Mastering the Art of Self-Editing: Enhance Your Writing and Hire the Right Editor

Ever wondered how to transform your manuscript from good to brilliant? Today, we’re demystifying the art of self-editing and sharing coveted tricks to enhance your writing style. Home in on sentence structure, narrative flow, and the fine details of spelling and grammar to shape your narrative into an engaging masterpiece. Discover the power of potent verbs, the subtle art of punctuation, and why reading your manuscript aloud could be your secret weapon in the battle against run-on sentences.

Have you been grappling with tenses, gratuitous L-words, and knowing when to be ruthlessly decisive with your edits? Let us illuminate the way. In this episode, we peel back the layers of tenses and discuss the importance of being conscious of your language choices, especially those pesky L-words. We also delve into the importance of objectivity, and why knowing when to step away from the editing process is just as crucial. And remember, editing doesn't have to be a chore; it's your golden ticket to making your manuscript shine for readers.

But wait, there's more! Beyond self-editing, we're guiding you through the labyrinth of hiring the right editor. Get the low-down on the different types of editing, from structural to line to proofreading, and why each one should fall into place at just the right moment in your editing journey. Involve other discerning readers in your process and understand why it's essential to engage a professional editor to catch those elusive mistakes. Plus, learn why building an online presence and using platforms like Patreon can lend a helping hand in supporting your work. As a bonus, stay tuned until the end for a teaser of our upcoming guests!

Episode Transcript

Wendy H. Jones (00:03):
Hi and welcome to the Writing and Marketing
Show brought to you by authorWendy H Jones.
This show does exactly what itsays on the tin.
It's jam-packed with interviews, advice, hints, tips and news
to help you with the business ofwriting.
It's all wrapped up in onelively podcast.
So it's time to get on with theshow.

(00:23):
Welcome to episode 181 of theWriting and Marketing Show with
author entrepreneur Wendy HJones.
Today I'm going to talk aboutself-editing on the show and
we'll be giving you hints andtips on how to self-edit your
work.
And that's because I've beendoing a lot of editing recently
and I've been spending timeknee-deep in looking at the

(00:46):
sources and looking at all thedifferent aspects of editing,
and I've been having a greattime.
I love editing, but I know alot of other people don't.
But other than editing, whathave I been up to?
Well, not a whole heck of a lot, really.
I've spent a lot of time in myoffice.
I have done a lot of reading aswell.

(01:07):
I'm trying to watch lesstelevision and do more reading.
It's just so that I can immersemyself in the written word.
And I'm knee-deep in trying toget ready for my trip to the
States in just three and a halfweeks.
It's flown past.
It really has.
I cannot believe how fast ithas gone.
In fact, it's not three and ahalf weeks, it's under three

(01:29):
weeks.
Gosh, that is coming up fast.
And I have a three-month tourof the States coming up and I'm
very, very much looking forwardto that, i can assure you.
So that's taken up a lot of mytime.
I've been getting things readyfor that.
You know all the usual thingsMaking a hair appointment,
making sure that I've bought allthe toiletries I need to take.

(01:51):
I know you can buy toiletriesin the States before anyone says
otherwise, but you know I'm awoman of habit.
I like to use the stuff I liketo use.
But obviously you have to worryabout weight as well.
And then you need to worryabout am I going to take paper
packs?
Am I going to take just mykindles?
Am I going to take notebooks?
Do I need a new laptop?

(02:12):
No, i don't need a new laptop.
My laptop's absolutely awesome.
I have a MacBook Pro and it'sbrilliant.
So all these things you need totake into consideration anyway
what you need to take with you,packing lists, how much weight
you're allowed All the usualstuff has been filling my brain.
So the only things I can talkabout at the moment are either

(02:35):
travel or editing.
So editing, it is that we'regoing to be doing.
Today.
I was going to have aninterview for you with someone
who is in search and rescue witha dog, and I was going to be
interviewing, recording thattoday.
However, that's had to bedelayed by a week, hence the

(02:56):
reason here I am talking to youabout editing and I'm very much
looking forward to it.
Before we get on to the show, iwould like to say, as always,
it's an absolute pleasure tobring you this show every week.
I do so willingly.
If you would like to support mytime, you can do so by going to
patreoncom forward slash WendyH Jones and supporting me for
just $3 a month, which is theprice of a tiered coffee per

(03:20):
month, and it would let you knowthat you're enjoying the show
and that you want me to continue.
And continue.
I would like to, becauseobviously I've been doing it for
well.
I can't count for a start, butI've been doing it for over
three years.
I can't quite say how much pastthree years.
It's a good job.
I'm good at words because it'snot my 40 numbers.

