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Acronyms

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free pages from our English Language software program

Acronyms – definition

Acronyms An acronym is an abbreviation created from the initial letters of a phrase or name.

Examples
BBC British Broadcasting Corporation
IBM International Business Machines
NATO North Atlantic Treaty Organisation
Use

Acronyms These acronyms are useful, because they save you the trouble of writing out the name in full every time you wish to refer to it.

Acronyms Some acronyms, like those above, are very well known, and can be used without too much problem in most written communication.

Acronyms However, any which are not so well know should always be named in full the first time they are used, and the acronym shown immediately afterwards in brackets. Here’s an example.

The committee elected four new members to the Corporate Affairs Steering Group (CASG) who will report immediately before the annual general meeting (AGM) at the end of July.

Acronyms Some abbreviations are spoken as if they were complete words: for instance, NATO (“NayTow”). and International Criminal Police Organization (“Inter-Pol”)

Acronyms Others are spelled out. For instance Very Important Person is (VIP) usually spoken as three separate letters “Vee-Eye-Pea”.

Acronyms There is no need to put full stops between the letters of an acronym.

Acronyms The plural of an acronym is shown by adding the letter s – as in compact disks (CDs)

Acronyms There is no need to use an apostrophe, which should be reserved for cases showing possession – as in ‘the CD’s jewel case was broken’.

Acronyms Most acronyms are formed by the use of capital letters, but where a normally pronounceable word is formed, they often include lower case letters as well – as in (Radar) – radio detecting and ranging.

Acronyms Acronyms are particularly useful when taking notes, but you should remember to make a record of the full name of any new instances.

AIDS acquired immune deficiency syndrome
ASBO Anti-Social Behaviour Order
BBC British Broadcasting Corporation
CD Compact Disc
FAQ frequently asked questions
Gestapo Geheime Staatspolizei (secret state police)
Interpol International Criminal Police Organization
Laser Light Amplification by Stimulated Emission of Radiation
NATO North Atlantic Treaty Organization
Radar radio detection and ranging
Scuba self-contained underwater breathing apparatus
SQL Structured Query Language
WHO World Health Organisation

Self-assessment quiz follows …

© Roy Johnson 2011

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Analysing characters

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how to study and understand fictional characters

Analysing characters

When studying literature, you will be asked to write about the characters in stories, plays, and novels. Most people find it easy to describe characters – that is, what they look like and what they do in the story. But it is much more difficult to analyse them. That’s because analysing characters in fiction requires not only insight into human behaviour but also the ability to make moral assessments about their psychology, motivations, and the consequences of their behaviour. This skill distinguishes an academic study of literature from casual leisure reading.

You need to know how fictional characters have been constructed by the author. After all, the very nature of a literary character is that it is a fictional construct. It’s an account of somebody who doesn’t exist in real life, but has been created by words written on paper. The character is imaginary, but if the author has been successful, we think of these characters as if they were real people. This attitude is described as a ‘suspension of disbelief’: that is, we are temporarily willing to believe that the character and the story are like real people.

Analysing characters

Eugene Onegin

Character analysis also requires the ability to understand the complex relationship between fiction and real life – a skill which requires a fairly mature reading experience. Fortunately, most people have been exposed to fictional narratives from an early age, and will already be experienced readers by the time they are asked to make such analyses.

What is a fictional character?

A fictional character is somebody in an imaginative literary work created by an author. The character could be Peter Rabbit, David Copperfield, Macbeth, or Madame Bovary. In other media, it could be Luke Skywalker (feature film), Donald Duck (cartoon), Dan Dare (comic), Super Mario (computer game), or someone from The Archers (radio).

What we can know about a character in fiction depends almost entirely on what the author decides to tell us. Authors normally create characters using any number of devices. They might reveal to us –

  • their name
  • their physical appearance
  • how they dress
  • how they behave
  • what they think and feel
  • what they say
The composition of a character

Authors are at liberty to combine these elements in whatever way they choose. They may give different levels of emphasis to any of these options. There are no fixed rules they must follow, but the outcome must be a coherent piece of characterisation.

Charles Dickens for instance went to a lot of trouble to give his characters unusual and memorable names – Uriah Heep, Lady Honoria Deadlock, Josia Tulkinghorn, and Inspector Bucket for instance. At the other extreme, the Czech writer Franz Kafka reduced his most famous protagonist to the single letter K, with no first name or surname at all.

Some characters are memorable because of the way they are depicted visually. For instance, Miss Havisham in Great Expectations has shut herself away in an old house for years and years wearing the wedding dress she wore on the day she was jilted at the altar. She is described as a cross between a waxwork and a skeleton.

The fictional character might have a peculiar way of speaking, or a physical habit that becomes easily recognisable. Mrs Malaprop in Sheridan’s play The Rivals is memorable because she often uses the wrong word in her statements. She says “promise to forget this fellow – to illiterate him, I say, quite from your memory” when of course she means obliterate. This characteristic is so easily recognisable that her name has been attached to that particular mis-use of language ever since – malapropism.

The good thing about this fictional technique is that it helps to fix the character in the audience’s mind. Its weakness as a technique is that it can reduce the character to no more than a verbal tic.

Some fictional characters are not given any name at all, and we know nothing about their appearance. Fyodor Dostoyevski’s Notes from Underground features a character whose name we don’t know, and whose appearance is never described. All we are told is what the character thinks – which is a torrent of existential rage against the world.

So – there are no fixed rules for the creation of fictional characters. Authors are free to tell us anything they wish about the characters they create. As readers we can merely hope that they are at least convincing or at best memorable. However, you need to be able to explain the mechanisms used to achieve this effect.

How to analyse a character

You can think of character analysis as a three part process. If you are a beginner, it will be safest to write about these parts separately. If you are more experienced, the parts may be combined – though you will still need to give your writing some structure.

  1. First – identify the character
  2. Second – describe the character
  3. Third – explain the character

Identify

In the first part of the process you are merely choosing the character you wish to write about. In many literary studies courses the character will be chosen for you by a question set for an essay or term paper. It is important to choose a character who is genuinely significant and who plays a dramatic part in the story.

Part of identifying a character is knowing their importance in the story. You will probably have no difficulty in distinguishing important characters (the protagonist or most significant character for instance) from lesser or secondary characters.

Describe

In the second part of the process you are ‘locating’ the character within the story and giving an overview of what part they play in its events. The term ‘describe’ implies that you can consider the character in isolation, and give a surface account of their presence in the story. You do not have to look under the surface to discuss any of their psychological motivation at this stage.

Explain

In the third part you will give an account of the character in relation to other people in the story or the play. You should explain what motivates the character, what the significance of their actions might be, and how they relate to other characters in the story or the theme of the work in general. At this stage you might also say something about their role in the story from an artistic point of view. That is, the role of the character in relationship to the events of the narrative.

Studying FictionStudying Fiction is an introduction to the basic concepts and technical terms you need when making a study of stories and novels. It shows you how to understand literary analysis by explaining its elements one at a time, then showing them at work in short stories which are reproduced as part of the book. Topics covered include – setting, characters, story, point of view, symbolism, narrators, theme, construction, metaphors, irony, prose style, tone, and interpretation. The book also contains self-assessment exercises, so you can check your understanding of each topic. Best-selling title, written by the author of these web pages.

Studying Fiction Buy the book at Amazon UK
Studying Fiction Buy the book at Amazon US

Character analysis – example

Identify

Joe Gargery in Great Expectations is very significant as a character. He acts as a formative influence on Pip; he is unwavering in his support for him throughout the novel; and he is instrumental in rescuing Pip from moral shoddiness in the final parts of the novel.

Describe

Joe is married to Pip’s elder sister and is therefore technically his brother-in-law; but he acts very much as a protective father-figure during Pip’s early life. Joe is naive, sometimes unconsciously comic, hard working and loving.

Explain

Joe represents the simple good nature that Dickens contrasts with Pip’s self-seeking complexity. His role as a constant in Pip’s life throws into sharp relief Pip’s plunge into increasing bad faith. The character of Joe is used as a fixed point by which we can trace Pip’s downfall and finally his moral redemption and recovery. Joe is also a comic foil against Mrs Joe’s violent behaviour as his termagant wife.

There is also a complex element in Joe’s child-like characterisation in relation to his wife Mrs Joe. He tolerates and never challenges his wife’s abusive behaviour towards both himself and her young brother Pip.

Narrative perspective

Thus far we have basic information about a fictional character – which we might call characteristics. But in addition, the author might provide any of the following information as well.

  • what the author thinks about them
  • what other characters think about them
  • what happens to them

This does not obtain so much in plays, where the author normally prescribes the appearance of characters and what they say – but nothing else. The point of view or perspective in this case is provided by the director of the play, in deciding how the play will be presented and how the characters will behave on stage.

