screamed audibly. (Really?) –> She screamed.

Don’t tell your readers what emotion a character is feeling. Instead, give a few clues that they can see/hear/feel the emotion too.

While

This word has lots of legitimate uses. However, if you’re using it poorly, then your narrative reads like an Early Reader’s book, and you (unless that’s what you’re writing) probably don’t want that.

“Get it together,” he said while flipping them off. vs. “Get it together,” he said, flipping them off.

Turned

One of the classics. So overused, my friends. It’s needed on occasion, but not nearly as often as we use it. Just cut it out.

They turned toward her as they spoke. vs. They gave her their full attention as they spoke. OR They looked into her eyes. OR (Nothing. Readers don’t have to be updated on every little movement.)

Saw/looked/regarded

UGH. Regarded:Looked::Mentioned:Said

And, like “said,” many, many instances of these words can be nixed.

She saw them run for the hills. vs. They ran for the hills.

This can be tricky, I know, when you’re writing in limited-third or first POV. It’s tempting to put every action directly through your POV character’s filter. But resist that temptation! There are times when it’s appropriate, occasionally, but it can be overdone so easily.

I looked at her and said, “Please.” vs. I said,“ Please.” OR. I took her hand. “Please.”

This example sides with the breathing and the turning. It’s often an unneeded update on the tiny movements of the characters. And, again, sometimes you need that beat or that little detail in an intense moment, but not often.

Said/replied/stated/spoke/mentioned/asked/commented/yelled/cried/shouted

I’m not here to tell you to cut all your dialogue tags (please don’t). I’m also going to the last person who insists you get rid of “said.” In fact, I’m in the “said is invisible” party of writing nerds and I think, if you’re going to use a standard tag, it should be “said” 90% of the time. 

But aside from that, using as few dialogue tags as possible is a good thing. I’ll do a full post on this soon, but for now, be aware of how often you rely on these words in your dialogue and do your best not to overuse them. Use surrounding action and context to take some of the reliance off of these words. 

To-Be in all its conjugated forms

If you’re using any of this list:

am, is, are, was, were, be, being, had been

Then check yo'self. Some tenses call for an auxiliary verb. Some types of sentence do, too, not doubt about it. But many don’t, and cutting to-be verbs when you can will help tighten your writing.

We were going to the store. vs. We went to the store.

Sounds were echoing through the chamber. vs. Sounds echoed through the chamber.

To-be verbs can also be an indicator of passive voice, though they aren’t always.

He was hit by the ball. vs. The ball hit him.

Last but not least, check all of your adverbs.

Chances are, if you’re using an adverb, you could be using a single strong verb instead and giving each sentence more punch.

He ran quickly. –> He sprinted. I hit him hard. –> I socked him. She spoke quietly. –> She whispered. They ran into each other fast. –> They crashed.

So what am I supposed to do about this?

Take it to heart. Try not to let these words take over your brain as you write. Once your manuscript is finished, try this method:

Use Find and Replace. Replace any and all of the aforementioned words in ALL-CAPS. Now, if you’ve paid attention to my advice in using emphasis, then those all-caps will really stick out as you’re reading over your work and you can decide at each instance whether your usage is appropriate, or if it needs to be rewritten. As I did to this very old draft of mine from my first NaNoWriMo (in which I used every single word on this list, I’m sure).

When I used this method with my most recent WIP, I was able to cut my word count from 105k to 93k without cutting any content whatsoever. It takes a lot of work and it’s pretty tedious but the results are amazing!

It wouldn’t be the English language without exceptions, would it?

Now, there is actually an important time for intentionally using any or all of the words on this list. You know when that is?

When it fits the character’s voice. - More on this in my next post!

I really hate tracking using Adobe, firstly unless your video is 800x600 or 400x300 it is requiring a lot of time more than rendering itself. It calculates slowly drove me nuts for fuck’s sake. Instead the better approach is to pray that it wont go off into random direction during the camera and than manually work with it, posting 40 minute video is just not valuable with high surface of camera. Then, you’d have… uh, God, I will not tell.

I actually managed to eat yesterday pretty well, I don’t think I will eat so many carbs but I did fe bloated. Why is my shake full? I can’t consoom while workingggg

On sensitivity readers, weakness, and staying alive.

The other day I was part of a Twitter conversation begun by a fellow-author on the subject of sensitivity readers, in which he said that no serious author would use sensitivity readers, and spoke of work being “sanitized”. The conversation devolved, as it often does on Twitter, but it got me thinking. It must have got someone else thinking too, because a journalist from the Sunday Times got in touch with me the next day, and asked me to share my ideas on the subject. Because I have no control over how my words are used in the Press, or in what context they might appear, here’s more or less what I told her.

