editing essay

Editing and Proofreading

What this handout is about.

This handout provides some tips and strategies for revising your writing. To give you a chance to practice proofreading, we have left seven errors (three spelling errors, two punctuation errors, and two grammatical errors) in the text of this handout. See if you can spot them!

Is editing the same thing as proofreading?

Not exactly. Although many people use the terms interchangeably, editing and proofreading are two different stages of the revision process. Both demand close and careful reading, but they focus on different aspects of the writing and employ different techniques.

Some tips that apply to both editing and proofreading

• Get some distance from the text! It’s hard to edit or proofread a paper that you’ve just finished writing—it’s still to familiar, and you tend to skip over a lot of errors. Put the paper aside for a few hours, days, or weeks. Go for a run. Take a trip to the beach. Clear your head of what you’ve written so you can take a fresh look at the paper and see what is really on the page. Better yet, give the paper to a friend—you can’t get much more distance than that. Someone who is reading the paper for the first time, comes to it with completely fresh eyes.
• Decide which medium lets you proofread most carefully. Some people like to work right at the computer, while others like to sit back with a printed copy that they can mark up as they read.
• Try changing the look of your document. Altering the size, spacing, color, or style of the text may trick your brain into thinking it’s seeing an unfamiliar document, and that can help you get a different perspective on what you’ve written.
• Find a quiet place to work. Don’t try to do your proofreading in front of the TV or while you’re chugging away on the treadmill. Find a place where you can concentrate and avoid distractions.
• If possible, do your editing and proofreading in several short blocks of time. Your concentration may start to wane if you try to proofread the entire text at one time.
• If you’re short on time, you may wish to prioritize. Make sure that you complete the most important editing and proofreading tasks.

Editing is what you begin doing as soon as you finish your first draft. You reread your draft to see, for example, whether the paper is well-organized, the transitions between paragraphs are smooth, and your evidence really backs up your argument. You can edit on several levels:

Have you done everything the assignment requires? Are the claims you make accurate? If it is required to do so, does your paper make an argument? Is the argument complete? Are all of your claims consistent? Have you supported each point with adequate evidence? Is all of the information in your paper relevant to the assignment and/or your overall writing goal? (For additional tips, see our handouts on understanding assignments and developing an argument .)

Overall structure

Does your paper have an appropriate introduction and conclusion? Is your thesis clearly stated in your introduction? Is it clear how each paragraph in the body of your paper is related to your thesis? Are the paragraphs arranged in a logical sequence? Have you made clear transitions between paragraphs? One way to check the structure of your paper is to make a reverse outline of the paper after you have written the first draft. (See our handouts on introductions , conclusions , thesis statements , and transitions .)

Structure within paragraphs

Does each paragraph have a clear topic sentence? Does each paragraph stick to one main idea? Are there any extraneous or missing sentences in any of your paragraphs? (See our handout on paragraph development .)

Have you defined any important terms that might be unclear to your reader? Is the meaning of each sentence clear? (One way to answer this question is to read your paper one sentence at a time, starting at the end and working backwards so that you will not unconsciously fill in content from previous sentences.) Is it clear what each pronoun (he, she, it, they, which, who, this, etc.) refers to? Have you chosen the proper words to express your ideas? Avoid using words you find in the thesaurus that aren’t part of your normal vocabulary; you may misuse them.

Have you used an appropriate tone (formal, informal, persuasive, etc.)? Is your use of gendered language (masculine and feminine pronouns like “he” or “she,” words like “fireman” that contain “man,” and words that some people incorrectly assume apply to only one gender—for example, some people assume “nurse” must refer to a woman) appropriate? Have you varied the length and structure of your sentences? Do you tends to use the passive voice too often? Does your writing contain a lot of unnecessary phrases like “there is,” “there are,” “due to the fact that,” etc.? Do you repeat a strong word (for example, a vivid main verb) unnecessarily? (For tips, see our handouts on style and gender-inclusive language .)

Have you appropriately cited quotes, paraphrases, and ideas you got from sources? Are your citations in the correct format? (See the UNC Libraries citation tutorial for more information.)

