Dear ,
A week after we learned the results of the presidential election in the United States, I've been thinking about the role community plays in my life. I am a member of several communities, and I have a responsibility to each.
You and I are in community through this newsletter.
One of my responsibilities to this community is to be clear about my values. That transparency will give you the information you need to determine whether our values align and, if they do not, whether we can navigate the resulting value conflict.
Some value conflicts are irreconcilable.
I am deeply troubled by the reelection of Donald Trump. I am terrified by the damage he will inflict upon individuals, communities, and institutions. I am disgusted by Project 2025. I am disheartened to know that people I love voted for a man I abhor.
But I am not hopeless.
Last Friday, Dr. Brené Brown posted a short note about hope as an antidote to despair. Hope is sometimes thought of as a passive thing — a wish or a passing emotion. But according to the research, hope is not at all passive; it is a cognitive-behavioral process. "It's about having a goal, a pathway to achieve that goal, and a sense of agency."
I believe each of us can make a difference in our corners of the world.
The biggest difference I can make in my personal corner of the world is to educate myself, engage in difficult conversations with consideration and respect, and find ways to support and care for my community.
The biggest difference I can make in my professional corner of the world is to amplify other people's ideas by providing the structure and support they need to develop the tools and confidence to share their voices with a larger audience.
And so, I am doubling down on community.
I am doubling down on love.
We may not see the future we are working to create in our lifetimes.
But it is still our work to do.
Let's get to it.
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How (and Why) to Edit Other People's Work
We aren’t taught how to edit other people’s work, so we tend to focus on grammar and commas and spelling. Or we end up rewriting someone else’s work in our own voice because it just didn’t quite sound right to our ears. But editing is a skill anyone can learn, and becoming a better editor makes you a better writer and better communicator.
The key is to start with what is often referred to as a developmental edit, which focuses on the structure and organization of a piece, before moving to a copy edit, which looks at the grammar, language, and structure of each sentence. Because the developmental edit is often overlooked, we’ll focus on that piece of the editing process. Here are three steps to follow when editing someone else’s work:
First, embrace these five principles.
Good editing requires good communication and a heavy dose of compassion. Offering editorial criticism in a way that is both useful and kind requires a great deal of intention and thought. Embracing these principles is a good place to start:
- Offer critiques from the reader’s point of view, not your own. When editing someone else’s work, keep the reader top of mind. Your goal is to help the writer communicate their ideas clearly to the intended reader. Center your comments on the reader. For example, “There’s a lot of jargon in this article that could be confusing. Will your readers understand it?”
- Point out the particularly good elements, not just the parts that need work. It is always helpful for writers to see what really works about a piece. Let them know when you find something particularly insightful or well-crafted. For example, “I really like the way you took this very technical neuroscience research and made it actionable. Not only does that help me understand how such a big concept applies to business, but it positions you as an expert who really knows her stuff.”
- Give the writer a reason why you think something should be changed. Whenever you suggest a change or highlight a possible problem, let the writer know why you think a change needs to be made. For example, “I had to read this sentence a few times before I really understood it. While it appears to be technically accurate, I’m afraid readers might not take the time to understand it, and it’s an important point. Is there a way to say this more simply?”
- Propose a solution whenever possible. The writer has invested a lot of time in this piece, and may not be able to see problems that are obvious to you. When you identify a problem, offer a solution to help the writer understand the problem you identified. For example, “Perhaps it would help to break this sentence up into two or three sentences and really walk the reader through your thought process.”
- Respect the writer’s voice. Just because you would make the point differently, doesn’t mean that the way the writer expressed themselves is inaccurate or inappropriate. When you encounter a question of voice or style, note it once and explain your concerns. Then move on. For example, “I know you swear in conversation, but it lands a bit differently to me when it’s in writing. Will your reader’s be okay with cursing in an otherwise formal piece?”
As an editor, your goal is to help the writer articulate their thoughts in a way that the reader will understand. But remember that you are merely making suggestions. The writer gets to decide whether to adopt, adapt, or ignore those suggestions. After all, the writer’s name is the one that will go on the piece.
Second, evaluate the editorial quality of the article.
To evaluate the editorial quality of an article, make sure you understand who the intended audience is and what the writer intended the reader to take away from the piece. Then, read the entire article for context and evaluate it based on the questions presented by the CORD Framework:
- Cogent. Does the piece present a compelling case in support of a specific position or point of view? Is it useful to the intended audience? Does it provide enough context for the audience to understand its importance?
