100 proofreading tips
For creating great prose, editing and proofreading are important.
Where do you look, though? What are you going to alter? This guide offers 100 tips to get your work into technical form as the most detailed proofreading list on the internet.
A broad variety of activities are protected by the word editing, from restructuring entire texts to recasting sentences. Proofreading is the final step, where all is in order and you are only searching for elegance and final mistakes to be consistent.
1. Sleeping on it
You surrender objectivity if you’ve been dealing with a manuscript for a long time. A simple, analytical mind needs editing and proofreading. Sleeping on it is one way of achieving that state of mind.
Never try in one day to do both the editing and proofreading. Get a full night’s sleep and, the next day, return to the manuscript. Look at it again the next day, except for a small text that you finish writing in a couple of hours.
Errors are going to pop out at you.
2. At all times of day, read at the paper
I’m not a morning person, but I’ve discovered that the next morning I get a fresh start on my job. However, if I’m slaving over a text all morning, it may be good to take a look at it again at night the next day.
Vary these times and it’s going to feel like another text and you’re going to see new elements.
3. Read out loud in your writing
Your eyes will skip over the words on the screen while you’re reading quietly. This ensures that you will miss mistakes or struggle to understand that words are currently absent from your sentences. You need to read the work out loud to self-edit accurately and listen to how it feels. Your mouth will not utter a word that is wrong or lacking, because the error will grab the ears.
Some sentences that you find hard to utter out loud can also be hard for your readers. Fix those words.
4. Maintain the Error List
Having a running list of your typical styles of writing mistakes is useful.
“The distinction between “it’s” and “its” is often overlooked by certain authors, or they type “impact” when they say “affect.” If you make a mistake consistently, write it down. Then, search for it using the find function of your word processor when you get to the editing point. You will thereby correct the mistake and build the knowledge needed to permanently banish it from your drafts.
5. Hold a list of rough words nearby,
I am still bothered by those terms. On the first try, I can never quite get “reminisce” correctly. I still forget what “modelling or modeling” is involved? Create a list of terms you find difficult to save time, and keep it on your side while you edit.
6. Give it time, give it time,
Any authors commit less time to editing and proofreading in their schedules. Although the editing and proofreading are squeezed into a few hours, the drafting lasts indefinitely. However, when you’re rushing around it, you can not catch mistakes. For the operation, plan plenty of time.
7. From the beginning, use a style guide
Determine the style guide before you start drafting. It may be the Guide to the APA or MLA or the Style Manual of Chicago. Maybe your company has its own kind of building.
Whatever it is, right from the outset, this style guide will help you maintain clear pronunciation, capitalization, and formatting. So you don’t have to waste hours modifying all these things at the end.
8. In a different style, print it out
In your word processor, the conventional double-spaced, single-column style is not the easiest way to proofread. We’re so used to it, but our eyes have to track 6 inches or so of lines all the way straight.
That is why adjusting the layout scale, maybe to 4 x 8 inches, or using double columns to shorten the width of a line, is beneficial. This will make you understand failures better.
9. When proofreading stop distractions
Your proofreading session would be ruined by distractions. It’s almost hard to focus whether you have a kid running around or a conversation with co-workers going on behind you.
Find a private place without any Internet and email connections. All the time, reviewing email draws you out of the moment of proofreading and then it takes time to re-build your concentration.
10. In your modifications, be consistent
Often authors make adjustments to any section of a text during revision, but not always. For the first 20 articles, they can substitute short dashes with long dashes and then leave the short dashes for the remainder of the text.
If you modify the style of something on page one, make sure you change the style of a similar item on page 100. Be consistent with the improvements you make.
11. Have your writing read by a trusted friend
Some individuals seem to think that writing should be a solitary act, particularly students. But in fact, to get opinions and recommendations, you can share your drafts with a trusted friend. Many stages of editing by diverse persons guarantee excellence in the technical writing community.
12. Do not edit when drafting
Although editing is important, it is best left on the website before you have all your ideas. Without judging them, write your drafts. Don’t care when you are writing about pronunciation, grammar, or style.