(03:42):
So it's wendiehjonescom forwardslash.
No, sorry, patreoncom forwardslash.
Wendy H Jones Gosh, i told youmy brain is fried at the moment.
I'm sorry, but I promise youthat the show itself will be
better than the introduction.
So, as I say, i've beenthinking a lot about self

(04:05):
editing and wondering what Icould talk to you about with
that, and I have to say, firstof all, i'd like to outline why
self editing is so important.
Well, firstly, it's your chanceto help shape your narrative
into what you want it to be.
It's your chance to make surethat your manuscript is as

(04:28):
squeaky clean as you can get it.
It's your chance to shape yourwork.
It's your chance to make itbetter.
It's your chance to pick up allthe things that are wrong with
it at the moment, because, trustme, everybody, when they write
a first draft, there is alwayssomething wrong with it and you
always need to go back andchange things.
So it's your chance to make thechanges and make them changes

(04:51):
in the way that you want.
It's a chance for you to look atsentence structure.
It's a chance for you to lookat the overall structure of the
of the narrative.
Have you missed anything out?
For example, if you're writinga crime fiction novel, have you
put in enough red herrings?
Have you forgotten toinvestigate a murder?
Trust me, i did that in one ofmine once, in the first draft,

(05:14):
and I had to go back and sort itout.
So it's your chance to makesure that everything
structurally is good.
And then it's your chance tomake sure that your spelling and
grammar is good and that you'refollowing the conventions.
And it's your chance to seethat it's not boring.
Because if you go through andread it and you're bored with
what's being read, trust me, sowill the reader who has paid for

(05:34):
your book.
And you don't want that at all.
You want your book to be asgood as it can possibly be.
So where does one start?
That is the the question.
You know, where do you actuallystart with editing a book?
Well, i'd like to say, thefirst thing you want to do is

(05:55):
you want to look at clarity,coherence and the overall
quality of your book.
So, as you read through it, arethings clear?
Are you misunderstandingsomething?
Now, this may be difficult foryou, because we all read our
book so many times that you knowsometimes it blends and we see
what we want to see.
But is it clear?

(06:15):
Is everything coherent?
Are the sentences good?
Are the word choices good?
Is the tone good?
Is it in a voice that you'rehappy with All these sorts of
things?
are you happy with the qualityor are there things that you
feel need changing to make thatmanuscript better, to actually

(06:39):
bring it to life more?
Have you done this settingcorrectly?
Is the speech right?
Things like that do yourcharacters all speak more
differently to each other, sothey all come across as
characters in their own rightand just not carbon copies of
each other, or even carbon copyof yourself.

(07:00):
We can all fall into that habit, that's for sure.
So the first thing you're doingis looking at the overall
clarity, coherence and overallquality.
Now, some of the mistakes thatyou might want to watch out for,
the errors that people make.
I mean there are grammaticalerrors, punctuation issues,

(07:22):
repetitive phrasing andexcessive wordiness.
Obviously that's not yourstructural edit.
That's coming down and lookingat the nitty gritty of your
proofreading it, but you maypick things up as you're going
through it and you want to belooking out for these.
Now I would like to just givean overview of the things that I

(07:43):
have found that people use.
It's the L-Y word, anythingthat ends in L-Y quietly,
quickly, you know, i can't thinkof any at the moment, but
they're usually used to prop upsentences to make them better.
And if your sentence needs anL-Y word to prop it up, then you

(08:04):
need to think very clearlyabout whether your sentence
could be changed.
So, for example, instead ofsaying she said quietly, you
might give the impression fromthe words that she was
whispering.
Or you could say murmured,muttered, whispered, and I know

(08:25):
everybody says just use said,because said blends in and
nobody pays any attention to it,and that is absolutely true.
It is true that said should be.
But if you're wanting to givean idea that things are a bit
quieter or a bit louder, insteadof saying loudly you could say
shouted or yelled or screamed.