In narrative fiction (novels and stories) you are likely to be presented with information about characters from a number of different sources – from the author, from other characters, possibly from a narrator, and of course from the characters themselves. Not all these items of information carry equal weight, and you will need to make careful discriminations in making your judgements.

Stock characters

What is a stock character? It’s a fictional creation that is a recognisable type who occurs in lots of other stories. This is what’s called a stereotype. Here are some examples you will recognise:

  • the miser
  • the mysterious stranger
  • the wicked stepmother
  • the absent-minded professor
  • the whore with a heart of gold
  • the damsel in distress
  • the hard boiled detective
  • the femme fatale
  • the gentleman thief

New stereotypes are being created all the time – and may be generated by new genres of fiction from film, television, and other media, as well as from the traditional literary genres of story, novel, and play.

Two and three-dimensional characters

The term two-dimensional character is used as an expression of negative criticism to label a character who always behaves in the same way, and does not change or grow as a result of the events in the story. They are sometimes referred to as cardboard or flat characters – as being flimsy, undeveloped, and not particularly credible.

It is a term used in contradistinction to a three-dimensional character which is used to describe fictional characters who have the depth and complexities of real human beings, and are therefore deemed more successful creations.

This ‘third’ dimension might be the capacity to change as a result of events in the story; it might be the successful depiction of contradictory beliefs and behaviour; or it might be acting on an irrational impulse – something which human beings are doing all the time.

For instance, in A Tale of Two Cities Sydney Carton is a cynical and alcoholic barrister who acts in a self-indulgent and disreputable manner throughout the majority of the novel. But at the end of story he takes another man’s place at the guillotine – an act of self-sacrifice which atones for all his past wrongdoings. Dickens makes the change of character credible, and Carton’s last words (his thoughts) have become famous: “It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.”

Dubious characters

Successfully realised characters are not necessarily likeable or even decent. Authors are at liberty to create characters who are flawed, and they might still be attractive or memorable..

Fagin in Oliver Twist is a grizzly old rogue who runs a children’s criminal gang. He mistreats the members of the gang, tells lies, and is partly responsible for the death of an innocent woman (Nancy). Despite all these negative characteristics, he is so vividly portrayed by Dickens that he remains a standout and very memorable figure in the novel.

Some characters might be likeable even though they commit reprehensible acts. Vladimir Nabokov’s protagonist Humbert Humbert in Lolita is attractively clever and very amusing, even though he abducts and sexually abuses a teenage girl and murders his rival, Claire Quilty. But the first-person account of events Humbert delivers is so full of jokes and witty observations of American life, that we tend to overlook his flaws.

Providing evidence

A detailed character analysis depends on a close reading of the text, coupled with an understanding of the character. It also requires evidence drawn from the text to support any argument about the character.

It is not enough to say that you don’t like a character, or disapprove of something they do in the story. What you are doing is closer to showing that you understand what the author is trying to demonstrate to the reader. This is the reason that it is necessary to understand the literary techniques by which characters are created.

© Roy Johnson 2014

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Analysing fiction – a glossary

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a checklist of literary terms

Analysing fiction requires that you are able to name and describe the features of a story or a novel that you find interesting. This means having a clear understanding of language and grammar, plus the basic elements of narrative prose. The definitions below are just the beginning. This is where the complex process of analysing fiction starts.

Vocabulary
The author’s choice of individual words – which may be drawn from various registers such as colloquial, literary, technical, slang, journalism, and may vary from simple and direct to complex and sophisticated.

Grammar
The relationships of the words in sentences, which might include such items as the use of adjectives for description, of verbs to denote action, switching between tenses to move between present and past, or any use of unusual combinations of words or phrases to create special effects.

Syntax
The arrangement and logical coherence of words in a sentence. The possibilities for re-arrangement are often used for emphasis or dramatic effect.

Figures of speech
The rhetorical devices often used to give decorative and imaginative expression to literature. For example – simile, metaphor, puns, irony.

Literary devices
The devices commonly used in literature to give added depth to a work. For example, imagery, point of view, symbolism, allusions.

Tone
The author’s attitude to the subject as revealed in the style and the manner of the writing. This might be for instance serious, comic, or ironic.

Narrator
The person telling the story. This may be the author, assuming a full knowledge of characters and their feelings: this is an omniscient narrator. It might alternatively be a fictional character invented by the author. There may also be multiple narrators. You should always be prepared to make a clear distinction between Author, Narrator, and Character – even though in some texts these may be (or appear to be) the same.

Analysing Fiction - Dictionary of Literary TermsChris Baldick’s Dictionary of Literary Terms has entries which range from definitions of ‘the absurd’ to ‘zeugma’. It’s also a guide to grammatical terms, traditional drama, literary history, and textual criticism. It contains over 1000 of the most troublesome literary terms you are likely to encounter. Some of the longer entries and explanations become like short essays on their subject.

Analysing fiction Buy the book from Amazon UK
analysing fiction Buy the book from Amazon US

Narrative mode
This is usually either the first person singular (‘I am going to tell you a story about…’) or the third person singular (‘The duchess felt alarmed…’).

Narrative
The story which is being told: that is, the history of the events, characters, or whatever matters the narrator wishes to relate to the reader.

Characterisation
The means by which characters are depicted or created – commonly by accounts of their physical appearance, psychological characteristics, direct speech, and the opinions of the narrator or other characters about them.

Point of view
The literary strategy by which an author presents the events of a narrative from the perspective of a particular person – which may be the narrator or may be a fictional character. The point of view may be consistent, or it may switch between narrator and character(s). It should not be confused with the mere opinion of a character or the narrator.

Structure
The planned underlying framework or shape of a piece of work. The relationship between its parts in terms of arrangement or construction.

Theme
The underlying topic or issue, often of a general or abstract nature, as distinct from the overt subject with which the work deals. It should be possible to express theme in a single word or short phrase – such as ‘death’, ‘education’, or ‘coming of age’.

Genre
The literary category or type (for instance, short story, novella, or novel) to which the work belongs and with whose conventions it might be compared. We become aware of genre through cultural experience and know for instance that in detective stories murder mysteries are solved; in fairy stories beautiful girls marry the prince; and in some modern short stories not much happens.

Cultural context
The historical and cultural context and the circumstances in which the work was produced, which might have some bearing on its possible meanings. A text produced under conditions of strict censorship might conceal its meanings beneath symbolism or allegory.

© Roy Johnson 2009

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Blogging – publish your writing

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a selection of resources + how to get started

If you want to try the latest thing in Net publishing, it’s called Blogging. A Blog (short for Web Log) is usually a combination of a personal diary, links to items of interest on the Internet, a commentary on them, plus personal thoughts and essays. It is a form of self-publishing, and because you can write whatever you wish is very popular with authors who have strong and unorthodox opinions.

Blogging began as a medium for Web-based personal diaries, and most people still use it for this purpose. But some bloggers have started to develop the medium for what is essentially self-publishing. They might post notes reflecting briefly on a topic or discuss it with other bloggers, but they also upload essays, articles, or opinion pieces which count as serious pieces of journalism, expressing ideas and points of view which might not be available elsewhere.

The mainstream media (MSM) made fun of blogging when it first appeared – but now they can’t get enough of it. Newspapers, radio and TV stations, and magazines of all kinds have their own blogs – and they can’t get enough user-generated content either. That’s writing done by you and me, which they don’t have to pay for.

Some bloggers with access to popular information have suddenly found their hobby has been transformed into a thriving business. Paul Staines’ Guido Fawkes started as an amateur political gossip blog, but now gets 2 million visitors a month and makes him a full time living via advertising. Ric Turner’s Blue Moon did the same thing for supporters of Manchester City FC.

In fact the latest generation of bloggers at the time of writing are uploading digital photographs, video clips, and audio files – which have spawned the term podcasting. It’s also free and easy to do. You simply add your own text into a ready-made form and press the SEND button.

Essential BloggingEssential Blogging offers a tour of the best blogging sites, how to upload and maintain your pages, and how to configure the options to get the best effects. A series of chapters, clearly written by enthusiasts, takes you through which Blog sites and software are available – from Blogger, Radio Userland (free software), Moveable Type, WordPress, and Blosxom. Some of these have developed rapidly beyond mere blogging tools into small-scale content management systems.

Are you likely to make an income from all this? Not directly – but there are all sorts of possible spin-offs. Lots of bloggers sign up as affiliates to Amazon, Google, and other commercial sites. They earn a small residual income from sending potential customers to buy books and software. Click one of the Amazon ads on this page, and you’ll see how it works.