13. Edit and proofread the work of others
Editing the work of other persons is a way to improve the editing and proofreading eye. This is a nice chance to establish a bond with an editing buddy. To boost it and also keep your editing and proofreading eyes sharp, share your work with each other regularly.
14. Don’t keep editing indefinitely
Although the editing process is essential, it’s just a step, too. And it’s a step that you need to get through fairly soon. Now, depending on the text, the period of time. It’ll take way longer to review and proofread a 200-page book than a 10-page post.
But the perfectionists of us never want it to send to the editors until it’s fine. Do a decent job, so you need to know when to send it to your publisher, who’s going to do it better, too.
15. Using Changes to Monitor in Word when editing
Microsoft Word’s Monitor Changes feature shows any changes you’ve made to the document while retaining the original text. That way, if you change your mind, you will stick to the initial phrasing. Often toggle on this role and you will not be so afraid to forever alter your phrasing.
16. When proofreading on paper, use a red pen
If you use a pencil or black pen, you can forget any of your markup suggestions while you are typing in improvements from a proofreading session. Try using a red pen and it will be hard to skip the corrections that will scream at you.
17. Read the excellent writing of others
These days, people don’t read enough—at least not fantastic books or magazine posts. But one way to learn how to edit your own work is to read great prose. You’ll see new sentence recasting possibilities. For new ideas, you’ll find inspiration.
18. Read a good book on grammar
Grammar books aren’t the most engaging stuff for reading. But once in a while, a study of a grammar book can help improve your awareness of potential mistakes. When you remind yourself of what you are looking for, it also makes your editing mind fresh.
19. Recruit a professional
There’s no irony in hiring a specialist to do the writing and proofreading for you if you’re extremely busy. On a rough draft, experts can perform magic. Find an acceptable online editor-the investment is worth it.
20. Working the muscle
Find ways to build a good muscle for typing and proofreading. In order to remain fit and coordinated, elite athletes realize they have to train nearly every day.
For editing and proofreading, it’s no different. You lose some of your sense of mistake as you get away from completing these assignments. Edit a page on the web every few days if you have no writing of your own to keep in top shape.
21. Assume that the fault is now over,
A indication of more to come might be the first instance of a particular error. There could, perhaps, be a particular error in the text. In your word processor, pause the editing and pick the find tool. Enter the word or phrase of the mistake and scan through the whole text. Completely get it out before you go on.
22. Screen editing and then print proofreading
A computer screen presents a proofreading obstacle. Our eyes and brain, for whatever reason, just don’t recognize the letters and words on the screen very much.
From the other side, from the typed paper, mistakes pop out at us. Still, on paper, intense editing is tough, where detailed pen marks will drown out the individual sentences.
23. In reverse order, read the sentences
If you’ve read the text a few times before, catching mistakes can be difficult. This is because the imagination knows what’s going to come (or at least, what your brain thinks comes next).
Reversing the order is a trick of taking a new view and seeing sentences again: reading the last sentence, then the second-last sentence, then the third-last sentence, and so on.
24. Slowly proofread the sentences
There’s a temptation to hurry when proofreading because you feel near completion, so that’s a mistake. Although you can see the end approaching, it is important to read slowly. That means seeing each word, digesting each phrase. Just to be accurate, imagine twice going over words.
25. Scan on one kind of concern at a time
Don’t go into editing or proofreading trying in one move to find any issue. Our minds find it difficult to recall a lengthy list of categories for editing and proofreading.
Allow several passes through the text instead. You might opt, for instance, to look only for wordiness or only for punctuation. The technique keeps your mind focused. You are more likely to miss mistakes if you try at any potential mistake with one move.
26. Edit the big things first, the little things second, the big things second,
At the outset of the editing process, stop correcting spelling or flipping around words. Only after you’ve taken care of the big stuff can certain micro elements of your writing be checked. Plotting, characterization, argument, order, and so on can be major things.
When you can end up deleting the paragraph entirely or totally rephrasing it, why bother about a mispelled word?
