Tag: editing

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Listening Over Lecturing

Many years ago, I volunteered at a community radio station in Glasgow. As well as turning up for my shift, however, I made a point of showing up at their other events.

At one of these, I was introduced to someone who was supposed to be some big deal in radio, even if the details of his background are now hazy. I can’t even remember whether he was actually a professional or just an enthusiastic amateur. In any case, I was starting out with presenting and he knew more than I did, so I asked him whether he had any advice.

This turned out to be a mistake. Rather than first asking a few establishing questions, he talked at me non-stop for about ten minutes. I’m trying to remember even one of the points he made, but all I can recall is the wide-eyed enthusiasm in his face.

I subsequently learnt there can be something of a ‘wannabe culture’ in community radio, and it’s likely he was part of that. Many volunteers are genuinely there to make a difference to the listeners, but a few believe they could have been on Absolute 90s if only their luck had turned out differently.

I was reminded of this incident recently when I was asked by two different people for general writing advice. I could easily have launched into my own ten-minute speech. I could have reeled off all the times I’ve been published, that I took over National Novel Writing Month for Dundee & Angus, how I used to run an open-mic, what is the best time of week to post a blog, and a hundred other topics.

But what use would it have been? Writing advice is only effective in response to a specific problem.

So instead of channelling that wannabe, I find it more useful to ask some establishing questions, starting broad and narrowing it down. These questions could include, but are not limited to:

  • What’s your current project?
  • Which part are you stuck on?
  • What solutions have you tried so far?

That way, everyone saves time and the person asking gains a much more useful insight than hearing the other person trying to prove their vast knowledge.

Whether the other person takes that advice, however, is another matter.

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The Formatting That Went Out of Date

A rare Wednesday entry, but I couldn’t let this lie. You might have read yesterday’s entry The Story That Went Out of Date, which includes a short story at the end.

It has become apparent that the formatting only appears correctly on https://gavincameron.co.uk. The first line of each paragraph was supposed to be indented like a novel; instead, anyone viewing on the Reading page or the Jetpack app would have seen a wall of text, and nobody likes a wall of text.

It seems I haven’t quite yet cracked the coding on this site. As such, I’ve gone back and edited it, so the formatting should show correctly everywhere.

Thank you for your co-operation.

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The Story That Went Out of Date

There’s a lot of talk at the moment about the challenges facing writing with the advent of generative text software. Much of the discourse has become dull and repetitive, and what I haven’t seen discussed much is how new technology can quickly make an existing story obsolete or dated.

Pick up any novel from the 19th century or before, and the characters will travel by horse or on a ship with sails and rigging. Enter the 20th century and characters will use home phones or call boxes to speak to each other. Readers are quick to make allowances for the age of the text. But what happens when the piece is more recent?

I was reminded this week of a story I wrote in 2015 called Film Star Reanimation Ltd., where the plot revolves around resurrecting two dead actors for a feature-length film.

It’s something that was possible at the time, but involved a lot of manual input and guesswork. It was inspired by, and makes reference to, an advert for Galaxy from 2013 which starred an electronic replica of Audrey Hepburn. Here’s an article from 2014 about how this was achieved.

Now, 13 years on, this sci-fi idea is edging closer to reality, rendering the plot less outlandish than it appeared on its first outing. As such, I can’t foresee this being published professionally now, unless I wait a few decades and present it as a historical piece.

I can find three versions in my files: two from February 2015 and one from December 2015. The last one is the version I’ve included under the cut.

It’s only 1,352 words and I’d like to edit it properly because there are enough plot points in there to unpack it to twice that length. Nonetheless, I’ve left the words unchanged, only the formatting to make it appear correctly on WordPress.

For anyone keeping tabs on my WordPress awards, by the way, the site today awarded me two badges while fixing that formatting:

  • CSS Sorcerer. You’re a developer now. Basically.
  • Perfectionist. Edit a single post over and over again. It’s still not right, is it?