As you edit at all of these levels, you will usually make significant revisions to the content and wording of your paper. Keep an eye out for patterns of error; knowing what kinds of problems you tend to have will be helpful, especially if you are editing a large document like a thesis or dissertation. Once you have identified a pattern, you can develop techniques for spotting and correcting future instances of that pattern. For example, if you notice that you often discuss several distinct topics in each paragraph, you can go through your paper and underline the key words in each paragraph, then break the paragraphs up so that each one focuses on just one main idea.

Proofreading

Proofreading is the final stage of the editing process, focusing on surface errors such as misspellings and mistakes in grammar and punctuation. You should proofread only after you have finished all of your other editing revisions.

Why proofread? It’s the content that really matters, right?

Content is important. But like it or not, the way a paper looks affects the way others judge it. When you’ve worked hard to develop and present your ideas, you don’t want careless errors distracting your reader from what you have to say. It’s worth paying attention to the details that help you to make a good impression.

Most people devote only a few minutes to proofreading, hoping to catch any glaring errors that jump out from the page. But a quick and cursory reading, especially after you’ve been working long and hard on a paper, usually misses a lot. It’s better to work with a definite plan that helps you to search systematically for specific kinds of errors.

Sure, this takes a little extra time, but it pays off in the end. If you know that you have an effective way to catch errors when the paper is almost finished, you can worry less about editing while you are writing your first drafts. This makes the entire writing proccess more efficient.

Try to keep the editing and proofreading processes separate. When you are editing an early draft, you don’t want to be bothered with thinking about punctuation, grammar, and spelling. If your worrying about the spelling of a word or the placement of a comma, you’re not focusing on the more important task of developing and connecting ideas.

The proofreading process

You probably already use some of the strategies discussed below. Experiment with different tactics until you find a system that works well for you. The important thing is to make the process systematic and focused so that you catch as many errors as possible in the least amount of time.

• Don’t rely entirely on spelling checkers. These can be useful tools but they are far from foolproof. Spell checkers have a limited dictionary, so some words that show up as misspelled may really just not be in their memory. In addition, spell checkers will not catch misspellings that form another valid word. For example, if you type “your” instead of “you’re,” “to” instead of “too,” or “there” instead of “their,” the spell checker won’t catch the error.
• Grammar checkers can be even more problematic. These programs work with a limited number of rules, so they can’t identify every error and often make mistakes. They also fail to give thorough explanations to help you understand why a sentence should be revised. You may want to use a grammar checker to help you identify potential run-on sentences or too-frequent use of the passive voice, but you need to be able to evaluate the feedback it provides.
• Proofread for only one kind of error at a time. If you try to identify and revise too many things at once, you risk losing focus, and your proofreading will be less effective. It’s easier to catch grammar errors if you aren’t checking punctuation and spelling at the same time. In addition, some of the techniques that work well for spotting one kind of mistake won’t catch others.
• Read slow, and read every word. Try reading out loud , which forces you to say each word and also lets you hear how the words sound together. When you read silently or too quickly, you may skip over errors or make unconscious corrections.
• Separate the text into individual sentences. This is another technique to help you to read every sentence carefully. Simply press the return key after every period so that every line begins a new sentence. Then read each sentence separately, looking for grammar, punctuation, or spelling errors. If you’re working with a printed copy, try using an opaque object like a ruler or a piece of paper to isolate the line you’re working on.
• Circle every punctuation mark. This forces you to look at each one. As you circle, ask yourself if the punctuation is correct.
• Read the paper backwards. This technique is helpful for checking spelling. Start with the last word on the last page and work your way back to the beginning, reading each word separately. Because content, punctuation, and grammar won’t make any sense, your focus will be entirely on the spelling of each word. You can also read backwards sentence by sentence to check grammar; this will help you avoid becoming distracted by content issues.
• Proofreading is a learning process. You’re not just looking for errors that you recognize; you’re also learning to recognize and correct new errors. This is where handbooks and dictionaries come in. Keep the ones you find helpful close at hand as you proofread.
• Ignorance may be bliss, but it won’t make you a better proofreader. You’ll often find things that don’t seem quite right to you, but you may not be quite sure what’s wrong either. A word looks like it might be misspelled, but the spell checker didn’t catch it. You think you need a comma between two words, but you’re not sure why. Should you use “that” instead of “which”? If you’re not sure about something, look it up.
• The proofreading process becomes more efficient as you develop and practice a systematic strategy. You’ll learn to identify the specific areas of your own writing that need careful attention, and knowing that you have a sound method for finding errors will help you to focus more on developing your ideas while you are drafting the paper.