27. Academic footnotes and endnotes also involve love
The footnotes and endnotes are shunted down to the bottom of the page or the end of the article in scholarly articles, such as a thesis. Can anybody read them, really?
It’s actually just the hardcore academics who care, but it’s enough to make sure they’re right. They can be difficult to proofread, considering the limited font size (usually 9 or 10 points). For the proofreading process, just imagine increasing the font size and then translating it down to 9 or 10 marks.
28. Hold a checklist of review items
This is a long list of tips, and throughout the editing process, you’ll surely miss much of them. That’s why having a list of elements to review is critical. Then when you finish it, write a check mark next to each one. This produces an achievement sentence.
29. Switch total argument off
Switch off the complete excuse option of your word processor while writing and proofreading, which forces text flush up against the correct margin. You can’t see extra spaces when you use complete reasoning (which should be deleted).
You still don’t see the lines as separate individuals with unique lengths, impacting the view in editing.
30. Use a ruler to proofread
Often our eyes lose track of where we are on the screen and in our view we see other words. That is why the use of a ruler in the editing process is beneficial. Place the ruler below the statement you are editing-you can concentrate on those words completely.
31. When editing, try different applications
A steady, classic word processor is Microsoft Word. So you may need to update your program and look at your paper in a new way. That’s why it is helpful for a non-linear word processor.
The Scrivener is the perfect one. Scrivener helps you to write in chunks and then transfer those chunks into a proper order, which is perfect for editing huge image books. And this is only one of the wonderful characteristics of it.
32. Re-read the alterations
When you type changes for editing or proofreading, the only thing you can do is add new mistakes. There are usually typos, since our fat fingers touch the wrong buttons. We will move on to the next shift if we’re not patient, without realizing the new error.
33. Read syllables and not phrases
Longer words have three syllables or sometimes four. Skipping over certain syllables is easy for your eyes, compressing the word down and losing errors (a letter in the middle of the word may be incorrect). Slow down on longer terms then, and read out each syllable. That way, you’ll see if all the components are right.
34. Locate your writing at the beginning straight away
There’s an idea of localizing in fiction literature. Make sure that the reader is automatically located by your novels. Where are the characters? If the characters just start chatting, the reader will feel lost without the meaning of the location.
For scholarly or research-based writing, it’s the same. People ought to be reasonably swift to grasp the intent of this writing. Give that to them.
35. In your introductions, take note
You ought to entice and impress the reader right away with just about every introduction to any form of technical prose. The marketplace is dynamic, and you can’t delay it. If you find that your introductions only pass into the subject matter steadily, in the first sentence or two, lure the reader in with a provocative remark.
36. Do more studies
You could unexpectedly discover an underdeveloped section during the editing stage of research-based writing. The quick way out is to advise the reader, “X, Y, or Z should be examined for future work.”
But in your article, why not deal with those topics? Naturally, making it more complete would take more study. This is time intensive, so it’s worth it.
37. Verify that the text has a spine
A spine in prose, the way your spine keeps you up, is an aspect that unifies all the paragraphs of the text. In an analytical text or a story in a book, the spine could be an argument. The spine allows you to assess whether to add and delete.
Without a spine, random collections of studies and plots become scholarly papers and novels. To feel the spine, make sure everything you write is there.
38. Break off the pieces that do not work
Cutting is tough work and we are always wedded to our prose. We assume that our phrasing is outstanding or that our thoughts are invaluable. Objective readers may disagree, though.
If they don’t quite suit the statement or stream of thought, don’t push words or concepts into your prose. Delete them and accept a new piece of writing as the spark for them.
39. Determine if there is a clear tone in the text
It’s hard to identify the sound, but it’s connected to your approach as a writer.
In mixing a serious tone about a topic with a comic tone, some authors confuse readers. Where a formal tone is required, some writers write informally (see academic writing). Throughout the whole book, keep the tone clear, even in a 200-page novel.
40. Add references from everyday life, such as novels, to
To illustrate complex ideas, readers enjoy real-life illustrations. Start to think about how you can apply it to everyday life if you find your writing being too vague. Your reader knows you immediately.
