Even Editors Need Editors

Here she is. All 332 pages of her. I told you about this book contract and, well, after some weeks of imposter syndrome and some constant worry about if I could actually write this book … well. Ta-da.

The working title is Pathway to Publication. I’m still trying on some subtitles, such as “A publishing professional turned college prof leads the way” or “guides you.” Not sure yet. But we have a little time to hone that part.

The writing process has not been easy. I look at these pages and honestly am astounded.

But it wasn’t done alone. It took a team of people to help me get to this point (and I’m not even at the publisher yet!).

A dear publishing friend helped me see beyond the “this has already been written a million times” dilemma to look instead at my personal perspective on this publishing process. She helped me see that I could write this from the college professor angle — so the book is shaped by the college classes I teach in Professional Writing and is very hands-on, including worksheets to help readers go from the theoretical to the practical. (Thank you, Kim.)

Another publishing friend recommended that I revise my website to focus on the teaching angle and build on that. (Thank you, Rhonda.)

My sister has been talking to me about preparations for her thru-hike of the Appalachian Trail next year. The more she talked, the more I discovered a hook I could hang this book on — preparing for the months on the AT could be compared to preparing a book for publication. That metaphor helped me lay out the chapters. (Thank you, Carol.)

A former student who now has a business helping authors promote their books will help me create a pre-publication marketing strategy. (Thank you, Jori.)

A high schooler I met at our writers conference teen track, who is new to the publishing process, is reading some chapters to help me know if I’m answering her questions. (Thank you, Eliana.)

A current student and another writer friend are reading to see if I’m staying true to the content and my voice, writing clearly, and speaking in the right way to my target audience. (Thank you, Anna and Dave.)

And, finally, yet another student who has started his own freelance editing business just completed an astounding copyedit of the manuscript. He caught me in my wordiness and in my tics. He smoothed and refined and questioned and commented. And, as I taught him in editing class, he remembered to offer a few positive comments as well. And boy, did I need them! (Thank you, Kipp.)

And I’m thankful to the many publishing professionals I’ve learned from across my almost forty years in the industry. Their wisdom guided this book. I’ve added their titles to a recommended books list and quoted several of them throughout. Instead of feeling like “this is just another book on the same topic,” I simply feel humbled to add my voice to the many others who have a passion to help writers.

All of this to say, we writers need folks around us — some with publishing advice, some with writing advice, some with editorial skill, some with marketing skill, some acting as the target audience readers — to bring out the best in our manuscripts.

I still have a week to go with this pile of paper before it goes off to the publisher. That’s why I printed it. I always need to see it on physical paper to highlight and mark the final changes I need to make.

Then, of course, the editor at the publisher will tear it apart — but I already know that. I teach about this. (Thank you, Bold Vision Books.)

I’m ready. After all, even editors need editors.

Writers Need Thick Skin, Part 1: Dealing with Rejection

I tell my students this all the time: “You want to be a writer? You want to get published? You want to get your writing into the hands of readers? Then develop a thick skin.”

Sounds tough, I know. But it’s 100 percent true.

And this theme is a key element of my upcoming book, which has no title yet but is right now affectionately called, “So you’ve finished your manuscript? You want to get published? Here is everything you need to know, prepare, do, and plan for.” I know, too long. But that’s basically what it’s about.

And there’s a whole chapter on the idea of having a thick skin. Because writers need it.

We need it before we get published, and we need it after (which I will discuss in my next post as Part 2).

First, the BEFORE. Anyone who has been writing and submitting for more than a week has discovered that rejection is simply a part of the process. Writers need thick skin to be ready to handle those inevitable rounds of rejection and maintain personal mental health. No matter how many years you’ve been at it, no matter how many pieces you have or have not published, those four simple words “not right for us” hit right in the gut.

Every. Time.

Why does it hurt so much? Well, as a much-rejected writer, I believe it just comes down to how much of ourselves we put into every piece we write and how rejection feels like a rejection of us personally. Whether it’s a literary story, or a transparent memoir, or a how-to on keeping houseplants alive, we worked hard and put ourselves out there. So it is always with great fear and trembling that we send out the piece or the query or the proposal and anxiously await the response.

We fear that someone out there will laugh uproariously at our audacity to think we can write and that anyone would publish us, show it around so everyone else laughs at our expense, and then reply with the terse email, “Not right for us.”