Think you’ve got it?

Then give it a try, if you haven’t already! This handout contains seven errors our proofreader should have caught: three spelling errors, two punctuation errors, and two grammatical errors. Try to find them, and then check a version of this page with the errors marked in red to see if you’re a proofreading star.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Especially for non-native speakers of English:

Ascher, Allen. 2006. Think About Editing: An ESL Guide for the Harbrace Handbooks . Boston: Wadsworth Cengage Learning.

Lane, Janet, and Ellen Lange. 2012. Writing Clearly: Grammar for Editing , 3rd ed. Boston: Heinle.

For everyone:

Einsohn, Amy. 2011. The Copyeditor’s Handbook: A Guide for Book Publishing and Corporate Communications , 3rd ed. Berkeley: University of California Press.

Lanham, Richard A. 2006. Revising Prose , 5th ed. New York: Pearson Longman.

Tarshis, Barry. 1998. How to Be Your Own Best Editor: The Toolkit for Everyone Who Writes . New York: Three Rivers Press.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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• 13 Essential Editing Tips to Use in Your Essay Writing

The good student strives constantly to achieve a better essay each time they write one.

It can be a challenge to find ways to keep improving, but one way of making your essays instantly better is effective editing. Editing your essay before you submit it could mean the difference between a good grade and a brilliant one, so it’s worth taking fifteen minutes or so before you send it off just checking through it to make sure that the structure and wording is as good as it can be. In this article, we give you some tips to think about when you’re editing your own writing. Keep these tips alongside you to use as a checklist and you can’t go far wrong!

1. Start by getting the structure right

If you have time, try to leave a bit of time between finishing your essay and starting the editing process. This gives you time to approach it feeling reasonably fresh; if you edit immediately after spending a long time on something, you might find that you’re so close to it that you’re unable to spot errors. When you do sit down to look through it, start by looking at its structure. Think about the overarching shape of the argument you’re developing and check that the points you’ve made help build your essay towards a logical conclusion. You may have written an essay with the points in order of when they occurred to you, but is this really the most sensible order? Does one point follow logically on from the other? Would it make the essay more interesting to include a certain point near the beginning to tease the reader, or are you revealing too much in the opening, meaning it would be better to move some points nearer the end? These are just a few of the ways in which it might be possible to improve the structure, so it helps to keep in mind your overall argument and ensure your structure puts it across as effectively as possible. With word processors now the primary means of writing essays, it couldn’t be easier to rearrange paragraphs into a more logical structure by dragging and dropping or cutting and pasting paragraphs. If you do this, don’t forget to reread the essay to ensure that the wording works with this new order, otherwise you may end up with a sentence leading into the wrong paragraph.

2. Prune long sentences and paragraphs

Whether you’ve exceeded your word count or not, long sentences and paragraphs should be edited because they can be trickier to read, and risk being boring or hard to follow. Try, therefore, to keep sentences to a maximum of two or three clauses (or segments). Avoid long paragraphs by starting a new one if you find one getting longer than three or four sentences: a wall of text can be off-putting to the reader. Leave a space between paragraphs if you’re typing your essay, as we’re doing in this article. Another way of keeping sentences to a reasonable length is to go through what you’ve written and tighten up the wording. If you find yourself writing long sentences, try to look for ways in which you can reword them to express what you’re trying to say more concisely. You’ll probably find numerous instances of phrases that take many words to say what could be said in two or three.

3. Keep overly complicated language in check

It’s going to look obvious if you’ve had a thesaurus next to you while writing, just so that you can replace all the simple words with more complicated ones. The thing is, it doesn’t always make you look intelligent; you may, for instance, inadvertently choose the wrong synonym , not realising that even close synonyms can have subtly different meanings or connotations. Sometimes using big words where simple ones would suffice can seem contrived and pompous; aim for clear, concise language to avoid being verbose or pretentious. That’s not to say you shouldn’t use more complex words at all – just choose the situation carefully and don’t overdo it.