I think a lot of people (some of them authors, most of them not) misunderstand the role of a sensitivity reader. That’s probably mostly because they’ve never used one, and are misled by the word “sensitivity”, which, in a world of toxic masculinity, is often mistaken for weakness. To these people, hiring someone to check one’s work for sensitivity purposes implies a surrendering of control, a shift in the balance of power. 

In some ways, I can empathize. Most authors feel a tremendous sense of attachment to their work. Giving it to someone else for comment is often stressful. And yet we do: we hand over our manuscripts to specialists in grammar, spelling or plot construction. We allow them to comment. We take their advice. We call these people editors and copy-editors, and they are a good and necessary part of the process of being an author. Their job is to make an author’s work as accurate and well-polished as possible.

When writing non-fiction, authors sometimes use fact-checkers at the editorial stage, to make sure that no embarrassing factual mistakes make it into print. This fact-checking is a normal part of the writing process. We owe it to our readers to be as accurate as possible. No-one wants to look as if they don’t know what they’re talking about.

That’s why now, increasingly, when writing about the lives and experiences of others, we sometimes use readers with different specialities. That’s because, however great our imagination, however well-travelled we may be and however many books we have read, there will always be gaps in our knowledge of the way other people live, or feel, or experience the world. Without the input of those with first-hand knowledge, there’s always a danger we will slip up. That’s why crime writers often consult detectives when researching their detective fiction, or someone writing a hospital drama might find it useful to talk to a surgeon, or a nurse, or to someone with the medical condition they are planning to use in their narrative. That’s why someone writing about divorce, or disability, or being adopted, or being trans, or being homeless, or being a sex worker, or being of a different ethnicity, or of a different culture – might find it useful to take the advice of someone with more experience.

There are a number of ways to do this. One of my favourites is The Human Library, which allows subscribers to talk to all kinds of people and ask them questions about their lives  (Check them out at https://humanlibrary.org/). The other possibility is to hire a specialist sensitivity reader to go through your manuscript and check it. Both can be a valuable resource, and I doubt many authors would believe that their writing is sanitized, or diluted, or diminished by using these resources.

And yet, the concept of the sensitivity readers – which is basically another version of the specialist editor and fact-checker – continues to cause outrage and panic among those who see their use as political correctness gone mad, or unacceptable wokery, or bowdlerization, or censorship. The Press hasn’t helped. Outrage sells copies, and therefore it isn’t in the interest of the national media to point out the truth behind the ire.

Let’s look at the facts.

First, it isn’t obligatory to use a sensitivity reader. It’s a choice. I’ve used several, both officially and unofficially, for many different reasons, just as I’ve always tried to speak to people with experience when writing characters with disabilities, or from different cultures or ethnic groups. I know that my publisher already sends my work to readers of different ages and from different backgrounds, and I always run my writing past my son, who often has insights that I lack.  

Sensitivity reading is a specialist editorial service. It isn’t a political group, or the woke brigade, or an attempt to overthrow the status quo. It’s simply a writing resource; a means of reaching the widest possible audience by avoiding inaccuracy, clumsiness, or the kind of stereotyping that can alienate or pull the reader out of the story.

Sensitivity readers don’t go around crossing out sections of an author’s work and writing RACIST!!! in the margin. Usually, it’s more on the lines of pointing out details the author might have missed, or failed to consider: avoiding misinformation; suggesting authentic details that only a representative of a particular group would know.

Authors can always refuse advice. That’s their prerogative. If they do, however, and once their book is published, they receive criticism or ridicule because their book was insufficiently researched, or inauthentic, or was perceived as perpetuating harmful or outdated stereotypes, then they need to face and deal with the consequences. With power comes responsibility. We can’t assume one, and ignore the other,

Being more aware of the experiences of others doesn’t mean we have to stop writing problematic characters. Sensitivity reading isn’t about policing bad behaviour in books. It’s perfectly possible to write a thoroughly unpleasant character without suggesting that you’re condoning their behaviour. Sensitivity is about being more authentic, not less.

People noticed bigotry and racism in the past, too. Some people feel that books published a hundred years ago are somehow more pure, or more free, or more representative of the author’s vision than books published now. You often hear people say things like: “If Dickens were around today, he wouldn’t get published.”

