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After having written a good portion of their memoir, writers will sometimes begin to wonder if it is time to hire a writing professional to work with them to get the manuscript ready to go out into the world. At this stage, they may ask, “What’s the difference between proofreading and editing? And, how do I know which one I need?”

What Is Proofreading?

Proofreading is the more technical, nutsy-boltsy end of editing. Someone who is an editor will often also undertake to proofread a manuscript. Proofreading is concerned with mechanics:  spelling, punctuation, noun/verb agreement, other grammar problems, consistency (abbreviations, digits vs. numbers that are spelled out as words, etc.), obvious breaks from styling (inconsistencies in fonts, line spacing, spacing between words, and margins), and factual errors (dates, place names, historical facts).

Obviously, proofreading requires a solid foundation in grammar, vocabulary, and general knowledge. It requires an eye for detail. Proofreaders refer often to the following in hard copy or on the internet: a dictionary, an atlas, and an encyclopedia.

What Exactly Is the Difference Between Proofreading and Editing ?

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Are you a writer who has felt cramped because you do not have a dedicated space for writing your memoir?

You have read about writing spaces and have longed for one, but do you really need one?

An outside writing space

A dedicated writing space sounds great to me—and a luxury I am not willing to let my writing wait for. In fact, I have never used outside writing rooms (also known as “office”—except for once when I borrowed a summer home for a week and finished The Photo Scribe / How to Write the Stories Behind Your Photos there as I wrote ALL day. Being at that oceanside house was very productive as I had nothing else to do. It was either write or be bored. The book had been stalled and it raced to the finish line in that week.

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How does memoir coaching improve your manuscript?

“What does ‘My family was poor’ mean, ” I asked a memoir writer in a recent coaching session.

“Poor?” he asked at the other end of the phone line. “What do you mean what does poor mean? Poor means poor!”

“Does poor mean you didn’t have enough to eat or does it mean you never ate out at restaurants? Does poor mean you were forced to run out on your rent or does it mean you did not have an in-ground pool?”

Clearly, descriptive always adjectives don’t mean what we think they mean!

Empty literary “calories”

On the spot, I shared with him how adjectives are empty literary “calories.” They do nothing for the story but fill up space. They pretend to be effective but are not. Every writer needs to depend on scenes, dialog, settings, characters to tell the real story.

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When writing about non-events, it can seem like they don’t belong in a memoir. But, often, non-events can have been more difficult than the “events” that do challenge us.

What are Non-Events?

While having coffee in a restaurant recently, I saw a man and a 14- or 15-year-old boy whom I took to be his son walk in together and order. Then, carrying their trays, they sat at a table near me. At first, they were both silent, and then the boy began to speak. He spoke quite a bit. I couldn’t hear the words, but he seemed to be talking about something that had happened to him. The man occasionally nodded his head in response, but I heard him talk only once. The boy kept speaking. His head and arms were involved. He evidently expected responses which, other than via a nod, were not forthcoming.

Perhaps I fantasized elements of my own life, but I imagined the boy wanting his father to answer, to engage in an exchange with him but nothing of the sort happened. At one point, as the boy was speaking, his father got up and went to the trash basket and dumped the contents of his tray in and waited for the boy to come do the same. Seeming to understand that the meal was over from the father’s point of view, the boy got up and dumped his things into the trash also and the two walked out together.

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Are you making this memoir writing mistake that may be undermining your lifestory?

The following is based largely on a response I wrote to a comment on a post called But is it a Memoir? Rereading my comment, I realized it is of value to all the new readers to this blog since then—and to readers who may have forgotten or never read it.

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A Memoir Serves as a Guide to the Reader

Liberties with facts ultimately, I believe, undermine the authority of a memoirist to present his/her life experience as a lived (vs. fictionalized) version of the mythic journey. The lived hero’s tale must figure at the center of every memoir if the story is to rise above a chronology, a dirge or an encomium. In the nameless book I quoted in But is it a Memoir?, too many paragraphs erode confidence in the memoirist’s fidelity to what happened (the lived experience) and create a sense of fictionalization–of choices to nurture the drama of the story (by making things up) over decisions to explore only what happened in view of arriving at an understanding/appreciation of the lived experience.