There’s also the possibility of micro-payments. This is a system in which people are prepared to pay a small amount for downloading an article of interest. There’s still some resistance to this idea, but it’s now fairly common in downloading music files – so it might catch on.

 

Blogging GeniusBlogging: Genius Strategies for Instant Web Content Biz Stone covers most of these new possibilities in his book. He shows how to log onto the most popular site of all – Blogger – and establish your Web presence. Then he shows you how to add colour, text manipulation, and layout variety to your pages, then on to the serious business of making money.

There’s a chapter on arranging archives of your blogs, which can be done on a weekly or monthly basis. He also shows you how you can increase traffic to your blog. This text shows how to turn your home page into a microportal with fresh content to keep your readers coming back.

There are now all sorts of blogging support and development services springing up as the number of bloggers gets bigger and bigger. These range from online tutorials which will show you how to get set up — try BlogBasics — to tracking and site visitor statistics — try BlogFlux. And just to repeat the point yet again — it’s all free. If you want to see our blog, go to mantex.blogspot.com

 

The Weblog HandbookThe Weblog Handbook Rebecca Blood’s book is for anyone who has ever thought about starting a Weblog but isn’t sure how to post, where to find links, or even where to go to register. She certainly knows what she’s talking about, as you can see if you look at her own blog at RebeccaBlood.net.

She blogs regularly on topics which range from food and knitting to political activism and blogging itself. The Weblog Handbook is a clear and concise guide to everything you need to know about the phenomenon that is exploding on the Web. She expertly guides the reader through the whole process of starting and maintaining a Weblog and answers any questions that might pop up along the way, such as the elements of good Weblog design and how to find free hosting.

 

Blogging for DummiesBlogging for Dummies Brad Hill’s advice is aimed at getting you up and running as quickly as possible – though he begins with what blogs are – and what they are not. He explains the different types of blogs, and how and why they are different from web sites. The good thing is that he looks at all the options and draws up comparison charts which show the features, cost, and options offered by the various providers and software programs.

 

return button Publish your writing

© Roy Johnson 2009

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Bookseller jargon

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understanding the language of the book trade

Bookseller jargon
When buying second-hand books you’ll often come across bookseller jargon used to describe the goods they have on offer. These descriptions appear in both printed catalogues and on web site bookstores.

The bookseller is giving an accurate description of a book and its condition, but the description often contain lots of abbreviations and specialist terms (jargon). This can sometimes appear like a secret code, and might even include abbreviations of their own bookseller jargon terms.

There is a huge specialised vocabulary involved in the book trade – terms such as ‘foxing’ to describe discoloured pages, or ‘half-binding’ to indicate that the spine will be bound in a different material, usually leather.

It’s not necessary to learn all these terms, and you can often guess at the meaning of some of them. But knowing a few of the most common expressions can help you to get a better idea of what’s on offer – and save you from making a mistake.

Knowing something about this jargon can also help you to spot bargains when buying books for as little as a penny on Internet bookshop sites.

Bookseller jargon – example I

Let’s start with a fairly straightforward example from an advert on Amazon. It’s a second-hand copy of Charles Dickens’ novel Martin Chuzzlewit. The description is quite simple, but it does introduce a few bookseller jargon terms.

Published 1935, illustrations by Phiz. Burgandy boards with gold inscription to spine, author’s signature on front. Possibly published 1935. Corners bumped and boards a little grubby. Tanning to edges, Binding is pretty tight and very little staining to pages. A few pages turned at corners. Others in series are available. Quick dispatch from Oxford based hospice charity,

author’s signature – This is very misleading, because it’s not a signature. Dickens’ signature is printed on the cover.

Corners bumped – The corners of the book covers are bent or creased with use and age.That’s fairly normal in an old book.

Tanning – The colour of the covers is fading because of exposure to light.

Binding tight – The book will not open easily and generally does not want to remain open to any given page.

pages turned at corners – A previous reader has bookmarked pages by turning down the corner of some pages.

One interesting thing to note here is that the publisher is not mentioned. In fact the publisher is Odhams, and this series was a mass-produced very cheap edition. Copies are very easy to obtain anywhere – so the price being asked for this copy (£6.85) is far too high.

Bookseller jargon – example II

Here’s a relatively simple example from AbeBooks. It’s an advert for a first edition copy of Christopher Isherwood’s novel Goodbye to Berlin. You will notice that although the advert is descriptive, a few more bookseller jargon terms creep in.

Book Description: London, The Hogarth Press, 1939, 1939. Octavo. Original rough grey cloth, titles to spine in red, top edge stained red. With the dust jacket designed by Humphrey Spender printed in black and red with a photograph of a park scene by Hans Wild. Light partial toning to endpapers, an excellent copy in the lightly rubbed dust jacket with just a couple of minor nicks and creases. First edition, first impression. Published March 1939; 3,550 copies printed.

Octavo – This is the size of the book – five inches wide and eight to nine inches tall.

toning – One of many euphemisms booksellers use to describe the discoloration of paper with age.

endpapers – The sheets of paper pasted onto the inner covers of the book

lightly rubbed – This is wear caused to the edges of the book or its dust jacket as a result of being moved on and off a shelf. Another term might be ‘scuffed’.

nicks and creases – Nicks are small cuts or abrasions, and creases are permanent folds in paper which often occur on book jackets and inner pages.

first impression – The book comes from the first batch to be printed for this title – this is a guarantee of the book’s rarity.

As you can tell from this, book collectors are very concerned about the physical condition of the books they buy — with good reason. This one was for sale for £3,750.00

Bookseller jargon – example III

Here is a much more detailed and complex example. This an advert for a set of volumes which are a genuine rarity and an antiquity from the eighteenth century essayists Addison and Steele.

Addison, Johseph; Steele, Sir Richard. THE SPECTATOR. London: Printed for J. and R. Tonson and S. Draper 1749.
8 vols. T.p. devices., engraved frontiss., dec. head and tail pieces. Some sporadic very light browning, ex-libris Sir Thomas Miller Bt. and with sm. ownership signature, top edge of a couple of leaves in vol. 4 sl. chipped, slightly rubbed gilt filleted edges with some sl. wear to corners, full speckled calf with some minor light staining to a couple of boards, raised bands dec. gilt compartments and leather title labels to rubbed and slightly chipped spines..
£125.00

Eight volumes – This is a genuine eighteenth-centry collection for only £120.00 – which seems good value to me.

T.p. devices – Title page with devices. This page lists the title and any subtitle; the author; the publisher; and the printer.

engraved frontiss – This is an engraved illustration at the beginning of the book, usually facing the title page.

dec. head and tail pieces – A decorative ornament found at the start of a chapter or a division in a book (very common in the eighteenth century).

very light browning – This is signs of discolouration in the paper – an indication of its age.

ex-libris – A Latin term which means ‘from the library of’. This is often indicated by a small label pasted into the book’s inside cover.

sm. ownership signature – A small signature of a (or the) previous owner.

sl. chipped – Slightly chipped. This usually means that small parts of the page are missing or frayed.

gilt filleted edges – Fillets are decorative lines impressed on a book cover. These have been rubbed, and perhaps lost some of the gilding.

sl. wear to corners – Worn perhaps as the books have been taken on and off shelves.

full speckled calf – The volumes have been bound in leather – and ‘speckled’ means the calf’s hide has been treated to create small dark spots or specks.

boards – This is the heavy-duty cardboard used in the construction of the book covers.

slightly chipped spines – Futher signs of use and age. This is to be expected on something three centuries old.

Red button A full glossary of bookseller jargon

Red button Common abbreviations used by booksellers

Red button Book formats and sizes

© Roy Johnson 2013

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Close reading tutorials

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tutorials in literary criticism and close critical analysis

What is close reading?

Close reading means not only reading and understanding the meanings of the individual printed words of a text: it also involves making yourself sensitive to all the nuances and connotations of a language as it is used by skilled writers.

This can mean anything from a work’s particular vocabulary, sentence construction, and imagery, to the themes that are being dealt with, the way in which the story is being told, and the view of the world that it offers. It involves almost everything from the smallest linguistic items to the largest issues of literary understanding and judgement.

  • language
  • meaning
  • structure
  • philosophy

Close reading can be seen as four separate levels of attention which we can bring to the text. Most normal people read without being aware of them, and employ all four simultaneously. The four levels or types of reading become progressively more complex. The most advanced forms of close reading combine all these features in an effort to reveal the full and even hidden meanings in a work.

A close reading exercise is not a guessing game or a treasure hunt: it is an attempt to understand the mechanisms by which a narrative is constructed and its meanings generated. However, a really successful close reading can only be made when you know the work as a whole.