4. Watch for repetition of ideas and words

It’s easy to repeat yourself without realising it when you’re writing, but the editing process is there to enable you to spot this before your teacher or lecturer sees it. As you read through your essay, keep a look out for ideas you’ve repeated and delete whichever repetitions add nothing to your essay (don’t forget that the first instance of the idea may not be the most appropriate place for it, so consider which is the best moment to introduce it and delete the other mentions). On a related note, look out for instances in which you’ve laboured the point. Going on about a particular point for too long can actually undermine the strength of your argument, because it makes you look as though you’re desperately grappling to find supporting facts; sometimes a simple, clear statement with a brief piece of evidence to back it up is all that’s needed. You should be equally wary of repetition of words within the same sentence or paragraph. It’s fine to repeat common words such as “the”, obviously, but it’s best to avoid using the same connecting words, such as “also”, more than once in the same paragraph. Rephrase using alternative expressions, such as “what’s more”. More unusual words should be used just once per paragraph – words such as “unavoidable”, for example – unless it’s for emphasis.

5. Don’t rely on the spellcheck

It’s a tip we’ve told you before, but it’s worth repeating because it’s very important! The spellcheck will not pick up every single error in your essay. It may highlight some typos and misspellings, but it won’t tell you if you’ve inadvertently used the wrong word altogether. For example, you may have meant to write the word “from”, but accidentally mistyped it as “form” – which is still a word, so the spellchecker won’t register it. But it’s not the word you meant to write.

6. Spotting typos

It’s said that if you read through your work backwards, you’re more likely to spot typos. This is probably because it’s giving you a new perspective on what you’ve written, making it easier to spot glaring errors than if you read through it in the order in which you wrote it and in which you know what to expect. So, start with the last sentence and keep going in reverse order until you get to the beginning of your essay. Another tip is to print out your essay and take a red pen to it, circling or underlining all the errors and then correcting them on the computer later. It’s often easier to read a document from a printed version, and it also means that you can follow what you’re doing by touching each word with the end of your pencil to make sure you’re not skimming over any errors.

7. Omit unnecessary words and eradicate weasel words

Without even realising it, you’ve probably used plenty of unnecessary words in your writing – words that add to the word count without adding to the meaning – and you’ll find that your writing works just as well without them. An example is the word “very”, which almost always adds nothing to what you’re trying to say. As Mark Twain said , “Substitute ‘damn’ every time you’re inclined to write ‘very’; your editor will delete it and the writing will be just as it should be”. Weasel words are worse, as they are used to hide weak or objectionable arguments. A study of Wikipedia found that these tend to fall into three different categories: numerical vagueness (such as “many people say” without specifying who these people are), the use of the passive voice to distance the writer from what they’re saying (“it is often said”, for example, without saying by whom it is often said), and the use of adverbs designed to soften a point (such as “probably”). Look out for these in your own writing and rephrase to remove them; they are disingenuous and your essay will be stronger without them.

8. Remove tautologies

A tautology is a stylistic error involving redundant words, in this case the use of two consecutive words that mean the same thing, such as “the big giant” (referring simply to a “giant” would have been sufficient to convey the meaning). Students often use them when they’re trying to make their writing wordier, not realising that they simply make their writing worse.

9. Watch the commas

People tend either to put too many commas into a sentence, or too few. Too many, and the sentence sounds broken and odd; too few, and the reader has to read the sentence several times to figure out what you’re trying to say, because it comes out in a long, jumbled mess. The secret is to put commas in where you would naturally pause when speaking aloud. If it helps, try reading your writing aloud to see if it flows. Where you would pause for slightly longer, a semi-colon might be more appropriate than a comma. Use a semi-colon to connect two independent clauses that would work as two separate sentences.

10. Consistent spelling

Some words have more than one correct spelling, and the important thing is to be consistent with which one you use. You could, if you wanted to make your life a little easier, delve into the settings on your word processor and manipulate the spellcheck so that it highlights the version you decided against – or even autocorrects to the right version. If you’re writing in the UK, ensure that your word processor’s default language is set to UK English so that you don’t end up inadvertently correcting English spellings to US ones (“colour” to “color”, for example).

