Self-Editing for Writers: 7 Steps to a Better Manuscript

1. Lesson 1 Introduction: Welcome. Hi there. My name is Adrian and I'm here to help you write better fiction, get it published. I'm a former journalist and copywriter and I worked as a freelance editor, published doctor. I am also a weaker, but that's a completely different story. For 30 years now, I worked in play in the communications industry. My specialties are fiction, particularly the genre science fiction and fantasy. But these techniques that I'm teaching, they are applicable to almost any kind of writing, especially storytelling. I've had my stories published, newspapers, magazines, anthologies, and like debut novel launch. The techniques that I'm going to teach you care, are applicable to all kinds of storytelling and all kinds of this class. We're looking at seven solid ways to improve your fiction writing. Will delete the words, hunt down repetition at tension, and much, much more. For this class, you will need 123 pages of your own writing. You can write on printed sheets or use tracking changes in Word or something similar to see your edits. And then you can show them off to us at the end. You can learn all about me on my website at www dot HLA craft.com. I love reading. I actually have my dream job getting paid to read for living. I tell you there's no better feeling than helping my fellow writers polish their work, send it in and get published. It's not enough to have the most unique idea ever. You have to make it easy for the reader. You have to ensure the right information is presented in the right order. You have to provide a story that means something that makes sense to the reader. I can almost hear you saying, isn't a great story. What marriage most? Well, yes, but unfortunately, some great stories can get hung up on extra word image and wandering subplots and placed backstory. If you feel you've gotta stick story, I need some help with that line by line editing and the structural stuff. And this class is just for you, good line by line as the thing helps us ensure that every word matter. Nothing is wasted. And that'll make your book or short story shine. It helps you tighten your manuscript, helping it be easier to read, punchier, more satisfying. In this class, you'll learn how to find and cut empty worded. Add tension to keep the reader interested and figure out when to show. Not tell. When to summarize. To improve your pace. We will further strengthen your story by adding something. We will also scan for backstory, which some people call the x, doesn't belong in certain parts of your store. Theme and why it's so important. And learn how to identify your theme and ensure that matches or ending first. As I read. In this class, writers will learn how to choose what's important and what's filler that's slowing this down. And you will learn how to catch your own danger words. To be aware of your own danger words can reduce our negative impact on your storytelling. You can often condense a novel by hundreds of words. By searching and deleting these danger words, I have a great strength to tell you about that. I'll also share some book recommendations, especially ones that really highlight some of the points that we're going over in this one. At the end, I'll do some demonstration, anything where you can see some of these elements apply, especially for parts of the class that didn't have an actual example for your project for this class will be to apply these techniques to a page of your own work and share that with us. My name is Adrian lay crap. I am an answer, a published author and would cover. My goal is to help you write amazing stories and see them publish. Good writing is time-consuming, hard work, but that makes it easy to read. Every writer should always expect to their manuscripts several times to hone it, to smooth out the delivery, and to find just the right words to match exactly what you're trying to express. So come along with D and follow these seven steps to a better manuscript. One that you can feel proud to submit to a publisher and editor. 2. Lesson 2 Empty Words: Okay, Let's talk about empty words, word repetition, and that ten per cent idea. There's this thing that I call danger words that I want to teach you about. Danger warrants are the ones that tend to creep into your writing on a regular basis. And probably in your speech patterns, do. They are empty words that are redundant, overused. No real significance. Our process is often improved by removing these sorts of words. I haven't ever-growing list of my own. Here's a few examples. Very, just, so, quite many. Really bad. Then even seems actually about almost suddenly, simply, somehow, nearly basically. These are words that I find that I either overuse or I use them when they're not needed, or I use them when I'm actually just lazy. My worst danger word is the word. I did a search on a novel once and found over a thousand cases of using the word just over those and maybe a 100 or so were appropriate. And they got to remain. But I got to remove hundreds of words from my manuscript. Just by removing the word. It was simply an empty word that wasn't adding. It was taking up space. I recommend that you keep an ongoing list of your danger words as you notice them. Them when you're editing a manuscript, you can use the find function or the search function and search for that word. And then surf through them and see if it's being used properly or not. You will be amazed at how often your own danger words appear in your manuscripts. