Why Right-Brained Writers Need Left-brained Editors

The matchbook-cover advertisement read, Be a Commercial Artist - Send your Drawings Today. I dreamed twenty-four hours and nighttime of being a commercial creative person wearing chic, colourful trim lawsuits and high heels while striding confidently about in my corner business office overlooking the New House Of York skyline. Clearly I had drawing talent. To turn out it, I sent in my six best pencil works, all meticulously drawn on the dorsums of discarded envelopes while riding the autobus to school. At age eight, never was a long clip to wait for a response.

By adolescence, I abandoned that thought and drop in love with sales. Gross Sales were sexy, production wasn't. Then it was design. Form trumped mathematical function and all things originative still ruled.

In my thirties, out of school and entrenched in commercial existent estate, I left my equals in Memphis to open up and run a Trammell Crow Company business office in Baton Rouge. On Monday morning, the i's needed dotting, the t's crossing, and all of the vaulting horses stopped on my desk. The experience wrestled me soundly to left encephalon land and held me there. Success would necessitate doing things thoughtfully, thoroughly, correctly, and professionally within a specific set of regulations and parameters.

Today Iodine focusing on the regulations and parametric quantities of writing. Right-brained writers necessitate left-brained editors. My Twin nature may faint right to authorship but my strength, like a divining rod, draws left to editing. I am a word and linguistic communication lover with hawk eyes on the Hunt for mistake and weak prey. A reddish pencil is firmly attached to my right talon. I'm on a first name footing with The Windy City Manual of Style, 15th edition and Merriam John Webster is my best friend. Reading while simultaneously examining spelling, word usage, punctuation, sentence structure, voice, continuity, and the whole copyediting and proofreading mathematical function thrills me.

Working electronically is more than efficient but I also proof and redact ms in difficult copy. While proofreaders' marks, underlines, circled comments, and writer questions transform some of these to bloody conflict scenes, the end consequence is a merchandise closer to publication. Imagine a ms at a traditional publication house (if it acquires past a literary agent) making its manner through an acquisition editor, production editor, copyeditor, typesetter, and four units of ammunition of separate proofreading eyes before concluding print. Imagine the writer attempting this flawlessness through grammar and enchantment bank check functions.

The author's wild head wings and weaves narrative with small idea to authorship mechanics, the deficiency of which can do good work expression slipshod. That's where copyeditors and proofreaders come up in-the unsung hard roes who do the words and narratives soar.