11. Get rid of exclamation marks and ellipses

In virtually every case, you don’t need to use an exclamation mark, and – at least in academic writing – your use of one may result in your writing not being taken quite so seriously. Only use them in exceptional circumstances when you really want to convey a feeling of surprise or outrage. Ellipses (“…”) should also be avoided except when you’re indicating the truncation of a quote from another writer (that is, where you left a bit out).

12. Attribute quotations

Quotations from authors or academic writers should be attributed to them. As you read through your essay, keep a look out for any quotations you’ve mentioned and make sure that you say where they’re from. If you’re writing an essay for university, a footnote would be an appropriate way of citing another writer. If you are using footnotes, this gives an extra area on which to focus your editing skills; ensure that all footnotes are consistently formatted, and don’t forget to put a bibliography containing all the books you’ve used at the end.

13. Consistent formatting

The appearance of your essay matters, too – and the formatting should not be neglected when you’re in editing mode. This means being consistent with your use of fonts, using italics or underline for emphasis rather than using them interchangeably, ensuring that the spacing between lines is consistent throughout, and other such minor aesthetic points. This may not sound very important, but consistent formatting helps your essay look professional; if you’ve used different fonts or line spacing or anything like that, your essay will look a mess even if what you’ve said in it is good. You could make use of the pre-populated formatting options in your word processor to ensure consistency throughout, with header 1 for the title, header 2 for subheadings and ‘normal text’ for the body of the document. If you find that there are too many things on this list to think about in one go when you’re reading through your essay, you could read through it several times looking out for different things each time. All this may seem a lot to think about when you’ve already put in so much effort to write the essay in the first place, but trust us: it will pay off with a sleek and polished piece.

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May 28, 2024 Food + Drink » Food + Drink Features

Essay: How a New Biography Deepened My Understanding of the Legendary Cookbook Editor Judith Jones 

Published May 28, 2024 at 1:55 p.m. | Updated May 29, 2024 at 10:12 a.m.

• Judith Jones in 2011 in New York City

When I first interviewed Judith Jones in 1984 for a newspaper story about a book on New England cooking she and her husband, Evan, were working on, she let him do the talking. Fit and petite, Jones smiled encouragingly at him as she fried milkweed pods and squash blossoms stuffed with chorizo in their cozy cottage in the Northeast Kingdom.

Though she was 60, Jones seemed girlish and had a way of dropping her voice as though sharing a delicious secret. She was so self-effacing that I didn't realize at the time what an outsize influence she had on what America reads and eats. Like any good editor, Jones liked to stay in the background.

Working at the New York publisher Alfred A. Knopf when she was 36, she famously scooped up Julia Child's Mastering the Art of French Cooking , which another publisher had rejected. Jones believed the French approach to food was just what many Americans in the 1960s yearned for.

She edited literary giants such as Langston Hughes, John Updike and Anne Tyler, and she also published the signal cookbooks of the 1960s, '70s and '80s in every major cuisine, including those by Black, Asian and Indian authors, such as Edna Lewis, Irene Kuo and Madhur Jaffrey. At a time when the publishing world viewed cookbooks with thinly veiled disdain, Jones edited them like works of literature.

When I became a magazine editor and later a book editor, Jones was my role model, the gold standard. She gave me my first taste of the glamour of publishing, introducing me to Lauren Bacall in the Knopf office and showing me around Julia Child's Cambridge, Mass., kitchen while her PBS show was being filmed. Later, Jones became one of my authors, when I republished Knead It, Punch It, Bake It! , a book for kids that she wrote with Evan.

"My happiest memories are associated with food," Jones told me then. "I can still remember the plop of batter as it was stirred by a wooden spoon."

• The Editor: How Publishing Legend Judith Jones Shaped Culture in America by Sara B. Franklin. Atria Books. 316 pages. $29.99

For the more than 30 years that I knew her, I often wondered how Jones discovered such a sterling cast of writers, from Pulitzer Prize winners to a global roster of culinary experts who expanded our palates and pantries. What's more, she made many of those books blockbusters.

How did this reserved woman, who was never happier than when she was swimming in the icy waters of the pond at her Walden cabin, develop that North Star judgment?

In The Editor: How Publishing Legend Judith Jones Shaped Culture in America , a riveting biography by Sara B. Franklin, I found answers and learned just how much I didn't know about my friend.