The tutorials listed here offer a variety of approaches to close reading. Some focus attention on details of literary style; others concentrate on how the meaning(s) of a text are constructed. All of them pay close attention to the language being used.

Charles Dickens – Bleak House

Bleak House close readingThis tutorial looks at the famous opening passage of Bleak House and examines Dickens’s use of language, simile, and metaphor. It argues that whilst Dickens is often celebrated for the vividness of his descriptions, the true genius of his literary power is in imaginative invention.

redbtn Close reading – Bleak House.

 

If you wish to read the complete novel in conjunction with these tutorial notes, it is available free at Project Gutenberg.

redbtn Bleak House (full text)

Joseph Conrad – An Outpost of Progress – I

Close reading tutorialsThis is the first of two close reading tutorials on Conrad’s early tale An Outpost of Progress. This one looks at the opening of the story and examines the semantic values transmitted in Conrad’s presentation of the narrative. That is, how the meaning(s) of the story are embedded in even the smallest details of of the prose.

redbtn Close reading – An Outpost of Progress

 

If you wish to read the complete story in conjunction with these tutorial notes, it is available free at Project Gutenberg.

redbtn An Outpost of Progress (full text)

Katherine Mansfield – The Voyage

Close reading tutorialsThis tutorial looks at one of the opening paragraphs of Katherine Mansfield’s short story The Voyage. It covers the standard features of a writer’s prose style – in the use of vocabulary, syntax, rhythm, tone, narrative mode, and figures of speech; but then it singles out the crucial issue of point of view for special attention. Mansfield was one of the only writers to establish a first-rate world literary reputation on the production of short stories alone.

redbtn Close reading – The Voyage

If you wish to read the complete story in conjunction with these tutorial notes, it is available free at Project Gutenberg.

redbtn The Voyage (full text)

Joseph Conrad – An Outpost of Progress – II

Close reading tutorialsThis is the second of two close reading tutorials on Conrad’s early tale An Outpost of Progress. It looks at the details of Conrad’s style as a master of English prose (even though it was his third language). The tutorial looks at his ‘signature’ use of abstract language to intensify the moral seriousness, the satirical irony, and the emotional drama of his narratives.

redbtn Close reading – An Outpost of Progress

If you wish to read the complete story in conjunction with these tutorial notes, it is available free at Project Gutenberg.

redbtn An Outpost of Progress (full text)

Virginia Woolf – Monday or Tuesday

Close reading tutorialsVirginia Woolf used the short story as an experimental platform on which to test out her innovations in language and fictional narrative. This tutorial offers a detailed reading of the whole of the experimental story Monday or Tuesday. It shows how its mixture of lyrical images, speculative thoughts, and fragments of story-line add up to more than the sum of its parts.

redbtn Close reading – Monday or Tuesday

If you wish to read the complete story in conjunction with these tutorial notes, it is available free at Project Gutenberg.

redbtn Monday or Tuesday (full collection)

D.H.Lawrence – Fanny and Annie

Close reading tutorialsD.H.Lawrence was the first world-class writer to have emerged from the working class. His work was passionate, sensual, and controversial. This tutorial looks at the opening paragraphs of his short story Fanny and Annie published in 1922. It considers in particular his use of the rhetorical devices of repetition and alliteration to impart a poetic impressionism to his writing.

redbtn Close reading – Fanny and Annie.

If you wish to read the complete story in conjunction with these tutorial notes, it is available free at Project Gutenberg.

redbtn Fanny and Annie (full text)

© Roy Johnson 2014

More on literature
More on the novella
More on literary studies
More on short stories

Common file types

by

Extension Type Characteristics
.aam media file MacroMedia Shockwave
.arc archive file
(obsolete)		 Open with PKZip or WinZip
.asp web page active server page – used to code Web pages that connect to databases
.au audio Sound file – open with player – used on older Web pages
.avi video clip Audio/Video Interleaved – movie clip – open with mplayer, IE, or Navigator with plugin
.bak backup file Used by many applications – often created automatically
.bat application DOS batch file – run by double-clicking in Win95 – edit with Notepad
.bmp graphic file Microsoft bitmap – open in MS Paint or graphics program
.cab archive Microsoft installation achive (cabinet file) – similar to .zip archive
.cfg — Configuration file
.cgi — Common Gateway Interface – used to exchange information with a server (often used with Perl)
.chk — Data recovered after running Checkdisk
.css style sheet plain text file containing web page style preferences
.csv data Comma Separated Value file – a way of presenting tabular data in
a text file – usually viewed in MS Excel.
.dat data file Used by several applications. Not to be opened directly.
.dcr media file Macromedia Shockwave movie
.dir media file Macromedia Director file – provides animation and interactivity
.dll dynamic link library Software used by Windows to provide services to applications
.doc document Microsoft Word file
.dot template Microsoft Word template
.drv device driver Used to control hardware – (old)
.dtd text document type definition
.exe application self-extracting or executable file – run by double-clicking in Win95
.faq data file Frequently Asked Questions – almost always a text file
.fla media Macromedia Flash animation file – requires Shockwave
.fnt — Font file
.gif image graphic in GIF format – open in web browser or graphics program
.gz application compressed archive file created by Gzip in the UNIX operating system
.hqx archive Compressed Macintosh file archive created by Binhex
.htm text file hypertext document [same as .html] – open in a web browser – edit in any word-processor or text editor
Dictionary of the Internet - Click for details at AmazonThis dictionary explains the thousands of new terms which have come into use during the last few years. It includes the abbreviations of newsgroups, the language of e-commerce, and the scientific terms used to describe the structure of the Internet. It provides terms on the Web itself, software technology, security, and the arcane language of hackers.
.ico Windows icon Open with an icon editor
.ini — Initialisation file
.jar Java Java compressed archive file
.jav Java cross platform programming language used to create complex interactive forms and special effects
.jpg image Graphic in JPEG format (Joint Photographic Experts Group) View with web browser or image editing program
.js JavaScript part of Web page used to create interactive effects such as mouse roll-overs and pop-up boxes
.jso — Java server page
.kbd data file Keyboard layout data
.log data file Created by many applications – usually a text file – edit in any text editor
.mdb database Database file created by Microsoft Access, a widely-used desktop relational database program; contains the database structure (tables and fields) and database entries (table rows) as well as data entry forms, queries, stored procedures, reports, and database security settings.
.mid audio audio file in MIDI format
.mov video QuickTime movie – view using IE or Netscape using plug-in
.mp3 audio Audio file in MP3 format – CD-quality sound, with 10x compression
.mpg movie Video movie in MPEG format (Motion Picture Experts Group)
.odf data OpenDocument Formula. Spreadsheet formula used by OpenOffice.org and StarOffice Calc; allows the results of calculations performed within the spreadsheet to be automatically entered into one or more cells; based on the OASIS OpenDocument standard and formatted in XML.
.old — Backup file (generic)
.pdf application Portable Document Format – requires Adobe Acrobat reader
.pl application Perl source file – text file, editable in any text editor
.png image graphic in Portable Network Graphics format – can work on all platforms
.ppt application Microsoft PowerPoint file – used for creating slides and overhead presentations
.pub — Microsoft Publisher page template file
.ram audio Real Audio file – open in browser with RealAudio plug-in
.rtf application Rich Text Format –
word-processor file with formatting codes
.scr screen saver
.sea application Self-extracting archive –
Apple-Mac – requires Stuffit
.sig signature Appended to outgoing email messages – editable in text editor
.swf media Macromedia Shockwave Flash animation movie
.sys — DOS system file – device driver or hardware configuration info
.tar application file archive created in the Unix operating system
.tar.gz application .tar archive compressed by Gzip
.tif image Tagged Image File format – graphic file – editable in graphics program
.tmp — temporary file – used by many programs
.ttf — True Type Font file – view with fontview
.txt text contains only ASCII code – also called ‘text file’ – editable in any text editor
.wav audio Sound file in Waveform format
.wsz graphics Winamp skin – visual interface for audio control board
.xls application Microsoft Excel worksheet file
.xml Web page extensible markup language – a plain text file for web pages
.zip application compressed file – open with WinZip or PKZip

© Roy Johnson 2002

Desktop publishing terms – a glossary

by

the language of word-processing and DTP

Desktop publishing terms

Attributes
Attributes are the stylistic properties of an object. Attributes of text include size, case, boldness. Attributes of graphics include line thickness, fill colour and line colour. A set of attributes applied to an object is called a style.

Backup
A duplicate of electronic files (programs. data or operating systems). It is available in place of the original in case of corruption/loss/availability problems. A wise person creates backups frequently.

Base line
The imaginary line that characters rest on in a line of text (see also line spacing).