(08:47):
Use more powerful words, andthat's one tip I would really
give you.
Use powerful words and what weall tend to do, and I fall into
the same trap as everyone elsewill say very, so we'll say very
noisy, instead of sayingdeafening, something like that.
A more powerful verb.
Very often that could befrequently, regularly, you know.

(09:12):
Think of other words.
You can use various, like theL-Y words it's used to prop
something up in an effort tomake it stronger.
Make it stronger by changingthe verb.
So things like very powerful,compelling, very pretty,
beautiful, stunning, startlingyou know different words you can

(09:34):
use.
You know very scary, petrifiedor chilling, or you know things
like that you can use differentwords.
So think of more powerful verbs.
And that's one thing that Ihave found out.
You know I've found out thathappens a lot, that people use

(09:57):
the word vary or they use theL-Y words to prop things up.
So you're looking at yoursentence structure.
So if you're going through itand you're looking at the
overall flow and you come acrossan L-Y word, underline it,
highlight it if you're doing iton the computer, or underline it
if you're doing it on paper andjust make a note to go back and
look at that word to make itstronger, to make the narrative

(10:20):
stronger.
And the other thing that's useda lot in terms of L-Y words is
suddenly.
Please don't use the wordsuddenly.
Suddenly is just a redundantword, you don't need it after
the phrase, after the wordsuddenly.
You know the words in.
That should be used to showthat something happened suddenly

(10:43):
.
So suddenly the fairy godmotherappeared.
You know, you can say in a puffof smoke a fairy godmother
appeared, and do it like that,so it gives you the idea that
it's sudden, without saying,suddenly, think the different
words that you can use.

(11:07):
The other things that you canuse in terms of looking at your
sentence structure is look atwhether the sentence flows
correctly and if it does.
Now, often if you've got twosentences that stand together,
we will very often use a commabetween them, but there are two

(11:29):
whole sentences.
If you've got two wholesentences then and you put a
comma between them, that is acomma splice, and your comma
splice is where you use a commato link two independent clauses
and usually a colon or a semicolon should be used instead.
For example, john and Cherrylove walking.

(11:49):
They walk every day.
You would use a semi colonthere instead of instead of a
comma, because it joins themtogether, and you can only do
this where there are two totallyseparate sentences, if the
sentences stand on their own.
Now, if you said John andCherry love walking full stop,

(12:14):
they walk every day, it sounds abit simplified.
Now, i know it's a very simplesentence as I'm giving you.
You know it's things like thatthat you can do.
I'm only giving you two verysimple sentences, and you can
also use semi colon, becausevery often what happens is we
will do a run-on sentence so andso and so and so and so, and

(12:37):
such and such and such and suchand such and and, and you've got
several sentences there thatare stuck together to make one
long run-on sentence and you canbreak it down either by
splitting it into two sentencesor you can break it down by
using semi colons or colons, andthat will make it read better.

(13:01):
So look at every sentence.
Look at every sentence and seeif it reads well, try reading it
out loud.
Reading it out loud is a reallygood way of really good.
Now, you shouldn't say reallygood either, and I did that
deliberately.
Instead of really good, i couldsay that is a powerful way, a
powerful way to understandwhether your sentence works or

(13:26):
not.
So, really, really good, reallyanything is another word that
is worth omitting.
Go through your entiremanuscript and look for that.
The other thing that is used alot, the word that and 99.9% of
times, the word that can beremoved from your narrative and

(13:49):
it doesn't hurt the sentence atall.
So if you're looking at yoursentences, what you're doing is
if the word that can be takenout of the sentence and the
sentence still stands as aproper sentence, then remove the
word that.
The other word that you canremove and it makes the

(14:11):
narrative much tighter, it makesyour text much tighter, it
helps your ideas to flow is theword just.
We do that all the time, all ofus will, but I was just doing
we don't need that.
The word just is redundant.
You can use the word just.
I'm not saying use it all.
So you need to look at everysentence and if you're using it

(14:35):
to say I was just doingsomething or I was just
listening to something, then itcan usually be omitted.
Now it's your manuscript, sowhat you use is up to you.
However, i can only give youideas, i can only give you tips.