41. Make sure you have proof in your claims,
There can be claims in scholarly writing and company advice papers.
But authors don’t argue much often, they just show the truth. An viewpoint or statement or point is not enough in these and other kinds of literature. Your writing requires confirmation from reliable sources. Such proof is compelling by reason.
42. By knowing your opposition, fine tuning your claims
If you write an argumentative article, maybe a blog post on a contentious topic, it is important to consider the points of your opposition. It encourages you to consider what the other individual is arguing, and then tune up your own claims. By integrating their critiques into your own prose, it helps you to advance the point further.
43. Bring fragmented thematic pieces together
It is easy to lose track of when and when you’ve said something in your writing.
You will write on the same topic in several positions in a long text. Microsoft Word offers one page at a time on the desktop. That’s why it’s important to thematically look at the entire text. See if you’re writing in different places on the same subjects. Bring them together into a single segment if so.
44. Eliminate dead verbs
The most important words in a sentence are verbs. They pass the writing forward, while the persons do something in the writing. We always slip back into dead phrases, however, words that have no motion. “The different types of “to be” are the most common dead verbs: is, are, was, were.
What images or acts are called to mind by these “to be” forms? Yeah. Zero. In order to make sense, they still need more sentences, because they are naturally wordy. Replace dead verbs with strong verbs where possible: run, strike, walk, throw, and so on.
45. The Garden of Wordiness and Redundancy Weed
Almost all authors write first drafts that are wordy. To tighten up your composition, go back to your draft to see how you can delete terms, phrases, and even whole sentences. For the reader, this makes it easier: the reader gets to the point more easily.
Seeing wordiness of your own job can be hard to see. Often it’s as small as phrases like “in order to” or “the fact that.” Sometimes it can look like this: “the size of the paddle board is long” (there is no need for “in size” if you think it’s long).
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46. Delete overstated adverbs
Adverbs modify verbs, and they are helpful, but in a naïve attempt at representation, amateur writers sometimes overdo adverbs. Recall that the reader must link them back to the context of the verb when meeting adverbs. This method, repeated so much, becomes mentally irritating. Sparingly use adverbs.
47. Drop adjectives peppered
Excess adjectives offend readers too, close to the warning on adverbs. Any authors appear to pepper their prose with these little words that change nouns all over. Using adjectives, not doorknobs and keys and tyres and so on, to describe things that need to be described.
48. Converting derogatory comments to optimistic statements
I was once advised by a writing tutor to be optimistic in life and positive in writing. That means seeking to prevent unfavorable comments.
“Check your manuscript for negatives such as: “He was not available until September” or “She wouldn’t date him again.” These could be positive by writing “I’m going to be available beginning in September” or “She’d date him again.
49. Concentrate on the paragraphs
There are paragraphs of little concentration in certain rough drafts. Each successive sentence is on a separate topic, and this is difficult to follow for readers.
A paragraph’s sentences can all refer to a single topic. This single argument is always reflected in the paragraph’s first line (called a topic sentence). Writing the argument down in a single word in the column next to the paragraph may be useful. Then analyze each word to make sure that it suits. Delete it and put it in a more fitting paragraph if the sentence does not match the argument (or start a completely new one).
50. Keep phrases shorter than 15 sentences
Generally speaking, lengthy sentences are the most difficult sentences for readers to process. The odd long sentence is fine, but the reader is weighted down by a succession of them. Keep sentences shorter than fifteen lines, and they will hopefully be simple.
51. Ensure that most words have just one concept
Readers can’t simultaneously absorb multiple thoughts. That’s why the best thing is to have just one idea per sentence. A rest is given by the time, and then in the next sentence you can state another concept. Keep it clear.
52. Verify the accuracy of verb tenses
With shifts in verb tenses, some writers have a challenge. They’re written in the present tense for one second; they’re writing in the past for the next second.
It can be complicated because the author may like to build a sense of present behavior over a past case. As a consequence, between the tenses, the writer wrongly switches back and forth, as remaining in one requires intense mental focus. For inexperienced authors, for most reasons, it is better to stick to the past tense.
