Working Memory in an Editing Task    

A number of studies have found that writers produce text in bursts of language. That is, when creating a text, writers produce a few words, pause, produce a few more words, pause, and so on. Chenoweth and Hayes (2003) hypothesized that language bursts occur when writers translate ideas in to new language. This study tested this hypothesis against the following two alternative hypotheses: (a) Language bursts are caused by proposing new ideas rather than by translating ideas in to written language and (b) language bursts depend on the form of the input to the writing process rather than on the translation process. The study employed an editing task in which participants were required to translate a written language input. The alternative hypotheses led to contradictory predictions about writers' performance in this task. The study also explored the impact of working memory restrictions on task performance.

Hayes, John R. and N. Ann Chenoweth. Written Communication (2007). Articles>Editing>Workflow>Cognitive Psychology

Writer-Editor Interactions: What Works?  

Successful writer-editor relationships require a commitment from both parties to teamwork, open communications, and shared accountability for the success of each project. The benefits from this ejj?ort include better igformation products for users and a more congenial working environmentfor you. Equally important, your clients will develop cor@ence and trust when they see a project’s writer and editor combining their skills and collaborating on shared project goals.

Collins, William L. and Susan M.J. Lester. STC Proceedings (1997). Articles>Collaboration>Editing>Writing

Writer-Editor Relationships in Revisions

Editors, professional or otherwise, can be annoying individuals. The trick is to focus on the helpful parts of that annoyance and try to ignore the less-helpful parts.

Hart, Geoffrey J.S. Geoff-Hart.com (1995). Articles>Writing>Editing>Collaboration

Writing Across the Curriculum

The phrase 'writing across the curriculum' is relatively new, as far as I am aware. I want to examine its underlying meaning, its various administrative forms, and its implications for the faculties of colleges and of high schools to look at the theory, the practice, and occasionally the history of the notion.

Kinneavy, James L. ADE Bulletin (1983). Articles>Editing>Writing>Collaboration

Writing And Editing Stem Overview  

As part of the process of developing this overview I went back to some of the Proceedings for STC conferences that were held 10 years ago. I also reviewed issues of Technical Communication that were published at the same time.

Forbes, Christopher J. STC Proceedings (1994). Articles>Writing>Editing

Writing and Editing Stem Overview  

What could embody this year’s theme of Evolution/Revolution more than the Writing and Editing Stem? On the one hand, we must continue to evolve as professionals by building our writing and editing skills, the cornerstones of our trade. On the other, we must stay on top of the information revolution our industry is experiencing. This stem will help you to do both: build upon the basics and also stay abreast of the new technology and tools that are constantly revolutionizing the ways we do our work.

Murphy, Daniel J. STC Proceedings (1996). Articles>Editing>Writing

Writing and Editing Stem Overview  

The Writing and Editing Stem of the 42nd Annual STC Conference is designed to provide sessions that speak to the questions of technical communicators today and that also remind us to 'stick to the basics' of our craft(s). In a world of to 're-imagine' the audience and gain new ever-changing technologies, we must perspectives. Find out how to motivate your accommodate both a diverse audience and a audience to learn and then keep ‘em coming back! diverse media. Our goal is to explore (proven and new) methodologies and ideas that can enhance our writing and editing skills and philosophies as we enter the 21st century.

Baxley, Deborah Lewis. STC Proceedings (1995). Articles>Writing>Editing

Writing Consistently Across Media: Ten Proofreading Tips

Last time I wrote about consistency in online writing. Soon after, I received an email from Leslie Drechsler, a reader in Tustin, CA: 'As a Marketing Communications Specialist, I'd love to hear your ideas on how to successfully implement consistency in an established business,' she wrote. 'I thought developing a company style guide would solve the problem. But perhaps there are other ways to approach it. 'Perhaps this could be the subject of another article.' Here's that article, Leslie.

Henning, Kathy. ClickZ (2001). Articles>Editing>Style Guides>Writing

Writing Drafts

One of the keys to effective technical writing is to write, edit and re-write. Once you have completed the first draft, you will need to review it several times to identify errors and inconsistencies in the text.

Klariti. Articles>Writing>Editing

Writing, Editing and Designing: a Unified Process

What's in it for me? That's what magazine readers must see at first glance, or they will flip on by. Winning their attention requires thoughtful blending of words and design from the beginning of the publication process.

Writing that Works (2003). Articles>Writing>Editing>Visual Rhetoric

Writing Programs and the English Department

A couple of years ago John Gerber, in an article in the ADE Bulletin, urged a broadened definition of 'literacy,' one that would encompass all study relating to linguistic artifacts, from the most elementary reading and writing to the most differentiated scholarship and composing. Nearly all college English departments do include much of this broad range, but the inclusion is rarely an integration. Instead, there's the English major and the freshman composition program and the creative-writing courses and, sometimes, the courses for nonmajors: film, popular culture, folklore; business and technical writing; and so forth. In large departments different faculty members may specialize in one or another of these units, and the chairman, who is supposed to be running the whole six-ring circus, can scarcely get the different sorts to talk to one another. What integration occurs begins and ends with the yearly departmental cocktail party.

Johnson, Paula. ADE Bulletin (1979). Articles>Editing>Writing>Collaboration

Writing Shorter Manuals  

Large manuals are expensive to write, produce, and ship, and may make a product seem mare diflcult or complex than it really is. Shorter manuals can decrease telephone support calls, provide a challenge to the writer, and save time and money. With careful planning and preparation, diJjCerent writing and design techniques, and participation in product design, writers can shorten manuals and make users more willing to read them.