(14:55):
So the other thing that we doall my goodness, we spend our
entire time using one word.
I'm not joking, and mine seemto be smiled, or smile, or
smiles.
For heaven's sakes, how manytimes can you use that in one
novel?
So if I'm saying you know,because I'm trying to break up

(15:19):
sentences, i'm trying to give aperson I say Di Shona Mackenzie
smiled and said well, if I saythat every time it starts to get
really annoying.
You can change it for thingslike get in, but seriously, you
don't just want to think ofother words for smiled all the
time.
So you might want to look atother ways of showing action,

(15:43):
other ways of breaking updialogue, breaking up sentences,
rather than just the one wordthat you're using.
And, trust me, if you gothrough your narrative, you will
find one word that you areobsessed with, and I will go
through all at the end.
Go through and change that word.

(16:04):
Your narrative will be all thebetter for it.
And so the other thing you needto look at is whether the tone
and the voice that you've usedis consistent throughout the
entire book, the entiremanuscript, whether it's a short
story, whether it's a book,whether it's a piece of flash

(16:24):
fiction.
Your tone should be consistent,and that's important.
So go through it Now.
How this can help you do that isto actually read it out loud.
If you read it out loud, you'llfind the tone.
You will also find out whetheryour writing is flat or whether
it ebbs and flows, because ifyou've got very monotone writing

(16:47):
, when you read it out, it'sgoing to be very monotone.
So, for example, if I say DIShona Mackenzie spent her whole
day in the workforce and therewas nothing to do and it's
really boring, if I say DI ShonaMackenzie spent the whole day
in the workforce and she was sobored that she needed to think

(17:09):
she was rubbing her fingers onthe table, thinking of things
she could do to actually get herout of this hell that she
suddenly seemed to be in, itwill help you to realise that
things are boring and you needto spice them up.
Now again, i'm making that upon the spot.
There are other things you cansay.
You know that will make itbetter, but reading it out can

(17:34):
make you realise where yourwriting might be boring, where
your voice might be monotone andwhere your characters do not
have enough action.
And that's the other thing Iwant to say.
You need action in your books.
When I talk about action, i'mnot talking about, you know, car
chases, that type of action.
I'm talking about action inbetween things.

(17:56):
So, for example, i can say youknow, di Sean McKenzie said I've
had enough of this.
You've got to tell me what'sgoing on and I'm not putting up
with this any longer.
She slapped her hand on thedesk.
Give me the correct answer nowand stop wasting my time and

(18:20):
your time, though stop.
She clutched her hands in orderto stop them shaking, because
this waste of space in front ofher was seriously upsetting her.
And there's another word thatyou might want to look at
seriously, another LY word.
I use that a lot as well, and Ineed to look at where I'm using

(18:45):
seriously, and I'm giving youthis from my own, because
obviously I'm not going to tellyou what I'm doing with my
clients work, that's for sure,because that's not fair on them
and they're paying me to helpthem not tell the rest of the
world what they're doing.
But I do see seriously in a lotof manuscripts and that's one

(19:06):
that you might want to look atRepetitive phrasing, the way
you're using the same words overand over and over, and I'm not
just talking about smiled, i'mtalking about in the same
sentence you might, or in two orthree sentences you might, have
the same word or same verbthree or four times.
That you need to look at.

(19:27):
You need to look at what you'redoing Now.
The other thing you need to lookat is excessive wordiness or
flowery language.
We're all very good at usingflowery language I do it all the
time and the flowery languagesometimes you can take five of
the words in your sentence andreplace it with one powerful

(19:50):
word.
So look at those instanceswhere you can actually get rid
of the excessive wordiness andtighten your manuscript up.
The more you tighten thosesentences up, the more you
tighten your words up, thebetter your manuscript is going
to be, the better your novelwill be, the more it will come

(20:11):
out for your readers, and thatalso enhances readability.
If you're struggling to readsomething when you read it or
when you're reading it out, thenyour reader is going to
struggle as well and you want itto be readable.
So you do everything you can toenhance your readability and

(20:34):
taking out flowery language isone of the ways you can do that.
So the other thing when you'redoing edits is you can actually
re-look at your ideas.
You can rethink what you weresaying there, you can rework
paragraphs to make them work,and this all helps to strengthen

(20:56):
your writing.
If you're doing all of thisre-writing your paragraphs,
re-writing your sentences,moving things around, even
moving chapters around and itmight be that you want to take
entire paragraphs or chaptersout completely.
Now, when you cut them, pastethem somewhere else.
I'm not saying get rid of themand send them to the trash bin

(21:19):
and never use them again,because you never know they
might fit into somewhere else inyour manuscript or they might
come in useful in a differentmanuscript, but that is one
thing to look out for that.
You can cut things in order tomake them more readable.
That is important.