Bit Map Image
A dot matrix image where each dot is represented by one bit in the digital memory. Complex images are built up using these dots. Resolution of about 300 dots per inch may require approximately I Mbyte for a complete A4 page.

Body text
The main text in a document, in distinction from headlines and captions.

Bold
In printing, a heavier version of a particular typeface. An enhancement of the text.

Bubble jet printer
Generically applied brand name for an Ink Jet Printer.

Bullet
In printing, a graphic symbol usually in the form of a large dot marking the commencement of a new paragraph. Used to attract the reader’s attention.

Byte
A byte is 8 bits. The storage capacity of computers (ROM and RAM) and disks is generally given in kilobytes, (1024 bytes), megabytes or gigabytes. Approximately one byte is required to store one character.

Caption
Text placed under an illustration to describe it.

CD-ROM
A way of distributing programs and data on a disk very like an audio CD which allows large amounts of storage and is very portable. ROM indicates data can be copied from the CD but that the contents cannot be changed or deleted. In DTP this media is particularly useful for Font and Clip-Art libraries.

Central Processing Unit [CPU]
This term is used variously to describe the base unit of the computer system or the main chip within it.

Character
A symbol used in a writing system. In most western languages the letters A to Z, a to z, 0 to 9 and punctuation characters such as : ; , ? etc.

Clip-Art
Pictures of general use which are provided in a library for easy inclusion in publications. Clip art libraries are usually provided without copyright restrictions.

Clipboard
A temporary storage area in computer memory to which objects are cut or copied and from which they can be posted directly into a position into a page or a DTP work area. The clipboard holds one object at a time.

Copy
(1) To reproduce an object by placing it into the clipboard then pasting it elsewhere in the same publication or into a document belonging to another program.
(2) To reproduce a file by renaming it or placing it on another drive or directory. Often done as a form of data security. [See Backup.]

Copyright
The exclusive rights to, and control of, the reproduction, sales, copying or distribution of creative works of art. music, literature or coded programs for computing.

Corruption
The inadvertent destruction of electronic data which causes data received or read to differ from that transmitted or originally recorded.

Crop
To cut the edges of an illustration to fit in a given space or to show a particular detail.

Cut
In electronic text or graphic production, the transfer of objects from one file to a temporary storage area in memory called the clipboard from where they can be pasted into a different page, file or into the DTP work area.

Default
An option that is used automatically unless an alternative is specified. For example a default font of Times New Roman 12 is very common.

Directory (or Folder)
A software division of a disk, usually used to keep similar files together, rather in the manner of a drawer in a filing cabinet. A disk may contain many directories. A directory often contains several other directories called sub-directories.

Digital camera
A camera which stores images as digital information rather than on photographic film. This allows images to be easily displayed and edited on computer.

Disk
In computing, a thin disk coated with magnet material, on which information can be recorded. Sometimes spelled disc.

Dot matrix
Usually applied to printer and screen output devices which make up character/images from a matrix of dots. Quality depends on dot density and size. (See also resolution). Historically a type of printer that used inky ribbons and mechanical contact.

Draft
(1) A rough layout of a page, document or publication.
(2) Used to describe print quality – particularly with respect to dot matrix printers, where draft quality is synonymous with poor quality but high speed output.

EPS
Encapsulated postscript, a very versatile file format used for sending files to commercial printers, and thus avoiding the cost of typesetting. [See postscript.]

File
An organised and structured collection of information. In computing it is the basic unit of stored or accessible user data held in auxiliary storage. Programs as well as data are held in file format.

File names
The names used by the Operating system to identify files. Two files cannot have the same name and occupy the same storage location on a disk.

File type (or extension)
The part of the filename which indicates which program created it, and therefore which system it is written in. This is essential information in DTP which is very concerned with file transfer. Typical file types are DOC (for a word processor document) and BMP (for Bitmap image). Some Operating Systems do not always display file types, but will have the facility to do so.

Floppy disk
A thin portable plastic disk usually 3.5″ in diameter on which electronic files can be recorded. Typically holds over I Megabyte of data.

Folder
See Directory.

Font
A complete collection of letters, punctuation marks, numbers, and special characters with a consistent and identical typeface, weight (Roman or bold), posture (upright or italic) and font size.

Technically, font still refers to one complete set of characters in a given typeface, weight, and size, such as Helvetica italic 12 – but the terms has come to be used interchangably for refering to typefaces or font families.

Footer
Information that appears at the bottom of every page (within the normal bottom margin) of a document – for instance, page number. (See also Header)

Format
(1) The system used for storing a file on disk. Different programs use different methods of recording identical information.
(2) The layout and arrangement of tracks and sectors on a disk.
(3) Sometimes also applied to the layout or arrangement of graphics and/or text on a page or screen.

Gigabyte
About a thousand megabytes.

Global
Relating to anything in computing that extends over the whole system. For example, a ‘global search and replace’ means that any occurrence of a specified word will be found, and replaced by another specified word.

Graphic
In computing, the presentation of information which is not in character form. Picture information as distinct from textual. Some characters may be constructed in graphic form, these are considered to be graphics.

Greeking
The use of dummy text that looks like Greek script and is used to give an impression of the appearance of the finished document. This is used to make it easy to judge the overall appearance of a document without being distracted by the meaning of the text.

Guide (in DTP)
A non-printing line used to aid the positioning of text or graphics.

Gutter
The space between columns of text on a page.

Hard disk
An auxiliary storage device able to store very large quantities of data that is usually mounted inside the System unit. Typically holds greater than I Gigabyte of data.

Header
Information that appears at the top of every page (within the normal top margin) of a document – for instance, the title of a report, or page number. (See also Footer)

Import
Bring an object (graphic or text) into a DTP page.

Indent
The position of text in from the margin.

Ink jet printer
A non-impact printer which prints by spraying a finely controlled jet of ink from a nozzle onto paper. The electrically charged ink droplets are moved by electrical fields to form the characters in dot matrix form.

Input device
A unit of hardware from which the computer reads data.

Inter-line spacing
Space between lines in a paragraph. (See also leading.)

Internet
A system of connecting computers together via telephone lines managed by network management computers. Enables transmission of data around the globe, and is a rich source of graphic material.

Intranet
A communicating system of computers that is theoretically confined to one place – in an organisation, or even a single office.

Italic
A typeface variation in which letters slope forward.

Justification
To format text so that lines are of equal length producing vertical columns of space at the left and right margins. Spaces between words are enlarged so that text characters always touch both left and right margins.

Kerning
The space between characters. Now used to define proportional spacing between characters which is dependent upon the character width.

Landscape
Describes the paper orientation – in this case the width is greater than the height and so often referred to as wide. (See Portrait.)

Laser printer
A non-impact printer which uses a laser beam and toner applied to paper to produce fast, quiet, high density (typically 75 to 1600 dpi or greater) dot matrix images.

Leading
The distance in points between lines of text – pronounced as in ‘ledd-ing’ (see also Inter-line spacing.)

Line spacing
(See Inter-line spacing.)

Logo
A visual image used as a company trade mark or instead of the company name.

Lowercase
The set of 26 characters ‘a’ to ‘z’. Not capital (uppercase) characters.

Master page
A page which contains objects (such as headers, page numbers or borders) which will be reproduced on every other page of a document.

Megabyte
About a thousand kilobytes (actually, 1,048,576 bytes)

Network
Computers connected together for the purpose of sharing resources and communication.

Non proportional spacing
Fonts in which letter spacing which does not vary for different width of character. Rarely used except in tables and text processing assessments where it gives the appearance of work produced on a manual typewriter.

Object
A graphic or piece of text treated as a single item. Word processing treats text as a set of characters. DTP usually treats text as an object.

OCR (Optical Character Recognition)
Software which converts pictures of, printed text (acquired by a scanner) into an text file for further editing or formatting.

Operating system (OS)
Programs which run the computer, and without which the computer would not work. The OS allows the programs we use to run. The various Windows, Mac System7 and its successors and the various OS2 products may all be considered operating systems.

Orphan
The first line of a paragraph appearing by itself at the bottom of a page as the last line of the page.

Output device
A device to which the computer writes data. Often converts the data into a human readable form. A printer is an output device.

Pagination
The process of defining where page breaks will occur. Involves setting page length, size or number of lines and, where required, the setting of page numbering.

Paragraph
A piece of text terminated by a hard return. Thus a title or a heading can be a paragraph.

Paste
A command which transfers an object from the clipboard into the DTP work area.

Pitch
The measure of horizontal character spacing. Now very rarely used outside of typing classes the word is a contraction of ‘per inch’ and assumes every character, be it a W or an 1. is of the same width.

Pixel
The smallest addressable point on a VDU. One pixel is one of the dots forming the dot matrix on the screen of a VDU. The commonest monitors use a 640 by 480 pixel grid.