53. Look for sentences that sound the same but have different spellings
Words that sound the same but are pronounced differently are homophones. Main/principle, right/write, currant/current, draft/draught, and so on include typical ones. It’s easy for our fingers, when we’re printing, to spit one out when we mean the other.
Author Bill Bryson has a great book that lists all of these, called The Dictionary of Tricky Words. In your prose, review these lists of words and look out for them.
54. Check for consistent name spelling
Improper spelling of names is a typical mistake that occurs in the proofreading process. So the author spells the name of the person at the beginning one way, and in the middle another way.
To ensure that they are accurate and consistent in the whole paper, go back and check the titles. Having names right honors persons.
55. If they are absolutely brilliant, paraphrase quotes
If you have a quote like “In the third quarter, revenues jumped 36 percent from the last quarter” in your prose, paraphrase it. This is a dull quotation, and interesting words can be reserved for quotations.
56. Ensure the people speak
Whatever prose writing you do, make sure audiences talk at some stage in it, whether it’s a book or a screenplay or an analytical article. Whatever it takes to put real people to life, use interesting quotes or come up with brilliant dialogue. Readers like to hear not just the writer’s voice, but also other people’s voices.
57. Turn a general language into a particular language
Readers are fond of specifics. In prose, descriptions are included in the fascinating information that you provide. Stop and rethink your vocabulary if you find yourself composing generalities all the time (“He was a nice man” or “The weather was very good that summer”). Provide precise details (What makes the man nice? What was the summer’s weather like?).
58. Using nouns more often than pronouns
Writers switch to pronouns to prevent duplication (small words that replace nouns: it, he, she, they). Yet these pronouns get overused and misleading occasionally. For eg, the reader becomes puzzled if you have two men mentioned in a paragraph, and then you mention the pronoun ‘he’ (as in, ‘he left the room’). This is considered a faulty reference to a pronoun. Such confusion is reduced by using nouns as much as possible (without overdoing it).
59. Vary the lengths of your words
Did you ever listen to a monotonous orator? On and on, the guy drones. Oh, when any one of the sentences is the same long, that’s the feeling readers get. To drive monotony away, good authors mix up the lengths of their sentences.
60. Using long sentences for fantasies and moments of feeling
I stated earlier in this list, to keep your sentences reasonably short (15 words or fewer). Dreams and sensitive moments include several exceptions to the maxim. In long sentences, fantasies and emotional moments read well, since that is just how they feel: long, fluid, and indeterminate.
61. Be in keeping with contractions
Test when to use contractions in your style guide. In scholarly literature, terms such as “it’s” or “can’t” are fully written out as “it’s” or “can’t.” In other styles of writing, some people find that the contract format is too casual.
62. For emphatic arguments, use incredibly brief sentences for
To hammer home a single argument, incredibly short sentences work well. Look at your work for ways to include up to 6 words in a sentence that completes a writing segment. Readers would not ignore the point of focus.
63. With the wrong suffix, don’t spoil good verbs
I previously argued for the meaning of strong verbs, verbs that build images in the minds of readers. But even an effective verb with an ending may be destroyed. These words typically blend with a dead noun, such as was. “You ruin the verb with “They were running to the hospital,” instead of “They ran to the school,” which includes a great verb, with “They were running to the school.” Knock off the “ing and “were” and with the emphasis on the action, you have a great expression.
64. Be wary of jargon
Terms unique to those areas or individual efforts are referred to as jargon. When you’re referring about a group who can appreciate it, jargon is all right. Yet authors use jargon often as a means to show off or say that they are smarter than their readers. Explain any word in common vocabulary if you have to use words for a general audience.
65. For a poetic influence, repeat grammatical elements
Good orators know that any time you do not have to construct a new sentence. In reality, a planned redundancy will produce a poetic impact. In human experience, all of the great speeches repeated words and underlying grammatical features.
Think of the ‘I have a dream’ speech by Martin Luther King. The only explanation for that title in the speech is because King repeated the line of “I have a dream” several times. Furthermore, without repeating the same terms, he even repeated underlying grammatical features. For readers, this slight repetition is satisfying.