Courtesy of memebetter.com meme generator (which I love!). Grumpy cat photo and meme created by Tabatha Bundesen.

Can I offer up a few facts to help keep those rejections in perspective?

However, first, I’m going to assume that you are a careful writer and researcher, that others have read and critiqued your work, that you’ve revised and revised to make it the best you can deliver. That is my assumption. (Please don’t be one of those writers who tries to send off the first draft or who dares to think that “God gave me the words” so therefore it’s perfect as is.) Good, solid writing takes time and care.

Beyond that, here are some thoughts from my own (and many others’) experiences:

  • Everyone gets rejected. Every single famous author started out right where you are — wallowing in the misery of the “not right for us.” If you don’t believe me, here’s an article about best-selling books that were initially rejected (often many times).
  • You have to understand how many pieces these editors are seeing every single day. Sometimes hundreds. You have a lot of competition when there are a couple hundred submissions for a single spot in a magazine, or when there are hundreds of book proposals for perhaps five publication slots at an imprint of your genre for the next publication season. So don’t take it personally.
  • It could be that, although your piece or proposal is stellar, someone got in right before you with something very similar. And yours gets rejected. There’s no way you could know that.
  • Acceptance is very subjective. The gatekeeper reading your query or literary piece or proposal needs to “feel it.” They need to resonate with your topic or your voice. And if they don’t, then it will be rejected. Not because you’re a terrible writer, but simply because this particular editor just didn’t have that gut reaction. And there’s no way you can control that.
  • Rejection is about the piece, the query, the proposal — it is not a rejection of you as a person or as a writer (no matter how much it feels that way).

So how can you handle rejection? Here are a few more thoughts:

  • Allow yourself to feel bad for a bit. It does hurt. (Give yourself a day to wallow, if needed. But no negative self-talk. Remember, it’s not a rejection of you.)
  • Pick yourself up, dust yourself off, and go back to your tracking system for the next place to submit. (You do have a tracking system, don’t you? If not, create one. Make a list of all the places you want to submit to on something like an Excel doc. More on that in a later post — oh, and also in my upcoming book. <just a teaser>). What I mean is that on such a list you can now mark down that XX publication or publisher rejected it, so now turn around and send it to YY. Of course you’ll have to revise your piece, and double check submission guidelines and word counts, but get it out there again. If you really believe in it, keep trying at other places. You might hit right at the moment when they DO need just your piece and the editor DOES resonate with it.
  • You could even take an optimistic approach, like this writer, on why you should aim for 100 rejections a year (pardon the swear word in the article — but the point is valid). The basic premise is that the more you’re submitting, yes, the more you’ll get rejected, but by the law of averages, it also means the more chances you’re giving yourself to eventually be published.
  • Stay classy, don’t burn bridges with any editor or publisher, and thicken that skin.

You writers out there who have experienced rejection, how do you handle it and keep your writing sanity?

Proud of my grads

So excuse me while I get a little verklempt.

It happens to me every year, around May, you know … graduation. Every year, another set of students in whom I’ve invested for four years whatever knowledge I have to share, whatever words of wisdom I have to offer, and whatever encouragement I have to pour out on them — every year, another batch of them leaves. I wrote about this feeling back in 2015, about my annual heartache, and it has followed me every year since then.

Seriously, it feels like it did when I had to let my kids go. We parents know what it’s like to launch our children. To watch them drive away to that new job, or to hand them off in marriage, or to stand by and hold our breath as they learn the joys and frustrations of adulting.

I know these aren’t my kids, but they have definitely become a part of my life and the letting go still hurts my heart.

The Professional Writing 2022 seniors from Taylor University (oh, and me).

But here’s the deal. These folks are really special to me. They entered the Professional Writing program just as I was taking it over in the wake of some unexpected changes. They stuck with me. They offered thoughts and advice and encouragement as we worked to update the program to better prepare them (and future ProWrites) to successfully leave college and enter the work force.

And here’s another deal: They’re doing it! Four of them already have jobs in their field! I mean, job jobs. Jobs they have trained for. One of them is going on to graduate school for an MFA. The others are in interview processes that will land them shortly, I have no doubt.

They are ready.

I’m happy, I’m sad. I’m letting them go knowing that indeed that’s what I’m here for. To bring them in, train them as best I can, and send them on their way to whatever God has for them.