Plotter
A mechanical device which produces printout using vector or co-ordinate graphics often by using a pen moved about on rails.

Point size
A measurement of the size of type; one point is equal to one-seventy-second of an inch. On systems that use millimetres 3 points to one rnillimetre is a useful approximation.

Portrait
A piece of paper, an image or page which is turned so that the height is greater than the width. Often simply called tall.

Postscript
A print description language used as a way of communicating with printers that is not dependent on program, operating system or model of computer. Desk Top Publishing can produce EPS (encapsulated postscript) files on disks which can then be sent to high volume print companies, thereby saving the expense of typesetting and allowing the small system user access to professional quality publication.

Property
The stylistic features of an object. (See also Attribute.)

Proof reading
Checking text in detail for errors.

Proportional spacing
Characters are allocated horizontal spacing in proportion to their size, thus an ‘m’ would have more space than an ‘i’. Most fonts are of this type. (See also non-proportional spacing.)

Publication
The product of a DTP program. That is, a completed work for sale or distribution. Also applied to a work in progress.

Overzoom
A zoom setting of greater than 100%. Used for accurate placement of objects and working with small details.

RAM (Random Access Memory.)
The part of a computer’s memory in which information is stored. RAM is volatile; its contents are lost when power is removed.

Resolution
The amount of detail visible in any display or copy. Most computer system output devices produce images from a matrix of small dots. Resolution then depends on the size and number of dots per unit length or area.

ROM (Read Only Memory)
Memory which can be read repeatedly, but cannot be changed. ROM is non-volatile, its contents are retained when power is switched off. (See CD-ROM)

Rulers
Guides on screen display to enable accurate measurements.

Sans serif
Characters which do not have serifs. (Sans is French for ‘without’).

Scale
The ratio between something real and the represented image of it. For example a scale of 1:4 represents something a quarter of its original size.

Scanner
A device which reads (in dot matrix form) a document and can reproduce it as a bit map on an electronic file. Scanners may be handheld, suitable for scanning small amounts of text or small graphics, or Flatbed, which usually take a single sheet of A4 paper. Monochrome and colour versions are available. Colour is more expensive. (See OCR)

Search and replace
A facility whereby a specified sequence of characters can be located and replaced by another sequence.

Serif
The short cross lines at the end of characters. These are intended to make letters more easily recognized and text easier to read.

Spellchecker
A facility that reads text and compares it with a word bank, querying any words it does not recognize. Very useful for the detection of typing errors.

Storage device
A device from which the computer reads data, and to which the computer writes data. Therefore an input/output device. Most often a disk drive, either local or on a network.

Stylesheet
A list of standard type styles which can be applied to paragraphs in a publication. This feature of DTP allows consistent layout and presentation.

System unit
The main unit of a computer system into which peripherals are connected. Sometimes called the CPU.

Text editor A simple word processor with limited facilities.

Text wrap
A feature whereby text flows round a graphic object. Wrap can be set off, so text flows over the object, square, so that it forms a rectangular frame, or set to follow the contours of the object.

Typeface
(See Font)

Typestyle
A defined and named set of attributes which can be applied to text objects.

Uppercase
The set of 26 characters ‘A’ to ‘Z’. THIS IS UPPERCASE (not lowercase).

VDU (Visual Display Unit)
Also called monitor or screen. An output device on which text or graphics is displayed in dot matrix form.

Zoom
The feature of a system which varies the size of the screen display of a publication. These setting between 400% (4 times actual size) and 10% (a tenth of actual size)

© Roy Johnson 2004

More on How-To
More on literary studies
More on writing skills

Editing on screen and paper

by

an email discussion amongst professional writers

Editing documentsThis discussion first took place on the WRICOM (Writing and Computers) mailing list, which is hosted by Mailbase (UK). Note that these are personal opinions, exchanged in the casual manner of email messaging. The language and style are deliberately informal. There is no guarantee that the email addresses of individual contributors will be up to date.

 

From: Roy Johnson <Roy@mantex.co.uk>

If you write using a word-processor, you may have noticed something rather odd. You can create a perfect document, check the spelling, and even check the grammar – but when you come to print out the document you notice things which you missed on screen.

These might be mistakes, or they might just be points of style or emphasis you want to change. If it’s a long document, you’ll feel like kicking yourself and you might feel guilty about all the paper you’re wasting.

For many writers, editing work on screen and on paper appear to be two different things. Why is this?

Maybe writers are reluctant to edit their work when it is in the ultimate form it will assume prior to being published. But perhaps not when it is still in its penultimate form?

That is, if my electronic text, on disk, is destined to become a printed book, I am reluctant to change the contents of the disk on which I have worked for hours and hours.

However, when I print out the pages, they seem to me a penultimate version which can still be chopped around with impunity.

This seems puzzling. Does anybody have the same experience, or observations on what’s happening?

================================

From: Jane Dorner <Jane@editor.net>

my theory is that you edit and edit on screen and the printout (long works) *becomes* the penultimate version that gets the final tweaks because it looks different.

I’m just editing a 200-page document and am extremely unwilling to print it out more than once for final tweaks. Its also far easier to edit for consistency using search & replace with the full document in memory.

======================================

From: Janet Atkinson-Grosjean <janag@whidbey.whidbey.com>

a laser printed page looks so *finished-product-ish*, I was trying to make the writing perfect, before it ever hit the page. Not surprisingly, my writing became constipated, for lack of a better word. I was on-screen editing instead of writing/drafting, because, in my mind, I wasn’t allowed to edit laser-printed copy because it was *finished.*

After driving myself nuts for a while, I decided to print all drafts in the yukkiest-looking Courier typeface I could find. This works. It tricks me enough. Only the ultimate, finished product uses a different font.

==================================

From: Austin Meredith <rchow@benfranklin.hnet.uci.edu>

the WYSIWIG technology is not adequately advanced at this point. Even in the very best of the current technology … the display of the material on the screen and the printing of the material across the printer does not result in precisely the same level of clarity.

my reluctance to edit heavily on phototypesetter page proofs can entirely be accounted for by the hard and unpleasant fact that the publisher is going to charge me money for each change I make which is not the publisher’s fault, and deduct that amount unilaterally from my royalty checks later!

I am editing on the screen _and_ on paper. Despite the excellence of my equipment, my print display is still superior to my screen display. But there are types of editing which are better done on screen. Spell-checking is an obvious instance of this, but there are other types of editing which are better done on screen.

==============================

From: Rich Berman <rich@interport.net>

I see things like puncutation and misspellings more easily in hard copy, but also sentence structure. Things like too many short sentences together, or too many compounds etc. I also find them easier to correct in hard copy, with pen and paper.

Is it possible that this is because with hard copy you can compare new with old. When you make a correction on the screen, you see only the new. When on hard copy on the other hand, both are there, the original typed, and the new in pen and ink, (and somewhat in the imagination.)

certain media allow us to see some things more clearly than others, although I have read advice to writers that suggested that saving all the material that we cut helps us experience it as not lost, and therefor feel no sense of loss. That might support your idea, Roy.

==============================

From: <Robert_P_KOLKER@umail.umd.edu>

Ive had similar experiences as Roy Johnson of written text on and off the page. Ive done a number of books which Ive edited entirely on screen, and which looked just fine when they got to print. However, in the instances when I do print out a text to edit, I see things–nuances of word patterns, mostly–that I miss on the screen. Whats happening I think, is a holdover from pre-computer days (yes, I’m a middle-aged early adopter, or is it adapter?). I still find the printed word of a different texture than the word on CRT. I find this neither good nor bad. While I cannot read large amounts of text on the screen, I can write them. And edit them. A different kind of fine tuning comes when I hold the words in my hand.

==================

From: Eric Johnson <johnsone@dsuvax.dsu.edu>

I write and edit on a computer screen, but when I think the document is in final form and print it, I want to make more revisions. The reason may simply be that it is much easier to see more of the document at one time when it is printed on paper.

Now, as graphic word processors attempt to present on the screen what will be printed (WYSIWYG), we may end up doing more — not less — editing on paper since a monitor that displays WYSIWYG type in reasonable size often cannot display a whole line at one time.

Regardless of whether WYSIWYG word processing will result in more editing on paper, it may be a step backward for careful writers: good writers want to focus on the words, the language, but WYSIWYG forces writers to pay more attention to the appearance of the letters and lines (not to mention the temptation the tool bars offer of fooling around with fonts, etc.)