Film Star Reanimation Ltd.

Continue reading “The Story That Went Out of Date” →
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The Layover Formula: Taking My Own Proofreading Advice

For those keeping track, I’ve received no further badges from WordPress at present. I’ll issue updates on that story as I receive them.

Meanwhile, I’m still very much on the writing kick from the start of this month. I’ve previously made allusions that what I’m writing is part of a fantasy series published under a pseudonym on a reasonably well-known platform.

I’ve now churned out two new chapters. The first part totalled around 3,700 words, which is already nearly twice as long as some of the previous chapters. Every story has to be approved by an administrator, and the longer it is, the longer the approval process tends to take.

That first part also ended on a major cliffhanger that will steer the rest of the story. As such, I want to make sure the second part resolves all the action in the first. The second part ends with a resolution rather than another cliffhanger.

I’ve built up both parts in a non-linear fashion, then joined the dots to make a complete narrative. I didn’t consciously choose to work this way; that’s just how it panned out. I’ve been tinkering with the story so long now that I’m down to only minor changes on each reading.

On Thursday of last week, I decided it was time to listen to my own advice: leave it aside and come back to it later. To determine the minimum period that a piece should be left aside, I use a self-devised formula: either (a) one minute per word, or (b) 24 hours, whichever is longer. I’ve dubbed it The Layover Formula.

So a 600-word short story would be ten hours, which is rounded up to 24 hours. By contrast, my next chapter currently stands in the region of 6,600 words, or a layover of approximately 4½ days. In a happy coincidence discovered while writing this, 10,000 words leaves a gap of almost exactly a week:

Word Count Minutes Layover
100 100 24 hours
500 500 24 hours
1,000 1,000 24 hours
2,000 2,000 1.4 days
5,000 5,000 3.5 days
10,000 10,000 7 days

I last looked at the file late on Thursday night and I told myself not to open it again until tonight. I was permitted, however, to carry out some adjacent activities:

  • Jot down relevant notes in another document so I don’t forget them.
  • Work on the history, background and lore of the stories.
  • Start preparing and writing the next chapter.

I’ve been so distracted by all the adjacent work that it’s actually been rather easy to avoid looking at the document. But when I am working on it, one way I like to proofread is by using text-to-speech synthesis because it won’t skip over most spelling or grammar errors.

Microsoft Word can do this, where it’s called Read Aloud, and the voice is reasonably realistic, albeit with the occasional incorrect tone or word stress. The mobile app also has this feature, although I found it kept stopping around two minutes after the screen was locked.

Faced with this problem, I thought it might be prudent to create an audio file instead that could be heard while walking.

Text-to-MP3 converter tools are a dime a dozen, but many of them offer a trial limit of around 1,000 characters before a subscription is required. I found a PDF to MP3 tool that was free of charge and suitable enough for my purposes, even if it handled page breaks with a long gap.

Once the proofreading was done, the piece will be ready to submit and I can give the audience the resolution they crave. I can’t control how long the approval might take, but I can decide how long to wait before submitting it.

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A Good Day for Goals

In honour of our team reaching the World Cup for the first time in 28 years, Monday 15 June was designated as a public holiday across Scotland. In practice, it wasn’t mandatory, although my employer observed it.

The holiday was motivated in part by the timing of their first match against Haiti. Kick-off was at 9pm in Boston on Saturday 13 June, which equated to 2am on Sunday morning in the UK. I don’t care much for football, and I’ve long been opposed to public holidays, but even I must grudgingly admit it was a nice gesture.

I decided early on to use the day for catching up with my writing, dividing my time three ways: editing existing text, writing further narrative, and worldbuilding. By the evening, the project was on firmer ground than in the morning.

As I explored on the blog three years ago, I’ve tried many times to write outdoors and it rarely works out well. So despite the brilliant weather on Monday, most of the day was spent inside at the computer, except for a couple of walks with the official Taskmaster podcast.