66. Avoiding clichés
Writing is hard work in an initial manner. “Some old, well-worn phrases are much easier to write down: “A bird in his side is worth two in the woods,” “It’s raining cats and dogs,” and “He’s the ace in the pit.
After reading cliché databases on the internet, you raise your knowledge of clichés. You’re labeling yourself as an unoriginal writer whether you use clichés. You’ll be spotted a mile away by strong editors (yes, that’s a cliché).
67. Show instead of saying
“Show don’t tell,” a classic writing mantra, reminds authors to send readers all the specifics of light, sound, touch, smell, and feel. However, this is difficult work. “Early writers would prefer to write “My dog smelled too awful” rather than “My dog smelled like an old sweaty workout sock.
Often telling is good, (that’s how you make explicit arguments), but on the showing side, keep the ratio large.
68. For quote attributions, use only “said”
Many authors finish the quotations with anything but the old reliable verb “said” to prevent duplication of citations of characters in literature. They modify some many said to “he chortled” or “she yelled” or “he advised.” However, these attributions are mostly duplicates of context.
If the quote has a person shouting, for example, and it ends with an exclamation mark, so the person is still screaming. All we need from the citation is “said” and the name of the person who said it. Instead, concentrate on the significance you offer to the reader inside the quotation marks.
69. Drop verb tenses that are complex
The simple past and simple present of verb tenses are what you need in writing: “They ran,” “They run,” “The dog jumped,” “The dog jumps,” and so on.
But often we compose these dynamic verb tenses: “They may have been running to the concert,” “By the time I arrive, the dog will have been jumping.” These tenses may capture the concrete sense of time preceding the event, but they are difficult to process.
70. Select powerful nouns over weak nouns
Likewise, some verbs in imagery are stronger than others, and some nouns are stronger than others. You see in your mind’s eye a generalized canine as you picture the word “dog.” Yet when you visualize the term pit bull, you see a very unique dog in your mind’s eye.
Go through your writing to check for abstract or weak nouns and substitute particular or efficient nouns for them. Soft nouns, such as nominalisation, standardization, and set, often appear to have suffixes.
71. Just the Queen of England tells, delete large words
“I think the Queen of England says things like “We will do things differently hereafter” or “Nevertheless, there is a situation in which you can use the aforementioned property.
The tall, challenging words stand out in both sentences: hereafter, wherein, aforesaid. In conversation with your friends and family, you wouldn’t use those broad words, so during the editing stage, you could delete them from your prose.
72. Blog in the active voice mostly
If you have to master one grammar point, it’s the concept of an active speech. The active voice represents a simple means of arranging the sentences. Simply put, you write first the “doer” of an action, second the action, and (optionally) the action receiver. For instance: “John threw the ball.” This is an active voice phrase classic.
In the other hand, the passive voice is more complex, and this makes it harder to read. A passive voice word order will go like this: “John threw the ball.” It needs more words, and last, an excessive pause, it puts the “doer” of the action. To stop asking who did so, you can even write “The ball was thrown”. This grammatical fascination makes it possible for authors to escape prosecution for acts.
73. Take the time to just look at the punctuation.
When proofreading, punctuation requires extra consideration, but these days it’s practically forgotten. Before you proofread, take a grammar book and do a brief study of simple punctuation laws (hint: look at semi-colons, which are commonly misused).
Often, word processors will often wrongly format pasted text, rendering the apostrophes smooth rather than angled. Fixing such tiny issues produces an eye for detail and can make the page designer pleased.
74. Turn fragments of sentences into complete phrases
Newscasters sometimes talk in fragments: “Car crash in Manhattan today” or “Five key healthy living tips.” This type of headline saves time and energy, but it is not grammatical. This isn’t to suggest that fragments will never be used, so many early authors don’t even know they’re using them.
It’s important to understand that all phrases require verbs (plus other things). Go back to your writing and change those snippets to complete sentences if you weren’t consciously doing so.