Sommerville, Heather M. STC Proceedings (1997). Articles>Documentation>Editing>Writing

You Lost Me in the Third Paragraph: A Guide to Gracious Criticism

When a colleague comes to you for criticism, for help, for feedback, you are not helping that colleague if you say, 'Looks okay to me.' An important skill in college and in the work force is that of giving solid, instructive criticism. This handout is designed to teach you this skill.

George Mason University. Articles>Editing>Collaboration

Critiquing Critiques: A Genre Analysis of Feedback Across Novice to Expert Design Studios    

In the discipline of design, the most common presentation genre is the critique, and the most central aspect of this genre is the feedback. Using a qualitative framework, this article identifies a typology of feedback, compares the frequencies of feedback types between different levels of design studios ranging from novice to expert, and explores what the feedback reflects about the social and educational context of these design studios. Results suggest that the feedback socialized students into egalitarian relationships and autonomous decision-making identities that were perhaps more reflective of academic developmental stages or idealized workplace contexts than of actual professional settings--therefore potentially complicating the preprofessional goals of the critique.

Dannels, Deanna P. and Kelly Norris Martin. Journal of Business and Technical Communication (2008). Articles>Editing>Collaboration

Multi-Track Mixing for Location Dialogue

Stereo is rarely recorded as such in the field. Instead, we record monaural sounds and wait until post-production is nearly complete to re-assign these sounds to the audience's left, right, and in-between. Until the film is edited, there is no way to know just where all of the audio elements need to end up. For instance, out on production, it might seem logical to record a car that passes from left to right in stereo, so that you can hear the 'pass by' in your phones whoosh from the left ear to the right ear.

Ginsburg, Fred. Equipment Emporium (2006). Articles>Multimedia>Editing>Audio

Foley on a Shoestring

The post-production process known as 'Foley' refers to the art of recording 'live' sync sound effects to picture. It is akin to looping the dialogue, but instead of recording the actors performing their lines while watching themselves on screen--skilled craftspeople known as 'Foley artists' will walk, run, and act out any sync sound effects to match what the actor is seen (or implied) doing in the picture.

Ginsburg, Fred. Equipment Emporium (2006). Articles>Multimedia>Editing>Audio

Patterns of Revision in Online Writing    

This study examines the revision histories of 10 Wikipedia articles nominated for the site's Featured Article Class (FAC), its highest quality rating, 5 of which achieved FAC and 5 of which did not. The revisions to each article were coded, and the coding results were combined with a descriptive analysis of two representative articles in order to determine revision patterns. All articles in both groups showed a higher percentage of additions of new material compared to deletions and revisions that rearranged the text. Although the FAC articles had roughly equal numbers of content and surface revisions, the non-FAC articles had fewer surface revisions and were dominated by content revisions. Although the unique features of the Wikipedia environment inhibit strict comparisons between these results and those of earlier revision studies, these results suggest revision in this environment places unique structural demands on writers, possibly leading to unique revision patterns.

Jones, John. Written Communication (2008). Articles>Editing>Online>Wikis

Developing Indexes

As a technical writer, you'll typically have to create indexes for the print books and for online helps you develop. The type of index we mean here is the classic back-of-book index that shows page numbers on which topics and subtopics occur within the book. An online index is much the same except that you supply hypertext links rather than page numbers.

McMurrey, David A. Illuminati Online (2004). Articles>Editing>Indexing>Technical Writing

Final Check: Dotting Those i’s and Crossing Those t’s

You’ve worked long and hard on your article, newsletter, press release, promo brochure or report. Now it’s time to move your baby off your screen and into the world. Not so long ago your baby would have gone either onto a printed page or onto the Web. These days, your words will probably head for both. Even materials such as newsletters, white papers, reports and advertorials that are first published on paper are quite likely to be reprinted, archived or otherwise reused on the Web, perhaps even as an audio file or podcast. People may even blog about your content. What does this mean for you as a business communicator?

Canavor, Natalie and Claire Meirowitz. Communication World Bulletin (2008). Articles>Business Communication>Editing>Writing

Combine Writing, Editing and Design in Your Employee Publication

After more than a decade of working in the corporate environment, I have finally accepted that readers need to be enticed by more than the promise of a good read: They need proof. They want a visual two-second test-drive before they decide whether or not to spend precious minutes on a particular page. This is not to say that corporate readers are not discerning or that sloppy copy reads any better when dressed up with elaborate design. The truth is that in any corporate publication, a great article won't be read if the layout is poor. Similarly, a stunning design falls flat if the content doesn't live up to it.

Dower, Sophia. Communication World Bulletin (2007). Articles>Writing>Editing>Newsletters

Editing Your Own Work

One of the most difficult things a writer can do is to edit his or her own work. It's great to have someone else, preferably a trained editor, review what you've written. But you may not always have that luxury, and even if you do, you should never be satisfied with a first draft.

Canavor, Natalie and Claire Meirowitz. Communication World Bulletin (2005). Articles>Editing

Editing Your Own Work, Part II

Someone once asked Lillian Hellman what was hardest about writing. "Killing your little darlings," she said. For a playwright, "the little darling" can be a favorite character or a hard-fought scene or a bit of sparkling dialogue—anything that, while dear to one's heart, doesn't contribute to the dominant theme. A similar challenge faces every writer, whether we work in the realm of reportage, marketing or employee communication.

Canavor, Natalie and Claire Meirowitz. Communication World Bulletin (2005). Articles>Editing

Good Writing and Editing: Are They Dying Arts? And, Should We Care? 

The answer to both questions: "YES!" Like us, you may be dismayed by the growing quantity of poor writing that bombards us. We see it everywhere, in publications, web sites, newspapers and corporate materials—writing that is not just full of grammatical mistakes and misused words, but is also poorly thought-out, unclear and contains downright confusing language.

Canavor, Natalie and Claire Meirowitz. Communication World Bulletin (2004). Articles>Writing>Editing