Seriously. I have the best job in the world.

Blessings to you Ellie, Kipp, Zach, Grant, Tarah, Alyssa, Katie, Lindsey. Go with God.

Finding Your Writing Rhythm

I’ve been thinking about my writing rhythm as I’m working feverishly to meet my book deadline (mid-May). First was getting past my imposter syndrome that plagued the early writing.

Now is, you know . . . finishing the actual book.

In mid February, when the spring semester began and I worked up my weekly class schedule, I thought I would take advantage of a free hour here and there during my work days between classes to keep the momentum going. “One hour of writing,” I boldly declared to myself in the box on the weekly printed schedule.

It has yet to happen.

There is too much else needing my instant attention in those in-between hours — whether it’s emails or grading or prep for the next class or students wanting to meet or just plain taking a breather. (As a card-carrying introvert, being “on” all day long is exhausting. Sometimes I just need to recharge in my quiet office before venturing back out in front of the classroom.)

I’ve discovered that I just can’t work on my book in those in-between hours. It takes too much for me to get going, and then, once I get going, I don’t want to stop and then have to pick up later. A single hour just isn’t enough. But give me an entire Sunday afternoon or give me a free day during our college’s spring break, and I can write for five or six hours before looking up and realizing I should go get something to eat.

Allie Pleiter (creator of The Chunky Method — check it out, it’s cool!) would call me a “big chunk writer.” There are “little chunk writers,” those folks who can pick up and write in the cracks of time between other events. Some of my students fall into that category. In the few minutes between classes, they write. Others are like me and need to find a place and a time where uninterrupted hours allow for uninterrupted flow.

Indeed, famous writers past and present have very different types of rhythms. This article, The Daily Routine of 20 Famous Writers (and How You Can Use Them to Succeed) by Mayo Oshin, offers up the routines of twenty of them. Stephen King tries to write six pages a day, while John Steinbeck strove for one a day. Ernest Hemingway, Susan Sontag, and Maya Angelou wrote in the mornings (it seems that for many of them, mornings are key). Ray Bradbury wrote one short story a week, figuring that, with the law of averages, at least one out of 52 would have to be good. Mark Twain wrote all day from after breakfast until dinnertime. Charles Dickens always took a three-hour midday walk.

Some need music; some need silence (I’m a silence worker). Some write at the same time in the same spot every day. Some are compulsive about page or word count, others not so much.

The point is, no rhythm is right or wrong — you just need to find yours. And granted, I’m guessing you’re not making your living writing, so you probably have to work your writing time around job and family responsibilities. It’s a challenge.

Yes, it’s a challenge, but it will be worth it!

My senior capstone students are currently reading Andrew Peterson’s excellent book Adorning the Dark (if you haven’t read it, please do!). He writes, “If you wait until the conditions are perfect, you’ll never write a thing” (p. 40). And all of them resonated with that statement. (And, if they think it’s tough now while in college …).

So if you’re going to make your writing life work, you need to figure out a rhythm that works for your life right now in this season. Even then, a few months from now, your life routine may change and you’ll need to readjust. But figure out something that will work for you now.

  • Decide if you can make use of small chunks of time or you need long chunks of uninterrupted time.
  • Consider the time when you’re most productive (and have time to put into writing). If you’re a morning big chunk writer with a full-time job, maybe you’ll have to use Saturday mornings. If you’re a morning small chunk writer, maybe getting up a bit earlier and putting in an hour each morning will work for you.
  • Determine if you can work amidst chaos (will the kitchen table work while folks are moving around you, or a local coffee shop?) or if you need quiet. If you need a quiet space, can you set up a work table in a large closet, or the garage, or an attic? Is there a space you can set aside where you can work?
  • Can you do chaos but with earplugs or earphones? Does music help or hinder?

Find out what works for you. Just because someone says to write X number of words or pages a day doesn’t mean YOU have to do that. But if you’re going to keep moving ahead with your writing, you’ll have to find a rhythm that works best for you.

If you’ve found your writing rhythm, what does that look like? Share in the comments below.

Thank You, Dr. Leax, for Your Inspiration (part 2)

I am recently inspired by a book that I randomly picked up in a dusty resale shop in Marion, Indiana. You know how it goes — at least if you’re a reader or writer — the first stop is in the back where castoffs unsold at garage sales or lugged from overflowing home libraries rest precariously on makeshift bookshelves or in unorganized piles.