75. Add terms of harmony between phrases
Sentences are islands all by themselves in some literature. That implies that there are no “bridges” that connect those islands. By inserting words between the phrases in the connection, you will improve the readability of your prose. One typical cohesion expression is “As a result…” which in the next sentence connects what came before to the impact.
Simply repeating certain words in several phrases may also connect certain phrases in the mind of the reader.
76. Eliminate mixed metaphors
Metaphors can be fantastic ways to describe complex thinking. If paired up with other metaphors, they may even go horribly wrong. For starters, consider this sentence: The chef stood at the threshold to greatness, but his mountain of dreams was crushed by the food critic. It sounds contrived. Using metaphors only singularly and only if the audience can identify with them.
77. Vary your use of words if you get caught in a rut
Once in a while, both authors get caught in a word choice rut. It may feel like you’re constantly using the same 10 words. You should do a couple of things if you find yourself in this position. Next, grab a thesaurus and start learning your common collection of related words. Using them as much as you can, then.
In addition, attempting brain games to enhance academic proofreading can help. There’s an especially nice brain game called Word Bubbles at Lumosity.com. The game asks the player to shape as many words as possible out of only one or two letters, under the strain of a 60-second countdown clock. This forces you to search your mind’s recesses to find the fascinating words that are lurking there, just waiting to be published.
78. “Consider your place in the “they” debate
For editors now, a great controversy is over the use of “they” when referring to single nouns. Many persons will refer to a man or woman in speech as they are, which makes no grammatical sense-“they” is plural. Similarly, “they” is sometimes considered an organization, but many editors left it in, claiming that individuals have grown accustomed to using them as singular or plural.
Many transgender persons have even pleaded not to be referred to as “he” or “she” but “they” (and other new pronouns). Where do you stand for the traditionalists or the newbies in this debate?
79. Re-order phrases
If a paragraph is unfocused, simply re-ordering the sentences might be an easy solution. That brings thoughts into a better flow. You can notice that the paragraph’s subject sentence is actually concealed in the middle or at the top.
80. Look out for double phrases or double words
In rough drafts, double terms sometimes arise: the, on, to. It seems to be an issue of quick fingers and a head that is speeding.
For example, if you’re proofreading a book, Microsoft Word will look for this double word problem if you run the grammar checker. If not, with the “find” option of your word processor, you will look for potential combos.
81. Check for inconsistencies in formatting,
Are all of the paragraphs flush or are they rather indented? Can you flush the heading with the body text, or do you put a line space between the two? We often fail to keep the formatting consistent in the whole text while concentrating too much on the words.
82. Check for missed markers for quotations
It is crucial to get the text exactly correct when writing out quotations. But occasionally writers skip the second quotation mark to finish the quote. Often, search to see if the time is inside the last quotation mark or above it. We are often told to put the time beyond the last quote mark in education, although most style guides advise putting it inside the last quote mark, even though it was not in the original quote.
83. Look at apostrophes closely,
For whatever excuse, the formatting of apostrophes is missing as you copy text from some word processors into others. Without the normal slope, they come out flat.
Keep an eye on these apostrophes, since in the final written text, perfectionists can find the disparity disconcerting (and certainly a page designer will notice and have to manually change them).
84. For easy reading, paste headings
6 to 8 pages of double-spaced text are the classic undergraduate English literature article, one paragraph streaming into the next. But by adding headings and subheadings, authors can increase comprehension of most technical literature. And you can be helped by these headings and subheadings too. They provide the outline of the text with a graphic representation. Where you are, you always remember.
85. Put numbers into diagrams, tables, and maps
If you have figures of phrases and words, try making them into graphics. Graphs, maps, and graphs, particularly if you are attempting to illustrate a pattern, are simpler for the reader to process than complete sentences with numbers.
86. Be associated with capitalization
As they pass through a text, writers can forget their own rules of capitalization. For instance, I have seen students capitalize the word “University” and then struggle to capitalize it later.