But Dickens is still published. We still get to read Oliver Twist, in spite of its anti-Semitism. And those who believe that Dickens’ anti-Semitism was accepted as normal by his contemporaries probably don’t know that not only was he criticized by his peers for his depiction of Fagin, he actually went back and changed the text, removing over 200 references, after receiving criticism by a Jewish reader. And no, it wasn’t “normal” to be anti-Semitic in those days: Wilkie Collins, whose work was as popular as Dickens’ own, managed to write a range of Jewish characters without relying on harmful and inaccurate stereotypes. 

But it isn’t automatic that a book will survive its author. Books all have shelf lives, just as we do, and Dickens’ work has survived in spite of his anti-Semitism, not because of it. The work of many others has not. Books are for readers, and if an author loses touch with their readers - either by clinging to outdated tropes, or using outdated vocabulary, or having an outdated style – then their books will cease to be published, and they will be forgotten. It happens all the time. What one generation loves and admires may be rejected by the next. And the language is always changing. Nowadays, it’s hard to read some books that were popular 100 years ago. Styles have changed, sometimes too much for the reader to tolerate.

Recently, someone on tumblr asked about my use of the word “gypsy” in Chocolat, and whether I meant to have it changed in later editions. (River-gypsies is the term I use in connection with Roux and the river people, who are portrayed in a positive light, although they are often victims of prejudice.) It was an interesting question, and I gave it a lot of thought. When I wrote the book 25 years ago, the word “gypsy” was widely used by the travelling community, and as far as I knew, wasn’t considered offensive. Nowadays, there’s a tendency to regard it as a slur. That’s why I stopped using it in my later Chocolat books. No-one told me to. It was my choice. I don’t feel as if I’ve lost any of my artistic integrity by taking into account the fact that a word has a different resonance now. On the other hand, I don’t feel that at this stage I need to go back and edit the book I wrote. That’s because Chocolat is a moment in time. It uses the language of the moment. Let it stand for as long as it can. 

But I don’t have to stay in one place. I can move on. I can change. Change is how we show the world that we are still alive. That we are still able to feel, and to  learn, and to be aware of others. That’s what “sensitive” means, after all. And it is nothing like weakness. Living, changing, learning – that’s hard. Playing dead is easy.

On Editing

This was forwarded to me by a former colleague who attended a course on how to publish/edit a book. You probably already know most of these tips, but there might be something you’ll find helpful, who knows…

QUESTIONS TO ASK DURING FIRST PHASE OF EDITING

GENERAL STRUCTURE OF THE BOOK (what the story is and how it is being told):

What is the book about? What is the driving force behind the narrative?

Who is the audience for this book?

Is it based on real experience?

Does the story work? Are there any parts that feel unconvincing or where the narrative drags? 

Are there any parts I don’t understand?

What is the trajectory or the shape of the story?

Does the story start in the right place?

How quickly do I become immersed in the book?

Are there any points where my immersion in the story is broken, or I lose interest?

Do I believe in what I’m reading?

How satisfying is the ending? Does it feel inevitable?

Does it feel like anything is missing?

Is there anything extraneous (characters, detail, unnecessary plot points)?

What is the narrative point of view (first person, second person, third person)? Does it change? Is it consistent? Does it work? What might be lost or gained if the story were told another way?

Is the tense consistent? If it changes, is it necessary?

Does coincidence feature as a plot device? If so, is there another way to engineer the same events?

Keep reading

THIS IS SO BEAUTIFUL??? THANK YOU ONG I LOVE YOUR WORK

　( ྀི̫꒰ ✚ ꒱ ྀི̫) dazai 𓏼ׅ ۟ 𓊆☕️ྀིྀི tumblr lyt ་∔་།

ㅤㅤॱֺּׅ༏ིྀ𓏽ִ f2u with creds ( ᴗ͈ˬᴗ͈)ഒ req by @formiito ᪖ ྀི ᩤ᭔

˳꣑୧ ۠⠀ psds used : borrowed time && afternoon coffee 𓏼♡ྀི ₊

ihope . this is sufficient . . . . it’s not my favorite but it’s growing on me ^__^ also please know that i love love love your works ! ! ! i was really happy when i saw your request ( also because i get to edit dazai ) nyeheh

Watch the pics gradually get more deranged like my sanity while editing this video (Song: Partner in crime by Madilyn Mei)

IT'S NO MORE THAN 1 MIN BUT IT TOOK ME LIKE 3-4 DAYS CUZ OF THE AMOUNT OF PICS I HAD TO FIT IN TO MATCH THE VIBE AND LYRICS

As for why I did this, honestly, simply because I had this song stuck in my head hshs and when I like a song sm I like to make an edit out of them, I did so for my previous songs but this took the most time and effort, and I'm proud of it!