(21:43):
So, as you're trying to refineyour writing still as well and
to revise your thinking because,especially if you're doing
non-fiction, it might not beclear what you're saying.
So you might need to reviseyour thinking to make it clearer
for your reader.
Or you might say well, that'snot actually what I meant, but
that's what I've said.

(22:04):
Because that's the differenceWhat you've meant versus what
you've said are two differentthings, and you need to look at
what you've said is actuallywhat you meant, and this is your
chance to do that.
Obviously, you're going to lookfor spelling errors.
You're going to look for typos,inconsistency in your grammar,

(22:27):
you're going to look at yourpunctuation and, eventually,
your formatting as well.
You're not going to do all thatat the beginning, that's for
sure.
One of the other things that youneed to look at are tenses.
Tenses are really important andpeople jump around between past
and present and future likenothing else on earth in their

(22:50):
manuscripts, in their novels,obviously in the first draft.
I'm not talking about later on,but none of us are actually
thinking about tenses.
So make sure, if you're writingin the past tense, everything
is in the past tense.
If you're writing in thepresent tense, everything is in
the present tense.
And if you're writing in thefuture tense, it's in the future

(23:11):
tense.
I've never actually writtenanything in the future tense Not
a whole novel anyway, that'sfor sure.
I'll have written sentences andthings in the future tense, but
not a whole novel.
But I've certainly writtenthings in the past and the
present tense and they're thetwo that people get very mixed
up with.
And there's another thing verymixed up with.

(23:33):
You don't need the word very.
These are things that everybodygets mixed up with and that's
all you need.
It stands on its own withoutvery beforehand.
So check your tenses are theother things.
So you know you've got to beobjective.
This is the big thing whenyou're editing.

(23:53):
You've got to be objective.
We love every single word we'vewritten.
We treat it like it's our own.
We treat it like it's somethingwe gave birth to, which we did
in a certain way.
But you need to be objectivewhen you're editing.
You're passionate when you'rewriting and you're objective
when you're editing, and youneed to be able to take

(24:16):
decisions that will make yournarrative better.
And you've heard the saying killyour darlings, and you
sometimes have to.
You sometimes have to get ridof those words because they're
not making your manuscriptbetter, they're not helping the
storyline, they're not helpingthe flow of your writing and
your story And they're pullingpeople out of the story.

(24:41):
So if you come across a wordthat pulls you out the story and
you have to think about it,then you need to rewrite that
word or get rid of it, because Ican absolutely assure you that
that is going to happen whenyour reader reads it as well.
So do all those sorts of things, and managing self-doubt is
actually an important one.

(25:01):
We all doubt ourselves, and wedoubt ourselves when we're
editing, because you read it andyou think what's on Earth?
Why did I ever think this wasgoing to be good?
Why did I ever think I canwrite?
Remember, this is a rubbishfirst draft.
Everybody writes a rubbishfirst draft.

(25:21):
And what you're doing whenyou're editing is operating on
it, polishing it and getting itSunday close on, basically.
So your editing is for that,when you do not doubt yourself,
you can do this, you've got it.
It's an edit, not a disaster.

(25:42):
And the other thing you shouldreally really think about and
there's another two L words Andinstead of saying really really
think about, you should sayconsider.
Another thing you can consideris knowing when to stop editing
and consider your work complete.
We're all like that.

(26:03):
My very first book.
I spent forever editing it andediting it again and editing
again.
Eventually you have to get alick go of it.
I know people that have spent10, 20 years editing one book
and they cannot get out of thatcycle.
It needs to go out there, itneeds to go out into the world.
At some point you need tofinish and you have to say my

(26:25):
manuscript is complete.
Now a lot of people look atediting as a necessary evil.
I love editing.
I love editing my work becauseI see it as my chance to make
what I have written better, tomake what I have written
something that is going to bebrilliant for the readers.