I’m usually looking for classics, memoirs, or books about writing, although our own overflowing bookshelves force me to try to be selective. But that day, I found a treasure. In Season and Out is a book by John Leax, my writing professor from Houghton College, whom I’ve written about before. A bonus is that the lovely illustrations are by a dear family friend, Roselyn Danner, now in heaven.

The book is simple, beautiful, lyrical. Divided into four seasons beginning with summer, the entries are dated and chronicle Dr. Leax’s woodcutting, vegetable gardening, teaching, and small town living. This passage, in particular, resonated with me:

Last night while walking Poon, I suddenly realized I had walked past nine houses within one quarter mile and did not know the occupants of any of them. I can rationalize my ignorance. The generation gap accounts for part of it, most of the houses are occupied by elderly couples or widows who keep to themselves. The cultural gap figures in it too; college English profs are not easily assimilated into the daily life of a small rural town. And the inevitable knowledge gap between old and new residents finishes it off; I’ve only been in this town nine years — I’ll never possess the local knowledge of those who go back generations.

(In Season and Out, Zondervan, 1985, p. 41)

My husband and I take a twilight walk. We’ve been in this tiny country town for almost exactly three years, slowly remodeling our 110-year-old house. We don’t know most of the 986 occupants of Swayzee. Fortunately, we do know most of our direct neighbors along our street, but any conversation quickly uncovers the truth that no matter how long we live here, we will always be newcomers who will “never possess the local knowledge of those who go back generations.” Folks here grew up together, went to school together, and lived around one another as they married, had children, worked, and grew older.

As much as I love our small town, I mourn the boarded-up and vacant buildings, the cafe someone bought to remodel and never finished, the houses unkempt or uncared for, the closed-up hardware store still full of supplies, the empty downtown building that fell (literally fell) because of neglect. At one time, this was a vibrant town — now the biggest news is that we watch a field outside of town slowly transform into a Dollar General.

But there is splendor here, splendor in the ordinary. The open fields, the sunsets, people’s care for one another, the annual rummage sales, the tractor day parade, the parks, the elementary school kids lugging their backpacks, the fresh wind bringing the scent of a new harvest.

Dr. Leax’s book inspired me to spend my summer writing about my small town, our butterfly gardens, our slow remodeling progress, our attempt at growing vegetables, my preparation for fall classes — all of which he touches on. I want to celebrate my very ordinary life, capturing its splendor as best I can.

I am not trying to get this published. I am writing to sharpen my skills and voice, to keep doing what I teach my students to do.

I owe it to my old prof, forty years later. Once again, Dr. Leax, thank you for your inspiration.

Let’s Get Tech-y: Removing Double Spaces between Sentences

It’s a difficult habit to break. If you learned to type on a typewriter (as I did), you were taught to put a double space between sentences. Now, however, that’s incorrect and will be problematic when you send in that submission. Editors expect that you won’t do this.

Image courtesy of litreactor.com via Google images.

Why did we (ahem, old folks) learn to do it this way? Well, letters on typewriters are monospaced, meaning that every letter takes up the same amount of space or width in a word (like the Courier font you still have as an option on your computer). Thus, a “w” takes up the same amount of space as an “i.” This made it very difficult to then distinguish between sentences on a typewritten page. With the advent of some electric typewriters and especially computers came proportional type, which means that a “w” takes up more horizontal space than an “i.” With proportional spacing, it’s easier to distinguish between sentences. Hence, a single space is now sufficient.

However, I have excellent news for you! You don’t have to retrain that ingrained habit. You can simply fix your manuscript after the fact and before you submit.

So don’t stress. Go ahead and type those double spaces to your heart’s content. Here’s how to fix it.

After you’re finished, go back to the beginning and set your cursor there. Then, on the Home ribbon, in the Paragraph section, click the Show/Hide button (it looks like a backward P). This will show hidden characters like paragraph returns, tabs, and spaces (every space will appear as a dot). You can see below the two dots between each sentence, showing the double spaces between sentences.

