I rely on my knowledge of grammar and what I intend to convey more than I do editing programs, which are not as useful as we wish they were.
You may have found that your word processing program has spellcheck and some minor editing assists. Spellcheck is notorious for both helping and hindering you.
Spellcheck doesn’t understand context, so if a word is misused but spelled correctly, it may not alert you to an obvious error.
- There, their, they’re.
- To, too, two.
- Its, it’s
Grammarly is an editing program I use for checking my own work, in tandem with Pro Writing Aid. I pay a monthly fee for the professional versions of these two programs. Each one has strengths and weaknesses.
For me, especially in my first draft, some words are like tics—they fall out of my fingers and into my keyboard randomly and out of my voluntary control. I don’t self-edit as I go because, at that point, I’m just trying to get the story down. The second and third drafts are where I shape my grammar and phrasing.
I want to write active prose, so I don’t want to use words with no power behind them.
Often removing an adjective or adverb strengthens the prose. They’re easy to find because these words frequently end with the letters ‘ly.’
You could do a global search for the letters ‘ly,’ and a list will pop up in the left margin of your manuscript.
It’s ridiculous to tell someone to remove all adverbs from a narrative. Words like “later,” or “everywhere,” or “never” or “alone” are also adverbs.
That sort of wrong-headed advice survives because it is based on a writing truth: unnecessary adverbs and adjectives fluff up the prose. Worse, they sometimes fail to tell us something that we need to know.
In other words, use adverbs and adjectives when they are necessary and cut them when they aren’t.
In my own work, I seek out adverbs, descriptors, qualifiers, and “weed words.” I look at how they are placed in the context of the sentence and decide if they will stay or go. Many will go, but some must stay.
A good program to help point out when certain passages are passive and need to be “made active” is Pro Writing Aid. I use the professional version for my own work, but they do have a free version that will show you some limited problems in your prose.
The BIG problem for those who don’t understand the basics of grammar is, these programs are unable to see the context of the work they are analyzing:
“The tea was cool and sweet, quenching her thirst.”
Grammarly suggested replacing quenching with quenched.
Pro Writing Aid made the same suggestion.
I have no idea why they make that suggestion, but you can see how a person blindly following mechanical advice could go wildly astray.
Context is defined as the parts of a written or spoken statement that precede or follow a specific word or passage, usually influencing its meaning or effect.
A person with no knowledge of grammar will not benefit from relying on Grammarly or any other editing program for advice. There is no way to bypass learning the craft of writing.
This is because these programs operate on algorithms defined by finite rules and will often strongly suggest you insert an unneeded article or change a word to one that is clearly not the right one for that situation.
New writers should invest in the Chicago Guide to Grammar, Usage, and Punctuation, and learn how grammar works. If you don’t understand grammar or how to construct a sentence, a paragraph, or write dialogue, editing programs will just confuse and mislead you.
To get the best out of editing software, you must know the basics of how to write.
Currently, at this stage in our technology, understanding context is solely a human function.
Because context is so important, I am wary of relying on these editing programs for anything other than alerting you to possible comma and spelling malfunctions.
You might not agree with the program’s suggestions. You, the author, have control and can disregard suggested changes if, as illustrated above, they make no sense. I regularly reject weird suggestions.
However, when the editing program highlights something, I look at the problem sentence carefully. Just knowing that the way I phrased a sentence tripped the program’s algorithms encourages me to look at that passage with a critical eye.
I may not use the program’s suggestion, but something triggered the algorithm. That means my phrasing might need work. I may need to find a better way to get my idea across.
Even editors must have their work seen by other eyes—my blog posts are proof of this. I am the only one who sees them, and even though I write them in advance and go over them with two editing programs, and then look at them again before each post goes live, I still find silly errors two or three days later.
A good editing program is not cheap, but I feel it is a worthwhile investment. If you don’t have an editing program, you can find these words on your own.
You can’t take shortcuts. If you are too impatient and choose to “Replace All” without carefully thinking things through, you run the risk of making a gigantic mess of your work. Some weed words are parts of other words, for example:
- has—hasten, chasten
If you have decided something is a “crutch word,” examine the context. Inadvertent repetitions of certain words are easy to eliminate once we see them with a fresh eye.
Context is everything.
I can’t stress this enough: take the time to look at each example of the offending words individually.
It’s unfortunate, but there is no speedy way to do this. Every aspect of getting your book ready for the reading public must be done with the human eye, patience, and attention to detail.