Franklin, who is the author of a previous book on the African American chef Edna Lewis, spent a decade overall getting to know Jones and then interviewing nearly everyone who knew her, including me. The biographer was granted access to Jones' personal papers stretching back to her childhood. The result is an intimate but clear-eyed portrait that clips along like a fast-paced novel.

Jones, the daughter of a lawyer from Montpelier and a class-conscious New York City mother, grew up on Manhattan's tony Upper East Side but from the start preferred Vermont, where the family summered.

"I used to stamp my feet and say, 'I'm a Vermonter, not a New Yorker,'" she told Franklin. Before attending an exclusive New York City private school, she convinced her parents to let her spend eighth grade in Montpelier. "I was going to Vermont to grow up," she confided to Franklin. Instead of a Seven Sisters college (the women's equivalent of an Ivy League at the time), she chose Bennington College, where the poet Theodore Roethke, her professor, became her lover.

For the rest of her life, Vermont was both her refuge and a tonic. After 50 years at Knopf, she retired to Walden to write books and raise grass-fed cattle until she died there in 2017 of complications from Alzheimer's.

• Courtesy Of Bronwyn Dunne
• Judith Jones circa 1982 in Walden

Those seeking clues to how Jones became one of the great editors of the 20th century will find plenty of them in Franklin's book. At 17, while interning at Doubleday, she edited a best-selling author with no instructions, telling Franklin, "I decided to trust my own instinct."

The job bored her, though, so she decamped to Paris. Her adventures make for one of the book's most intriguing chapters. The 24-year-old drank in the Sartre-Camus literary scene; hung out with novelist Gore Vidal and his lover Tennessee Williams; and started a salon-supper club with two friends, cooking for guests to bankroll her love of food and wine.

In Paris, Jones fell in love with Evan and married him. And as a mere assistant in Doubleday's outpost in the city, she plucked a 13-year-old girl's diary out of a slush pile of rejects and told her incredulous boss he had to publish it in English. (He later took full credit for Anne Frank: The Diary of a Young Girl .)

Franklin shows that Jones was not infallible. After publishing Sylvia Plath's poetry at Knopf, she firmly declined her novel, The Bell Jar , saying it wasn't believable.

Throughout the book, Franklin skillfully situates Jones' personal and professional life in the context of women's history. And she notes, despite all the mega bestsellers, Jones remained woefully underpaid compared to her male colleagues.

Though no book can provide a road map to genius, The Editor gave me something better: an indelible picture of the grit, guile and passion for finding the right words of the woman who inspired my career.

Rux Martin is a Ferrisburgh-based freelance editor and writer. She retired from Houghton Mifflin Harcourt in 2019 after almost two decades of editing cookbooks by Jacques Pépin, Dorie Greenspan, Pati Jinich, Mollie Katzen and Marcus Samuelsson.

From The Editor: How Publishing Legend Judith Jones Shaped Culture in America

After the war, American women had been pushed from the public realm when they were ousted en masse from paid jobs. Now, with their culinary skills recast as old-fashioned and obsolete, they were being edged out of the private space of their kitchens, too. It was almost as though women themselves were falling into disuse. Judith wanted to resist, and she understood that Julia Child did, too. While living in Paris, both women had come to see the kitchen as a place of purpose and sensual pleasure, and one of power as well. In their view, cooking wasn't drudgery (though it certainly was work), and it wasn't a gendered trap to be escaped. Rather, they saw the culinary arts as a gateway to the wider world and a richer, more autonomous life. Through food, Judith and Julia had found something of a shared politics, a way to express a femininity unfettered by what they saw as conservative American norms. "Food was our rebellion," Judith told me. "It gave us the courage to see things, make things happen." The time was ripe, Judith thought, to get their message through.

The original print version of this article was headlined "Taste Maker | Essay: How a new biography deepened my understanding of the legendary editor Judith Jones"

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Publisher and sometime vermonter judith jones celebrates 50 years of mastering the art of french cooking.

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The Muse Knows

The tenth muse: my life in food by judith jones, knopf, 290 pages. $24.95.

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Tags: Food + Drink Features , Judith Jones , The Editor , cookbooks , publishing

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