You don’t have to go through and individually fix every single location. Instead, let’s do it all at once. Here’s how:

On the Home tab, in the Editing section, click on the Replace button. This will bring up the dialogue box. All you need to do is put your cursor in the Find What line and type in two spaces (you won’t see anything except your cursor will move over). Then place your cursor in the Replace With line and type in one space. Then click Replace All.

You’ll get another dialogue box that tells you how many double spaces were changed to single spaces. If you have a long manuscript and an ingrained habit, you may have it report thousands. For good measure, you might click OK and then click the Replace All button again. (If you randomly had triple spaces anywhere, you’ll need one more pass to clean it all up.) Keep going until there are 0 replacements.

When I do any editing, my first task (after taking the manuscript and moving it onto my template, as noted in an earlier post) is to run this quick fix to clean up those double spaces.

For good measure, I use this same technique to find and replace all the quotation marks and apostrophes so that they are all smart (curly) and not straight (again, this is part of the industry standard). Just put a quotation mark in the Find What space and a quotation mark in the Replace With space and Replace all. Do the same with apostrophes.

Image created by Russell Harper

This quick cleanup takes just a few seconds and helps bring your manuscript up to expected industry standards.

Questions? Feel free to contact me!

Submitting in 2021: Get It Done!

I’ve been watching Twitter feeds in the #writingcommunity hashtag and seeing lots of folks post that 2021 is the year they will finally submit — to magazines or literary magazines or a book publisher. I say, YAY. GO FOR IT! You pour yourself into those words and you have something to say into the world.

In order to do that, you’ll need to submit to gatekeepers at these various publications. Let’s make sure you do everything you can to get read! Following are a few tips as you make 2021 your year for submitting!

1. Follow the submission guidelines.

I can’t stress this enough. Read those submission guidelines — don’t just send off your piece. Not following the guidelines will assure that your submission will be rejected before it’s even read. Remember that editors and agents receive hundreds of submissions. They will immediately toss or delete anything that isn’t submitted per the guidelines.

You can find submissions guidelines on most publication or publisher websites (same for literary agents). You might need to scroll to the fine print at the bottom of the home page, or locate the contact page, but generally they will be there. You can also find information in Writer’s Market (or Christian Writer’s Market Guide if you’re writing for the Christian market).

For instance, if you’re going to submit to Grit magazine, navigate to their submission guidelines and follow them to the letter. Here’s the link as an example. Notice on the Grit submissions page that it tells you:

  • what they publish and what they don’t
  • the fact that you can’t send anything unsolicited; you must send a query letter first
  • where and how to send the query (even what to put in the subject line of your email)
  • word counts
  • where and how to send your submission

Or check out the submission guidelines for the Chicken Soup for the Soul series of books here. Notice again:

  • how to write your submission (even how the first paragraph should read)
  • how NOT to write your submission
  • that you must submit through their website

That basic information will get you a long way toward getting your piece in front of an editor’s eyes. Of course, you still need to write well, have a compelling piece, and fit the editor’s desires or needs (which, of course, you have no idea about necessarily). But you could have all of that but will lose the opportunity if you don’t follow the submission guidelines to the letter. So make that a resolution!

2. Proofread your submission and have someone else (who knows what they’re doing) proofread as well.

Have your proofreader double check your submission along with the submission guidelines. (They might see something you missed.) Make it a joint effort. Don’t be in such a hurry to meet your goals of submitting that you hurt yourself. And proofreading by yourself is never a good idea. You’ve read the piece so many times your mind will automatically correct words or fill in missing words. I have previously noted some tips and tricks to help you proofread.

3. Don’t take rejection personally.

You’re going to get rejection letters. The more you submit, the more you’ll get rejected. That’s just the way it is. But also, the more you submit, the more opportunity you have to get published. It might help to do as this writer did and actually set a goal for rejections — the point being, of course, that eventually out of all those submissions will come publication. Sort of takes the sting out of it . . . a little . . .