- Original. Does it have a strong voice and clear point of view? Is it insightful? Does it add to the conversation? Does it build upon the writer’s experience?
- Researched. Are the insights presented based on evidence? Are assertions grounded in facts and experience? Is the data accurate? Is research presented with sufficient context? Are cited sources trustworthy?
- Deep. Is the piece well written? Does it leave a lasting impression? Does it dive below the surface and offer insights not found elsewhere? Is it relevant? Does the writer discern fact from opinion?
A high-quality article meets each of these criteria and positions the writer as an expert in their field. Look for places where the writer satisfied these criteria, and where the writer fell short. Point out any places where they could build their authority by improving one or more of these areas.
Third, look for and address common challenges.
While every writer has different strengths and a distinctive voice, there are certain challenges we all struggle with from time to time. By looking for these challenges in other people’s work, you’ll find it easier to identify them in your own writing. Here are some of the most common challenges and how to address them:
- No clear point. What is the main point of the piece? Is it clear and obvious? Can you state it in one sentence? Does the writing ever stray from that point? Is every piece of information in the piece relevant to that point? Or can some parts be cut? If you can’t state the point clearly and succinctly, it means the writer has a bit more work to do. Let them know that the main point isn’t clear and identify those places that seem to go off topic or add confusion.
- Burying the lede. Does the writer get to the point quickly? Is it clear from the beginning of the piece? Or does is the writing setting the stage for the first few paragraphs? Burying the lede is very common, and it is deadly in business writing. If the reader isn’t sure what the point of a piece is from the very beginning, they aren’t going to stick around long enough to find it. If you discover the lede a few paragraphs below the start of the piece, identify it as such, and remind the writer that their audience wants to know exactly what they’re getting themselves into before investing their time into reading anything.
- Unclear audience. Who, exactly, is the audience for this piece? Does that stay consistent throughout? Or does it shift? A shift between “we” and “you” can work; but a shift from “you” to “them” rarely does. In business writing, the most powerful pronoun is “you” because it is clear and it speaks directly to the reader. If the piece you are editing seems to be speaking to several different audiences, identify where it shifts and bring that shift to the writer’s attention.
- Muddled thinking. Do you get lost in the piece and find you have to read a sentence or paragraph a few times to understand it? The two most common reasons writing fails is because the writer hasn’t thought through it enough or the writer is trying to cover every possible scenario. Long sentences and rambling paragraphs offer cues that the writer is still clarifying and simplify their thoughts. Point out any problem areas and let the writer know where you had a hard time following their thinking. Shorter, simpler sentences are often the first step towards a solution.
- Questionable logic. Does the writer make any leaps of logic not supported by the words on the page? Do they offer their opinion and make it sound like a fact? Does the writer refer to studies in support of their argument but fail to cite the actual study? If you were tasked with discrediting the writer, where would you poke holes in the argument? It is incredibly difficult to fact-check your own work. As an editor, you can do a real service to the writer by pointing out where their argument doesn’t hold water or where they fail to take alternative viewpoints into account.
The relationship between an editor and writer requires a great deal of trust. It is collaborative and constructive, which means it sometimes requires difficult conversations and honest disagreement. Editors must be cognizant of how they deliver their criticism. Writers must endeavor not to take that criticism personally. Both must approach the work from a position where respect and care for the reader is paramount.
When you edit someone else’s work, not only do you help the writer improve their skills, but you improve your writing skills as well. To put this into practice, consider joining the Writing Practice community. Or recruit a colleague. If each of you commits to writing one article each month by a specific date, you can then come together and edit one another’s work. Not only will you both improve the quality of your writing, but it will be a lot easier for you both to complete your writing projects.
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"Editing is about ideas, but it is mechanical, too. You have to get under the hood of the language."
~ Terry McDonell, The Accidental Life: An Editor's Notes on Writing and Writers
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Upcoming Events
Pitched to Published™
Interested in learning how to write, pitch, and publish articles for high-visibility publications? Join me today, November 13, at 11:55 AM Eastern, for a free mini-training on how to use published articles to help you achieve your business goals, followed by a Q+A. This is a free, public event. Register here.
Master Class: How to Write for High-Visibility Publications
In this free 60-minute master class, I will share the SILVA Method™ and walk you step-by-step through the process I use to help my clients secure bylines in publications like Harvard Business Review, Inc., and TD Magazine. Join me December 10 at 3 PM Eastern. Register here.
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If you'd like to explore working together, drop me an email or book a call. I'd love to learn more about you and your business and how I might be of service.
Take good care,
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