The steps I took during the 3-4 days of editing:

1. Immediately inserted audio first in the vid so I can listen to the lyrics repeatedly and be in the zone while editing the pics

2. Drafting by focusing on editing 1 line each ONLY so I don't get overwhelmed. (ex. "Here's the reigns, take ahold of me, please don't let me go" that's 1 line, I didn't move on to the next line until I finished drafting that)

3. The most TEDIOUS task ever in editing: looking for the pics that would fit the lyrics and the vibe of the song, I used pinterest as my source

4. Putting the lyrics in only half of each lines cuz if I did full lyrics I would've took longer and gone more insane (also, it took me awhile to realize I could've just copy pasted the previous lyrics and just edit the words instead of clicking the text button each time and syncing them with the pictures one by one smh)

5. This is still the draft, are we following? okay, so I inserted all the pics I downloaded and idk what I did but the app buffered and the pics and lyrics after the 2nd line moved and it's not on sync with the audio anymore and I had to re-adjust it one by one

6. The 1st and 2nd lines (thank God) wasn't affected so I deleted everything other than those lines and had to take a break first, I think this was the 2nd day?

7. I downloaded more pics because the song was fast-paced so the I thought the transitions has to be fast, too, to match it, I just typed in " aesthetic" at the end of every theme I'm searching for (police aesthetic, murder aesthetic, partners in crime aesthetic, scream aesthetic etc. lol)

8. Then I edited the lyrics to have glitch effect cuz that's the only effect I found fitting(there was very limited options so I'm glad I found smth), I also edited the colors into dark blood red halfway to present the gradual decline in sanity(of the singer)

9. Recycled some pics at the last line cuz I couldn't take another searching(the pics were creeping me OUT) was worried it would look repetitive but I realized I could just adjust the filter, contrast, and use zooming to manipulate the perspective a lil bit

10. Finished draft on my last day, then edited some more so the lyrics, pics, and the transitions are on sync and match each others vibes, then we're finally done!

I'll do anything but review for the finals, seriously

Hi everyone. Here’s 20 second preview of School Spirits season one edit that I’ll be posting on YouTube @ catsfate once I finish it.

*send an ask to submit a snub

Snub winner for each category will go head-to-head with official nominations winner

Collection of me turning into random objects

☆ I wanna make more edits but I have no motivation, have no good ideas and capcut is annoying to use sometimes. Not fun guys ☆

Oke... So this is where I found my inspiration for my weird ass vlog name. I edited this myself from "The disastrous life of Saiki. K" poster :>. The credits for the lil drawings of my face goes to my guildies Kyoko and Luna. The reason for this poster is cuz irl I'm like the detective amongst everyone and crazy shits keep happening... so yeah :)) (IK this is horrible editing but this is meant to be a meme XDD) (Ignore my horrible writing as well... As I always say.. "Ignore the minor details" :)) )

Made a simple edit of Woody stare for a longer and dramatic time, processing at everything that has witnessed in the daycare. Slowly making a decision in the end. Felt like it could have been more impactful and emotional.

Very much in love with expressions in animation so I wanted it to be its main focus.

Does it change something with the original?

Let me know what you think :)

THIS IS MY ART SO PLEASE, DO NOT COPY, REPOST OR STEAL

🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨

✨Arcane Jinx Edit✨

Channel Name:

Keilda Red Ink

✨Arcane Jinx Edit✨

Channel Name:

Keilda Red Ink

THIS IS MY ART SO PLEASE, DO NOT COPY, REPOST OR STEAL

🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨🖌️🎨

✨Arcane Jinx Drawn Edit✨

YT Channel Name:

Keilda Red Ink

🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨🖌🎨

*THIS IS MY ART SO PLEASE, DO NOT COPY, REPOST OR STEAL*

8 notes

Take this cringe fest, I loved making it

(This video is like… 3 years old 😭)

!!!!CW FOR BLOOD AND GORE!!!!

Kinda shitty mouthwashing video that took me over 5 hours 😔

Sometimes it just be that way I guess

“Have you seen THE Viktor edit?”

(Repost from Instagram, original belongs and can be found on Instagram; @Radfox__ )

Editing commisions!!!

Hey, gods, goddesses and other mystical fellas! I'm in the kinda tight spot right now because of the p*ndemic, so I've decided to open up editing commisions! It's my first time doing this, so I'm kinda nervous ..・ヾ(。＞＜)シ

Please don't judge me at any way.

PayPal only!

Close-ups from post :

HEY, I'VE MADE EDITING TUTORIAL! ORIGINAL ART BELONGS TO USEDBANDAID!!!!

"I'll come back to edit it in December" no. no I wont. but that doesn't stop me from lying to myself.