If one accepts that fiction begins with feeling/insight (what we might call “theme”–example: “life is hard”) and ends up with plot line, characters and setting which will hold the writer’s insight for the reader, then one can grasp that fiction is based a priori on the author’s “take.” In a very real and different way, memoir begins with plot, characters and setting and proceeds to theme (“wow, that life as it was lived was hard”).

Details can throw the reader off.

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What does writing a memoir have to do with a writing community?

Show me your friends and I will show you your future.

There’s a bit of folk wisdom—or there should be if there isn’t—that goes somewhat like the above.

Isn’t our belief in the truth of “show me your friends and I will show you your future” why we are reassured when we see our children hanging out with “nice” kids, children who are respectful and serious about school, who benefit from healthy pastimes—drama club, sports, an interesting job—and who find ways to enjoy themselves that is not injurious  to themselves or to others? Why? Of course, when we see our children with such friends, we know they are learning, or having reinforced, habits that will serve them well as adults.

How does this apply to writing a memoir? Well …

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While family and friends are a worthy readership for your memoir, it is possible to write for a larger audience.

Many memoir writers I have worked with will admit, if pushed, that they would enjoy a larger audience. I believe it is a pleasure for most writers to discover that the words they have written appeal to strangers and may even move them to action.

Here are four suggestions to enable your story to appeal to a broader public.

1) Write a story that is truly well-written and whose reading—the prose itself—will bring joy to your reader.

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You can become a better writer, but it will take some work.

How do you become a better writer? Well, how do you achieve mastery in any skill? The answer, however it is presented, comes down to both acquiring knowledge pertaining to the skill and to putting in the time to practice the skill with critiques available to correct your technique and approach.

This is what I look for in the membership sites I am a member of. I benefit from significant new material sent to me regularly, from the live interactions via conference calls, individual contact or webinar and I also appreciate returning to the membership pages to review material. In this way I have contact with a master and I am revising my skills in a community of practitioners.

At the Memoir Network, I have created a master writer group that meets many of the same needs I have had met in the membership groups I subscribe to. This master writer group is called Write Your First Memoir Draft Course. A membership in the Write Your First Memoir Draft Course can get you in the frame of mind to undertake and finish your memoir.

This course has all the components to guide you to become a better writer.

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When you follow a memoir writing schedule to write your lifestories at a certain time, then you will not feel anguished if you are not writing all the time. Because the unconscious seems to thrive on ritual—and memory depends heavily on the cooperation of the unconscious as well as the effort to remember you will inevitably find yourself remembering more when you write regularly.

Write at the same time—say every evening from 7 to 8:30 PM or every other morning from 6:30 to 7:30 AM. You will find your imagination automatically gearing up at those times when you yourself open up to writing at set times. It’s like your appetite being whetted by knowing a mealtime is approaching. One moment you’re not hungry and the next—after you’ve realize it’s quarter to twelve—you feel famished!

You must live like a bourgeois so that you can write like a bohemian. —Honoré Balzac

There are many options for creating a schedule.

1. You can assign your writing a number of hours per week.

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Difference between proofreading and editing

The Difference Between Proofreading and Editing

By

Writers who have written a good portion of their memoir will sometimes begin to wonder if it is time to hire a professional to work with them. At this stage, they may ask me, “What’s the difference between proofreading and editing? And, how do I know which one I need?” (more…)

a room of one's own

A Room of One’s Own to Write Memoir In

By

An outside writing space sounds great to me—and a luxury I am not willing to wait for. In fact, I have never used outside writing rooms—except for once when I borrowed a summer home for week and finished a book there as I wrote ALL day. Being there was very productive as I had nothing […]

writing about non-events

Writing about Non-Events: They Belong in Your Memoir Writing

By

Non-events belong in memoir writing. I witnessed one recently while having coffee in a restaurant. A man and a 14- or 15-year-old boy whom I took to be his son walked in together and ordered. At first they were both silent, and then the boy began to speak. He spoke quite a bit. I couldn’t […]

write for a larger audience

Become a Better Writer: 4 Ways

By

You can become a better memoir writer, but it will take some work. How do you achieve mastery in a skill? The answer, however it is presented, comes down to both acquiring knowledge pertaining to the skill and to putting in the time to practice the skill with critiques available to correct your technique and […]