(26:47):
It is my time to get it right.
You don't have to get it rightin the first draft That's not
what the first draft is aboutBut you do have to think about
it in the editing process, andthis is your chance.
Editing is your chance to getit all right.
Now there are different types ofediting and you can do it as

(27:11):
you go along.
There is structural edit, thereis line by line edit and there
is proofreading, and they areall different things And you
might want to leave theproofreading until the end.
Well, you do want to leave theproofreading until the end,
because if you are chopping andchanging things, it's not going

(27:34):
to make sense, so you are goingto have to proofread it again.
So I would do it in that orderstructural edit, line edit and
then your proofreading.
There are the three edits thatI do.
Yeah, there are other edits youcan do, but guess what, guys,
once you've done all of that, itdoesn't finish there, because

(27:55):
then you send it to maybe alphareaders, which are your peers,
other writers who will read itfor you and give you feedback,
and then you do an edit based onthat.
You send it to beta readers,who are your intended audience.
They will give you feedback andyou will edit it based on that.
Then, guys, this is the clincher.

(28:16):
I would advise you to send itto a professional editor and get
it edited again, because youare so close to that work that
you will not be able to see theflaws.
You will not be able to see themistakes.
You will not be, because yourbrain reads what it expects to
see there, it sees what itexpects to see and it reads what

(28:38):
it expects to read.
So you do need to hire aprofessional editor as well, and
that is extremely important.
And you know I do do editing.
I don't do a lot of editingbecause I'm primarily an author
and writer, but I do do editingfor people and they have been
very happy with what I have done.

(28:59):
I'm not saying you need tocontact me to do editing, but if
you want to, you can do, and ifI can fit you into my timetable
, my diary, then I can discussit with you.
But again, you need to get theright editor, and this is why
I'm telling you that I edit.
You do not want me to edit yourmanuscript if it's setting out

(29:25):
of space, because I don't dosci-fi, i just don't read it.
I don't know anything about it.
So you don't want me.
I don't do fantasy because Idon't really read it, so I would
be struggling to help peoplewith fantasy.
I can help people with othertypes of editing crime fiction,
no trouble, cozy mysteries, youknow.

(29:47):
Literary fiction, biblicalfiction.
I have done all of that.
I've helped people withnon-fiction.
I can do that.
But again, the reason I'mtelling you this is because you
need the right type of editor.
Don't just employ an editor andthen discover they don't
actually work in the area thatyou are writing in, because that

(30:09):
is pointless, because it's notgood for either of you.
So you need to get the righteditor.
And I'm going to includesomething else If you're doing
non-fiction, you need an editorfor the actual book itself,
about the structure, theproofreading, everything like
that.
But you also need an editor whocan tell you about whether your

(30:34):
subject matter is correct and ifyou've got anything wrong.
So that's another step you haveto add in.
If you have a historicalfiction book, you need somebody
from that period to have a lookat it to see whether not
somebody from that period,somebody who's knowledgeable in
that period, i should say it'dbe a bit difficult if you're
writing about the Middle Ages toget somebody from that period

(30:56):
to edit your book.
But you need someone who'sknowledgeable in that area to
actually tell you whether thingsare historically correct or
whether people would use thosewords in that day and age,
because maybe the word wasn'tinvented to 200 years later, so
they wouldn't have used it indialogue.
I'm not saying you can't usecontemporary language in

(31:17):
historical books, but the actualwords that they use on the
whole needs to be accurate, soyou can't use a word that hadn't
been invented.
So these are the things thatyou need to consider Get the
right editor for your projectand research that, really

(31:38):
research that and make sure thatyou get the right person for
you.
So I hope you found this helpful.
I will be back again next weekwhen I will be talking with
someone about Search and Rescue,and so if you're doing anything
and you want to involve Searchand Rescue, then you will get

(31:59):
some marvellous tips then.
I hope you found today'ssession helpful and I look
forward to seeing you again nextweek.
And until then, keep reading,keep writing, and I will see you
in a week.
That brings us to the end ofanother show.
It was really good to have youon the show with me today.

(32:19):
I'm Wendy H Jones and you canfind me at wendahjjonescom.
You can also find me on Patreon, where you can support me for
as little as $3 a month, whichis less than the price of a tea
or coffee.
You go to wwwpatreoncom.
Forward, slash wendahjjonescom.
I'm also Wendy H Jones onFacebook, twitter, instagram and

(32:43):
Pinterest.
Thank you for joining me todayand I hope you found it both
useful and interesting.
Join me next week when I willhave another cracking guest for
you.
Until then, have a good weekand keep writing, keep reading
and keep learning.