In your prose, determine early on, maybe with the help of a style guide, exactly what requires capitalization and what doesn’t. It’s not an easy reply. Just be consistent with capitalization, particularly in headings and subheadings, if you don’t have a style guide on hand.
87. After the time, delete two spaces
Writers were advised to add two spaces after the time at the end of the sentence back in the days of typewriters and then dot-matrix printers. But this two-space concept became irritating with the introduction of electronic desktop publishing programs; it fucked up the software’s automated character spacing.
After a time, use only one room. Two spaces are recommended by the APA style guide, but in the publishing industry, this is rare.
88. Consistent with the theme of your hyphen
There is a minor point that annoys page designers: the hyphen or dash form is inconsistent. “Hyphens are typically the conjoining terms with very short dashes, such as “long-time.” En dashes are a little longer:-. The Em dash is the largest:-. To decide which one to use when, check the style guide.
89. Run Search Spell at the End
In any word processor, spell check is a function, but often individuals do not bother to use it.
Yes, spell check also states that when it isn’t, a phrase is misspelled. But you can, at the very least, run a final spell search and review the terms flagged as incorrect. On a long paper, this can be time-consuming, and that’s presumably why many people don’t bother about it, but the final few mistakes you skipped can be found.
90. Proofing the tables
You can forget about the tables because you’re too focused on the body paragraphs. Take a quick look at the headings of the chart, explanations, and references. In the fine print under the table, mistakes sometimes lurk.
91. Fact-check the work of yours
We rely so much on writing and proofreading often that we forget fact-checking. In writers’ posts, respectable magazines have an individual committed only to verifying information.
Return to your paper and find the dates, addresses, numbers, etc., and compare them with the original source. It’s also necessary to make sure that the truth is not taken out of proportion. It will save your reputation with this job.
92. With the original source, re-check your quotations
It’s easy to make an error in the act of typing in the words of other people. Go back to the original source and, word by word, check your copy. You don’t want what they said to be misrepresented.
93. Ensure the inclusiveness of literature
Writers could get away with referring to all of mankind at one stage in human history (well, until the 1950s), with the pronoun “he.” Over time, people begin to understand that this omitted women and “they” became common to refer to a mixed-gender community. Other multicultural writing requires the usage of words that value disabled persons.
94. Test to see that all the references have actually been included.
You can plan to delete a theorist or two as you go along if you’re writing an academic paper. But then you fail to delete the quote from the article with your sources.
At the end of the writing and proofreading process, it’s still a good idea to search through the text to make sure you have actually included all the sources mentioned in the references. Delete citations that you don’t need anymore.
95. Make sure that you have stopped copying
If you’re referring to the work of other people, specifically the blog posts, news stories, and scholarly papers of others, make sure you don’t even copy a word. Taking even a sentence from another writer of 4 or 5 words will lead to plagiarism charges.
Since they can’t think of any means of writing an idea, several students slip into this pit. Still translate the thoughts of other people into your own terms. It’s more complicated, but it keeps your name intact.
96. Check your sources again
The sources lurk at the rear of the scholarly papers. Perhaps what makes everyone to fail to proofread them is the venue. Be sure you have the right names and titles and dates. Look out even for accuracy in formatting and capitalization (check your style guide).
97. Check line numbers for pages
It’s possible to lose track of the present number in papers with section numbers. This allows the next header of the segment to be counted with the same number as the last one. Count the heading numbers when you’re done drafting.
98. Headings from Proofread
When you’re too busy proofreading your document’s body text, missing the headings can be simple. Take one pass through the text, only searching for headings and subheadings to be correct. Since headings stand out to the reader automatically, errors stand out even more in them.
99. Any mathematics re-check
Math is not their strongest strength for many authors. Indeed, since they do not want to be interested with statistics, many authors prefer to publish. However, if you do have some math in your journals, double-check it. Your claims and your reputation can be undermined by glaring mathematical errors.
100. Confirm that the updated headings of the text fit the Table of Contents
You can fail to go back to the front and review the Table of Contents after a long proofreading. You may have altered the language of subheadings or chapters of events. Do the TOC fast proof and make sure the headings and titles of the chapter fit.