Image courtesy of writers.write.co.za

4. Keep good records of your submissions.

Do this now if you haven’t already. Create a document or an Excel sheet or some kind of system whereby you track where you send what. Trust me, over time, you’ll forget. Whether you’re writing articles or seeking an agent/publisher for your book, you want to capture:

  • the name of the publication/publisher/agent
  • website link
  • submission guidelines general information
  • title of the article/book you queried (or sent)
  • date sent (so that if it says they’ll respond in one month, you know when that month has elapsed and you can follow up)

In addition, you can keep a running list of various places that you want to query. In my Freelancing class (in the Professional Writing program at Taylor University), where we focus on writing articles, the students create a tracking system listing at least 10 possible magazines they can submit to, a separate page for literary magazines, and then another page with their various article ideas or WIPs captured. If they hope to one day get a book published, a new page can begin to capture potential agents or book publishers for the genre of their book. For every piece they write, they have to write an accompanying query letter, and then actually send three of those letters during the semester. Learning to have the discipline of creating solid query letters, tracking where they’re sent, and having a list of potential publications means that they can keep writing.

For example, you send out the query, you receive a rejection. Instead of letting that stop you, you go to your tracking list and mark down the rejection (so you don’t accidentally send the same query to them again). Then you look on your list for another publication that might like that same article or that article with a slightly different slant or focus or word count. You revise your query letter and send it to that publication. I know some writers who have such a system that, when a rejection arrives, they have that same article pitched somewhere else within 24 hours.

The same goes for book publishers. Find the agents and publishers that accept what you’re writing, create a solid query to them, and send it on. When a rejection arrives, move on to someone else.

The point is, keep going, dear #writingcommunity. Make 2021 your year!

Let’s Get Tech-y: Adding Page Numbers to Your Manuscript

Do them once, and they will appear on every page. The magic of Microsoft Word makes it fairly simple to add page numbers — but there’s always something that could be confusing.

Last week you created a template. Open that template and give it a title. Push “Save As” and then decide where on your computer you want to save it and the name of the piece you’re writing. OR simply open your work in progress (WIP) that doesn’t have page numbers on it.

Now, let’s insert page numbers.

(1) Navigate to the Insert tab. Look across to the Header & Footer box.

(2) Click the dropdown arrow beside “Page Number.”

(3) At the first dropdown box, you can choose the placement of the page number. You can click where you want the page number to be—top or bottom of the page. For our purposes, choose Top of Page. That then will open up another menu that will allow you to choose where at the top of the page you want the number to appear — top left, top center, top right. Again, for our purposes, click on the top right choice. (There are dozens of other options you’re welcome to play with; for now, I’m sticking with the basics.)

(4) Voila! Once you click it, a header will appear on every page with a page number.

Perhaps you want to include more information in the header besides just the page number.

(1) Click into the header area with your cursor beside the page number. Now you can simply type in other information such as your name or the title, which will then appear on every subsequent page. When you are working with numbers that are flush right, as here, put your cursor beside the number and type. The letters will work their way to the left.

Note: Follow submission guidelines for where you submit. Various publishers ask for various renderings of page numbers and what information they want in headers or footers. They usually have submission guidelines on their websites. If you’re not sure, at least include your last name and page numbers in the headers or footers on your manuscript.

Now to answer some reader questions:

I tried to format page numbers with my name/book title/page number at the top right. Each time the page number got bumped to the line below my name/book title. And then the title page ended up with a 0 on it, not what I wanted at all.

How to fix page numbers moving down to a separate line

Let’s deal with the first question about why the page number got bumped. I think it has to do with a tab setting. Click into your header. If you see a tab setting right there in the center, grab it and slide it off to your left (or right depending on where you’re putting your page numbers). You should then have the space across the entire header. My guess is that your name/book title/page number is quite long. It was going past that tab, and thus bumping the page number to the next line. If that doesn’t answer your question about that, let me know.

How to remove a page number from the title page

Now let’s deal with the title page having a 0 on it. If your document has a title page, you don’t want a number on it at all, and page number 1 should actually be your second page. So we want to do something different with the first page. This gets a little complex, so bear with me.

(1) First, you’re going to need to make a section break (not just a page break) between the title page and the first page of your manuscript. If you already have a page break there, remove it so that your copy runs right below your title.

See below that I have run chapter 1 into my title page. Now I need to separate the title page from my chapter 1 with a different kind of break. With my cursor set right before the word “Chapter,” I then click on the Layout tab, then Breaks. Under Section Breaks, click Next Page.

My title page is now on its own page with Chapter 1 starting on a new page. But the header is still appearing on my title page along with the page number 1, so here’s what to do:

(2) Now make sure you click with your cursor into the header section on the title page (or footer if that’s where your page numbers are). Then click on the Design tab and put a click in the box labeled Different First Page. (Note that Show Document Text is already clicked; leave it as is.)