Although I’m a fan of the TV show, this companion piece had somehow bypassed me. So every time I go for a long enough walk, I catch up with one more past episode, which has helped me to make a decent dent in the archive.

In my experience, consistent and steady sessions are the key to making progress on a large project.

For around a decade, I’ve owned a copy of War & Peace by Leo Tolstoy. I’ve been going back to it intermittently during this time, and I’d reached page 767 of 1296 pages by October 2024 – although much of the latter section is given over to endnotes and other explanatory details. Despite its length, most of the chapters can be read in ten minutes; there are simply a lot of them.

On 22 May 2026, I set some time aside to read one chapter before bed and another after waking up. While I don’t always manage, I’m now rapidly approaching 900 pages, so I’m on track to finish by the end of summer.

The public holiday was a massive boon for that writing project, but without also tackling it on a regular basis, it could take a long time to finish what is expected to be a series of nine stories. At least the groundwork is firmly in place, and when I find that regular time to work on it, I’ll have a stronger idea of its future direction.

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It’s Not Happening This Week

My schedule and my technology has been against me for the last few days. It’s frustrating because I have three possible topics I could cover, but I’m unable to explore any of them.

Instead, I’ll be back next week with a full entry.

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Back to Basics with Spell‑Checking

I’ve been using the free tier of Grammarly since 2017, but I’d disabled the extension in Firefox.

This was primarily because my old computer didn’t have enough RAM and couldn’t easily handle the extra work. Even once I invested in upgrading the memory, I simply didn’t think to turn it on again.

So for a long time now, I’ve been writing these entries without the aid of a spell-checker, and that’s led to a few errors that weren’t picked up manually.

Last week, I decided to switch it back on, and I was quickly reminded of the other reasons I’d disabled it.

When a suggestion box appeared underneath the text, like correcting suggesiton to suggestion, I found this useful.

But Grammarly also constantly pushed its Pro membership level through these boxes. The software was set up to reveal only a few advanced suggestions per day before blanking them out and telling the user to upgrade.

I found those few advanced suggestions would amount to little more than a find-and-replace with a thesaurus; found might be changed to discovered, or stay to remain. There appeared to be no way to switch these off or even to snooze them for a fixed period

I’ve been writing long enough to know I need a strong spell-checker but a low-level grammar checker that only looks for obvious errors like should of rather than should have.

Grammarly was already beginning to bloat with features even in 2017 and this has only continued to grow. It must be stated, however, that’s far from exclusive to this software, and there are writers who will benefit from that Pro level subscription. I’m simply not one of them.

After closing my account, it was time to take advantage of the spell-checker built into Firefox. By adding a third-party dictionary to ensure all words belonged in British English, I’ve been able to catch the majority of errors without the need for further suggestions.

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A New Impetus for Writing

I found myself with more time than expected at the weekend because two seperate plans were cancelled. I used the time to catch up with some overdue writing. I’ll address that later in the entry, but we firstly need a little background.

I’ve occasionally mentioned that I write fantasy stories under a pseudonym on a well-known website. For the avoidance of doubt, I’m not at a stage where I wish to claim ownership of these, so references to the plot will be vague.

Since my last update about the matter on 27 August 2024, the situation has progressed a little.

After writing 24 parts of my first story, which we’ll call Series A, I then posted an unrelated Series B. That comprised seven parts, drip-fed from April 2024 to February 2025.

In September 2025, I then added a surprise 25th part to A. I consider B to be complete, but I also thought A was complete at 24 parts, so there’s always the possibility of another.

If you’re still following that, good work.

With that unexpected time available at the weekend, I cracked on with two new pieces.

The first is a one-off story that isn’t intended to be a series. It’s also set in a different universe from the other stories, where genetic modification is almost as easy as laser eye surgery is in our world. I’ve been working on this for months to reduce the worldbuilding and exposition in favour of story. I’ve now struck a suitable balance, so that’s been submitted.