========================

From: “R. Allan Reese” <R.A.Reese@gri.hull.ac.uk>

I agree with other contributors that, despite twenty years of writing on screens (yes, honest, I was using a single-user mini-computer in the mid 70s and previously used a mainframe editor), I still have to at some stage revise on a print-out. I suggest that having a small window on the screen tends to make one focus on micro-revision – getting the words right in each sentence. I can also read through and consider the linear logic on screen. However, with the print out I will look backwards and forwards, review the overall structure, and the “feel”. Since the “reader” will usually be given a paper copy, I need to see the same.

What I would say is that the number of printed-out drafts is considerably reduced, and the marks made on the paper copy are either minor points of appearance or notes to prompt major revisions. I do almost all my “writing” on a screen – as I’m doing at this instant.

===========================

From: Christopher G. Fox <cfox@unix.cc.emory.edu>

I don’t think we should neglect the brute, ergonomic factors here as well. My eyes may be somewhat over-sensitive to this kind of problem, but I simply cannot stare at the screen with the kind of intensity I need for visually editing a document. All of the possible combinations of backlighting, glare reduction, etc. don’t change the fact that its still a VDT I’m looking at. As LCD displays become more prevalent and more sophisticated, a fully on-screen writing process will most likely become more prevalent, but I don’t think the current state of interface technology (video display, keyboard, mouse) is quite up to the task. Although I do compose and do preliminary editing on screen I inevitably need to print out in order to make typos visible and and to notice more large scale grammatical and rhetorical mistakes/changes.

=================================

From: Mike Sharples <mike@cogs.susx.ac.uk>

For me, whether or not I edit on screen or on paper is not just a matter of choice – I seem to catch different errors and problems in the two media. On paper, not surprisingly, I get a better overview of a large document – its structure and narrative flow. I also seem to be able to spot niggly errors, such as repeated words, better on paper. On screen I can often read text more rapidly (by scrolling it past me) to scan for gist. &&

=================================

From: Barbara Diederichs <bdiederi@artsci.wustl.edu>

Electronic word processing tools and of course hypertext facilitate a way of writing that is not very concerned with linear structures. When I write a paper using the computer, I start with a handwritten outline and within that framework put down mythoughts and research results as more or less independent pieces and with little regard to logical order. I superimpose that in the printout, which in a way allows to combine the particularities of both media.

I am wondering, though, if the necessity to eventually cast (almost everything we want to say in the traditional paper form, cuts us off from a form of creativity that might become accessible in the electronic medium. The fragmented and associative way of not only expressing oneself, but thinking, that the electronic medium allows for, might open new directions for scholarship.

An example might be the idea of an ‘ultimate’ or ‘penultimate’ version that Roy Johnson mentions in the above quote: the openness of electronic systems that Landow (‘Hypertext. The Convergence of Contemporary Critical Theory and Technology’ 1992) claims as ‘a revolution in human thought’, abandons the very concept of final versions. What would that allow for in scholarship? Maybe bold hypotheses that would provoke dialogue, tests, verification or dismissal rather than having to be ‘right’. Coming straight to the point, rather than justifying the path from one point to another. Giving details that would be uneconomical in the printed medium but might help us develop the collective intelligence of the ‘giant compound’ that David Megginson mentions. Etc.

Has any of you written research in hypertext format? Would you accept a dissertation written in hypertext?

===============================

From: Jerome J. Mc Gann <jjm2f@lizzie.engl.virginia.edu>

1. ANY scholarly-critical edition is ‘research in hypertext format’. and here one wants to remind everyone that ‘research’ etc., and litcrit, is hardly confined to the setpiece essay — indeed, that form is one of the most constricting and restrictive we have evolved. not to make advertisements for myself, i would still suggest that the implicit and often explicit subject of both _The Textual Condition_ and _Black Riders. The Visible Language of Modernism_ is ‘hypertext’ (see in the latter the ‘Dialogue on Dialogue’ in particular).

2. look at the back issues of postmodern culture, especially the last couple (http://jefferson.village.virginia.edu/pmc/contents.all.html).

3. look at the ‘general publications’ of UVAs institute for advanced technology in the humanities

(http://jefferson.village.virginia.edu/generalpubs.html).

4. finally, look at various online homepages for courses. aren’t courses ‘research projects’ (in my experience, courses are scenes where _everyone_ learns; ‘teaching’ is a topdown model of learning ive never been able to find very attractive. or much help.

=================================

From: ‘J. A. Holmes’ <starfyr@access.digex.net>

I find I still do a lot of editing on paper (for text or code) because watching the screen is not easy on my eyes. Initial creation I do lots of moving stuff around, but when I think Im getting close to done the need/desire to linger over each piece (keep/throw away/modify) while deciding its fate just has me staring too intently at the screen. Also Ive not ever used a editor with markup capability. I can make the changes or just move along. When doing an edit, particularly the final, (or hopefully final) version, I just want to mark problem spots/changes. If I actually stop to make the changes I lose the thread, and cant properly deal with how the local changes affect the document as a whole.

In a similar vein, the trend towards online documentation for programmers is beginning to be a problem to me, I just cant read 400+ pages onscreen.

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From: Patrick TJ McPhee <ptjm@io.org>

For what they’re worth, here are a few thoughts.

1. its (measurably) easier to read text printed at even low (300dpi) resolutions than current screen resolutions

2. a paper version of a document displays more of the document at a time than an on-line version, even if you have a big monitor

3. you think differently with a pen in your hand.

These aside, I agree with you that its easier to make a change to a copy of a document than it is to the master. When you go back to change the original, you can rethink the changes you write on the paper, which effectively gives you two revisions for the effort of one. Its nice to keep an RCS copy of the document, so you can always go back to an earlier version if you change your mind.

=====================================

From: ‘J. Hartley’ <psa04@cc.keele.ac.uk>

1. Familiarity with the genre is important as well as length. Well practiced skills will require less editing. I write long letters, but rarely edit them – so who the text is for is important too.

2. The method one is using plays a part. I dont edit much on e-mail, as readers will discover if they read on, no doubt.

3. I used to write by hand and my secretary word-processed the script. I then copiously edited her paper versions. I now do all (well nearly all) my writing by machine. I now do a lot more editing on screen before making a print out – which I then edit by hand. For much the same reasons as other have expressed.

However, if I am starting an article I sometimes like to rough it out, and then print it out to see how it is shaping up. I then try and do as much as I can on screen, and then print out. But I always regard the print out as a cue to further editing by hand. Until I force myself to stop.

4. I wonder if people who write differently, edit differently? Do the planners, who think first and then write, with little corrections, do less editing than the thinkers who edit as they go along. Obviously they do, but I wonder how they balance screen and paper editing in each case?

5. The editing one does may vary if one is _co-authoring_. Here, how much use of screen and paper editing may depend on whether one is the main, equal or subordinate author? Currently with my research assistant, I often print out a paper version for him to read. I do not give him my disc. When he writes something for me to check, he hands me his disc as well. So I edit his text on screen, and he edits mine on paper! If I were co-authoring with another colleague in a different department I suspect we would both use screens.

6. I find screen editing good for re-jigging old articles for a fresh audience. One can scissors and paste away. But I then like to see the result on paper, and I then edit it with the fresh perspective of the new audience in mind.

7. I always find it helpful to leave something, and then come back to it to edit it. I find this with both paper and screen – but am inclined to make bigger changes when dealing with paper versions.

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From: AM DUDLEY-EVANS <DUDLEYAM@novell1.bham.ac.uk>

But it has always seemed to me that there are two kinds of writer, the one who composes by getting down the ideas as quickly as possible without worrying too much about accuracy, coherence etc. This is followed by the crafting stage, in which it is all tidied up, made coherent etc. The second kind of writer seems to enjoy crafting as s/he writes and does the polishing along with the composing. I suspect that the former type of writer is more common, but I know of at least one of my colleagues who fits into the second category.

But I wonder how the second kind of writer writes with the word-processor. Does s/he craft on the screen?

==============================

From: Judy Madnick <judy.madnick@accessnt.com>

I currently edit court transcripts on-screen. I also have edited manuscripts on-screen. I must admit that its very easy to miss things, probably because our reading methods on-screen are not the same as those off-screen. Ive learned to force myself to slow down (which seems to be the big issue) and almost say the words to myself. (Remember how our teachers told us not to move our lips? Well, they wouldnt want to be watching me proof on-screen!)

So . . . yes, for many people seeing their work on paper seems to result in additional editing; however, I do believe that with careful analysis of the methods being used on-screen, editing CAN be done successfully either way.

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From: Ellen Kessler <etk@panix.com>

Ive been a writer/editor for almost 30 years, and I have noticed a few curious and inexplicable things:

1. The way a piece looks affects the way it is read. I often think that Ive finished editing something in manuscript, for instance, only to see the typeset galleys and shudder. Ive never understood this phenomenon, but now that I think about it, I believe that when I read something back, I read it as a reader not the author, and react to it as new material, which, of course, I must improve. I also think it has something to do with the way the brain processes visual information.

I can work for a long time on my computer, but when I have various versions and want to compare them, I often print them out. I save discarded text at the bottom of the file, in case I want to use it later. Eventually, I always print the stuff out and read it away from my computer. I think a bit of distance, in the forms of time and space, are helpful. I believe everything I write can be better edited the day after I write it.

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From Clare Macdonald <mead@nada.kth.se>

For me, a lot of the pleasure of revising on a printed copy comes from the fact that the text stays put. This creates an additional context(location on the page) that I can use to mentally navigate.

When working with a long document, remembering where on the page (and on which page) a particular passage is can help me locate it quickly. I could probably find it even faster by searching for the phrase with my word processor, but then I’d lose something of my mental image of the structure of the document – or at least my working memory would start to feel seriously overloaded. I’d probably get several matches for my search and have to spend some mental resources considering each and rejecting the ones I don’t want. With a printout, I don’t have to bother with instances that occur early in the text if I know that what I’m interested in is part of the Conclusion – just scan the last few pages.

Of course, each time I print the revised document the location of the text changes, so perhaps this is part of the reason I’ll notice different problems in different versions – the location-context supports slightly different comparisons.

========================

From Carol Buchanan <buchanan@sprynet.com>

I work as a technical writer, in the area of cabin electronics and computer systems, for the Boeing Company. (I also have a PhD in English.) Although my writing skills are excellent, I cannot edit my own work. I see what I expect to see. I find I cannot do without the help of an editor who scrutinizes the manuals for everything from grammar, punctuation, and spelling to format and logic. She edits online, and I make corrections online, but for really knowing what the document’s pages look like and for catching more errors, she prints every draft and subjects it to another scrutiny. Then, after we think we’ve got it right, we pass it to a proofreader who reads it closely on paper and catches still more errors.

The same thing occurs with the books I’ve written. I write the book online, print it, read it, fix the problems I see, and print the final copy which I send, along with the diskette, to the publisher. The editor there edits the typescript, then returns it for correction. I make the corrections, and back it goes. The editor sends the book to a copyeditor, who has other questions and sees other problems, which I respond to and return the typescript and diskette. Then the typesetter sets the book in final pages, which I read through for the last time while the proofreader reads the paper copy. Invariably, I find more mistakes. This time I do not make corrections in the files, but on the paper.

I offer this lengthy description of what happens in corporate technical editing and in commercial publishing in support of two points:

  1. For some reason, we do not see quite the same online and on paper.It would take an expert in perception to explain it. I can’t.
  2. To do a professional job of bringing writing to publication, several people have to collaborate in a team, each with his or her own skills. Even after that, mistakes will still occur.

© Roy Johnson 2009

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Editing your writing

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What is editing?

Editing is the final stage of the writing process. It takes place just before your work is due to be submitted. It involves the detailed inspection of your text with a view to regularising its spelling, punctuation, grammar, and even typographical layout.

In the world of publishing, this stage is called ‘proof-reading’. It is the point at which you check that all your details are correct, and you examine the document very closely for internal consistency prior to releasing it into public view.

Editing is a process of checking your work very carefully in order to –

  • remove any spelling mistakes
  • check your grammar
  • make your punctuation consistent
  • re-write any clumsy expressions
Editing methods

The degree to which your text needs to be closely edited will depend upon the nature of the of writing. A spelling mistake might be tolerated in a student essay, but in a report written for the public it would look very bad indeed.

The best way to edit your writing is to split the task into a number of separate stages. Edit for just one feature at a time. Go through the work checking your spelling, then go back again to check grammar – and so on. Use the list of features below as a guide.

This is because it is difficult (and very tiring) to hold all these issues in your head at the same time. You have a choice of doing this on a computer screen or on paper. Both methods have advantages and disadvantages.

Editing on screen

The major advantage of editing your work on screen is that you can make as many changes as you wish. The work is always up to date, in its very latest version. Another advantage is that you can see immediately the effect of any changes you make.

Spelling-checkers and even grammar-checkers are now built in to most text editors. You can use FIND and REPLACE to make global changes automatically. For instance, if you have spelled someone’s name ‘Murray’ throughout a document, then discovered it’s actually spelled ‘Murry’, use FIND/REPLACE, and select REPLACE ALL.

Don’t forget to SAVE your document after each change is made.

The only disadvantage of editing on screen is that you will loose earlier versions of your work unless you make a deliberate effort to save them separately.

Editing See more on Editing on screen and paper

Editing on paper

Some people prefer to edit on paper, for a number of very good reasons:

  • mistakes are easier to spot
  • it’s possible to have an overview
  • it looks more like the finished product
  • it creates a psychological distance from the text

Many people claim that there is a different between writing with a pen and with a keyboard. You can also see the original text, even after you have made an editing change.

The biggest disadvantage of editing on paper is that you have to re-type all changes into your original document.

Editing See more on Editing on screen and paper

Spelling

Mistakes in spelling are easy to spot, and they always create a very bad impression. Readers of your work are more likely to regard spelling mistakes as a sign of poor writing than any other feature.

It’s worth doing a spelling check twice during the editing process. Once before you begin editing, and then again after you have finished. The reason for this is that you might have introduced new typos and mistakes during the editing process.

You need to decide on alternative or English and American spellings of words such as analyze/analyse, judgement/judgment, and meter/metre. Make the spelling consistent throughout your document.

Check in particular on the spelling of names, places, foreign terms, and technical jargon.

Red button See more on spelling

Punctuation

Check that you have been consistent throughout your document in using the common marks of punctuation – the comma, semicolon, colon, and full stop.

If you are not sure about the use of the semicolon and the colon, leave them out. It’s possible to punctuate accurately using only the comma and the full stop.

What follows is an example of an entire paragraph which has been punctuated using only the comma and the full stop. [The subject is the structure of a paragraph.]

The central thought or main controlling idea of a paragraph is usually conveyed in what is called a topic sentence. This crucial sentence which states, summarises or clearly expresses the main theme, is the keystone of a well-built paragraph. The topic sentence may come anywhere in the paragraph, though most logically and in most cases it is the first sentence. This immediately tells readers what is coming, and leaves them in no doubt about the overall controlling idea. In a very long paragraph, the initial topic sentence may even be restated or given a more significant emphasis in its conclusion.

Red button See more on punctuation

Sentences

Make your sentences as short, simple, and direct as possible. This will always improve the quality of your writing. Follow the pattern Subject – Verb – Object

The table has metal legs.

Some people like raw vegetables.

My dissertation considers the biology of frogs.

Avoid starting sentences with conjunctions such as Although, Because, and Again. These often lead to grammatical problems of expression.

If any sentence in your document seems vague or problematical – re-write it, or split it up into two or more separate statements.

Avoid long sentences composed of one clause after another linked by and, commas, or conjunctions such as although, however, and because.

Editing See more on sentences

Paragraphs

The definition of a paragraph is that it deals with just one topic. It introduces the topic, explains its relevance to the subject being discussed, then comes to some form of conclusion. It might end with a statement that links the argument to the next paragraph.

The following is an example of a successful paragraph.

John Skelton was an East Anglian: he was a poet, also a clergyman, and he was extremely strange. Partly strange because the age in which he flourished – that of the early Tudors – is remote from us, and difficult to interpret. But he was also a strange creature personally, and whatever you think of him when we’ve finished – and you will possibly think badly of him – you will agree that we have been in contact with someone unusual.

Check for long paragraphs in your writing. If any go beyond one topic, split them up into separate paragraphs.

Avoid very short paragraphs. These can be used for dramatic effect – but only in journalism and creative writing.

Editing See more on paragraphs

Titles and sub-titles

Make sure that any titles or sub-titles in your writing are explanatory and consistent. They should identify the subject as briefly as possible.

Check for consistent use of capital letters. You might wish to use the traditional convention of capitalising only the most important words:

The Analysis of Amino-acids with a Spectrometer

Alternatively, the modern convention is to capitalize only the first word:

The analysis of amino-acids with a spectrometer

Notice that there is no need to punctuate titles with a full stop at the end. These are titles, not complete grammatical sentences.

Structure

The structure of a document is closely related to its purpose. But the structure of some documents may not become apparent until you have finished writing. Be prepare to use CUT and PASTE to re-order your topics and arguments to produce the best arrangement of its parts.

The best structure will depend upon the type of document. Its parts could be arranged using –

  • logical progression
  • increasing significance
  • equal significance
  • chronological order
  • narrative sequence
  • category groupings

Editing See more about structure here

© Roy Johnson 2012

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