The header on your first page will disappear, but page 2 still says page 2. Let’s fix that so it will be page 1.

(3) Click with your cursor into the header area on page 2. Then go to the Insert tab, back over to Page Numbers, then click Format Page Numbers. It will give you another dialog box.

In the Page Number Format dialog box, you’ll see a section called Page numbering, and then a bullet that says Start at. Click that bullet and put a number 1 in the box, then say okay.

The header on page 2 should now read page 1, and there should be no longer a header on your title page.

Your document may have a lot more complexity, and this is simply a way to set page numbers and separate out a title page.

As always, let me know if you have questions and I’ll research the answers. More to come!

Let’s Get Tech-y: Formatting Your Manuscript

I write on this blog often about the joys and pains of writing–of just getting those words on the pages. I also write often about editing those words (in fact, I wrote a book about it). I also teach it in the Professional Writing major at Taylor University.

But there comes a time when all writers have to understand that those carefully wrought words need to show up in a well-formatted manuscript, set to industry standards. And this is where things can become very frustrating.

So I’m here to show you how, along with a little help from other editor friends. I’m going to begin a series of posts to help you deal with some of those technical parts of prepping your manuscript–one step at a time.

Longtime author and editor Andy Scheer (andyscheer.com) one day posted on Facebook how thrilled he was to receive a correctly formatted manuscript. I dropped him a note to ask, from his perspective, what constituted a manuscript that is “formatted correctly.” Here’s the list he sent me. The manuscript should be:

  • Manuscript is .doc or .docx
  • 12-pt Times New Roman
  • Double-spaced copy
  • No extra space between paragraphs
  • 1-inch margins
  • Paragraphs indented—but NOT with tabs or spacing
  • No double spaces between sentences
  • Page headers with page numbers
  • Page break between chapters
  • Front matter completed (title page, copyright page, table of contents if needed)
  • Copyright page includes copyright info for all Bible versions quoted, especially the default Bible translation

In coming weeks, I’m going to walk through each of these bullet points individually. I’ll help out with the basics and offer some technical tips, screen shots, and more. BUT FIRST, we can deal with several of those issues by creating a template that you use as your base for every piece of writing you plan to submit. So let’s start there. (Note that the following uses a PC; if you have a Mac, stay tuned. I’ll work to get the information you need as we go.)

How to Build Your Template

Having a template that has all of the settings you need already embedded will be a huge help to you. (Just FYI that this is technically simply a blank Word document, but it will have embedded in it all of the settings you need to create a perfectly formatted document and save you trying to redo it every time.)

The following the instructions will walk you through the steps in Microsoft Word. Doing that, you will create a template that will give you the first 6 bullets above: the .doc or .docx extension, 12-pt Times New Roman, double-spaced copy with no extra space between paragraphs, no extra space between paragraphs, 1-inch margins, and indents not with tabs or all those spaces.

(1) Open a new blank Word document.
(2) It most likely defaults to one-inch margins, but to check, click on the “Layout” button to give you that ribbon. On the far left is a button called “Margins.” Click it. You should see a “Normal” setting that defaults to all one-inch margins. If that is not clicked, click it.

(3) Now go back to the Home tab to give you that ribbon. Above the “Styles,” box, you’ll see a series of styles that are common to this document. You’ll probably see Normal and some various heading styles. Most everything you type will default to the style called “Normal,” so let’s make sure that “Normal” is the normal that we want for our template. Click on the little down arrow at the bottom right of the Styles box that will drop down a menu of styles (your menu may look different from mine, but you should be able to find Normal).

Locate Normal, click on the down arrow to its right, then click Modify.

This will open a dialog box with lots of options.
(4) About halfway down on the left, you’ll see “Formatting.” Make sure that the first box says Times New Roman and the second box says 12. If they don’t, click on the dropdown arrow and choose those options.

(5) Next, below that, you’ll see buttons with lines in them. The first set on the left is giving you the options to have your copy flush left and ragged right, centered, flush right, or justified (straight on both sides). You want to choose the first button for flush left and ragged right.
(6) The next three buttons show lines really close (single spacing), sort of close (1.5 spacing), and far apart (double spacing). You want to click on the third button for double spacing.