The website has decent standards of quality control, so there’s always a wait for approval, but I hope to see that online over the next day or two.

The second is a new series, which we’ll call Series C, and is unrelated to the aforementioned two series. The difference here is that I know where the end-point will be, whereas I kept writing A and B until running out of ideas.

The main character in Series C is travelling a specific circuit so the reader knows from the outset how many parts there are expected to be. This also more easily allows me to introduce recurring characters at specific points without resorting to retcon techniques. What the readers won’t know until the final part is that the character is not quite who she claims to be.

All I need to do now is keep up the motivation to write those parts without too many other distractions.

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The Art of Implied Dialogue

This entry contains plot points from season 1 of Nashville and the 2010 Christmas special of Benidorm. If you don’t want to know about these, skip over this entry.

This week, I encountered a particular technique in screenwriting that I’ve seen before, but I’ve been unable to find out its name. Instead, let me give you an example from a show I’m currently watching.

Nashville is a drama series all about the world of country music. In an episode from Season 1, the characters Rayna James and Teddy Conrad agree to divorce, facing the problem of how to tell their two school-age children.

When the moment finally arrives, viewers don’t hear the conversation because music is playing in the background. It hardly matters, however, as we know roughly what’s being said and how difficult it is for all sides.

The other similar example I have is from the comedy series Benidorm.

At the end of the 2010 Christmas special, the character of Mel Harvey was hastily written out of the series, reflecting the real-life death of the actor Geoffrey Hutchings. In the scene, his son-in-law Mick Garvey receives a phone call from the hospital while at a theatre show with his family.

During the call, we can only hear Mick’s side of the conversation. When he passes on the news to the others, the dialogue is drowned out by music, but the episode as a whole contains enough information for us to understand what’s happened. It’s particularly effective here because Mick normally has an antagonistic relationship with his mother-in-law Madge, but it’s clearly been put to one side.

A technique like this works best when it’s saved for the scenes that can carry the weight and let the surrounding story do the talking. When the audience is trusted to fill in the gaps, the effect can be remarkably strong.

And, as I said at the start, I still don’t know what this technique is officially called. If you do, leave a comment.

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Three Ways to Proofread in a Hurry

Other than the actual writing, there is another basic skill required from a writer, and that’s to look over back over the words at a later stage to ensure they have the intended meaning.

It can be tempting to edit immediately. With the exception of the most obvious errors, however, I advise against this. Proofreading and subsequent editing is best done cold, as if seeing the text for the first time. It’s also a good idea to keep Track Changes turned on during this time.

But what if you have a piece you need to finish? Below are three tips that have helped me.

1: Leaving enough time

My guideline is to leave the text aside for a minimum of one minute per word, or for 24 hours, whichever is longer. So a villanelle might be left 24 hours on account of its brevity, whereas a 4000-word story might be picked up again in around three days’ time.

I would not be offended if anyone picked up this formula and publicised it as ‘Cameron’s Rule’, or suchlike.

2: Changing the typeface

After reading and reading the same text over again, the words sometimes merge together. One way to counteract this is by changing the text to a completely different typeface and/or the colour of the text. Have a rake through the ones available on your machine and find a legible one in a different style.

If you prefer to make your first draft by hand, you’re already at an advantage when you transfer it to a computer. The same text can look different on a screen. I find I can write what seems like a long paragraph by hand but it seems shorter when viewed in type.

3. Ask someone else to read over it

This method comes with some risk, especially if you’re in a hurry. What if the other person fails to reply? What if it requires a detailed rewrite?

The trade-off is that it’s a often reliable gauge of how readers might view the piece. I’ve sometimes heard back from folks that some content needs to be explained more, or occasionally that they grasped the concept and the words can be cut back.

However, you choose to do it, it’s worth investing the time. You don’t want to find an error once you’ve had 1,000 copies printed.