Wait, you’re not done yet! Let’s deal with the other issues:

(7) In that same box, bottom left is a button that says “Format.” Push it, and then click on “Paragraph.” Yet another dialog box pops up!

(8) In this box, halfway down on the right side, you’ll see the word “Special.” In the box should be the words “First line.” If not (it probably says “None”), click on the dropdown arrow and choose “First line.” In the box beside that, you can set how far the indent should be. It’s probably best to put .5 there. This will automatically indent your new paragraphs so you don’t have to add a tab each time.
(9) Keep going, there are a few more boxes on the left below that under “Spacing” with “Before” and “After” choices. Make sure that those read 0. (The default often has 10 in the After slot, which is creating extra space between the paragraphs. You want it to say 0—so change it. And don’t use “Auto.”)
(10) Since you already set this to double spacing on the previous menu, you should see the word “Double” under “Line Spacing.”
(11) Now click OK. This will take you back to that previous dialog box. Do one more thing here to seal the deal and help you not have to do this again:

(12) At the very bottom, right above that format button, are a couple of choices. Put a dot in the circle that says “New documents based on this template.” Now click OK.
(13) This will take you back to your blank document. Now do a “Save As” and save this document as your own personal template for doing all of your writing. Calling it “Mytemplate” should work. Store it on your desktop and you’ll always have a template ready to go when inspiration strikes. So now you have:

  • Manuscript is .doc or .docx
  • 12-pt Times New Roman
  • Double-spaced copy
  • No extra space between paragraphs
  • 1-inch margins
  • Paragraphs indented—but NOT with tabs or spacing

Every time you start a new book or a new story, open this template, do another “Save As” to save that piece of writing with whatever title you want to give it. That way you’ll always preserve the settings you created in your template and won’t have to redo them every time for every piece of writing.

We’ll continue our tech-y talks in coming weeks to help make sure you’re submitting your documents the way the publishers want them.

If you have some other tech-y questions, write them below and I’ll see what I can help you with in future posts.

6 Masks I’ve Worn This Week: Pros & Cons

It’s a brand new school year and a brand new way of thinking and teaching. If I thought that going completely online with my classes last March was a challenge, I’m now trying to teach in masks. Below are pics of me trying these various masks and the pros and cons of each. 

I’m only a few days in and already trying to determine what’s going to work for me. I started with the standard mask that I’ve been wearing into stores since March.

Pros: Lightweight and easy to wear, easy to speak through. Cons: Soooo boring.

I purchased some nicer, heavier-duty masks that I thought would be healthier by maybe screening out those germy germs better …

Pros: Heavier duty (keep germs out better?). Cons: These pull on my ears and begin to give me a headache during an hour of teaching.

Received this cute one with cats on it from my sister. (Does anyone else find it odd that these masks are now fashion statements?)

mask-2
Pros: So cute! And so appropriate.
Cons: Kept slipping down as I talked and needed to constantly readjust. Best for wearing when I’m not going to be doing a lot of talking.

Received this one from our department chair who felt it would be especially appropriate for me.

mask-1
Pros: Yay for a grammar mask! Cons: Kept getting caught in my mouth as I talked. Best for silently correctly people’s grammar.

Got hold of this one because … well … school spirit.

mask-3
Pros: School colors, school logo. Comfy. Cons: As with most of the other masks, a bit of a fogging issue on my glasses.

But still, the issue became that I really like to smile at my students. It’s bad enough that I’m looking at masks and eyes and receiving very little feedback visually. It seems worse that they can’t get any kind of visual feedback from me. So I have now opted for this:

mask
Pros: I can smile at my students and they can see it. Cons: I look like a welder. It messes up my hair. When I speak, it goes straight into my own ears so I feel like I’m in an echo chamber. Beware of a sneeze or spit. Can’t wave my hands a lot. Can’t scratch my nose or eyes. Oh, and I can’t take a drink with it on, unless I have a loooong straw.

So, why choose the one mask with the most cons? Well, I feel like the ability to offer some kind of visual feedback to my students is very important — hair, spit, echoes, itchy nose, and all.

Around campus, I’ve seen masks of various materials, colors, and styles. We are indeed making these into statements to try to reflect a bit about ourselves, even … ahem … behind the mask.

What about you? How are you dealing with the masking situation and what are you doing to make your masks reflect you?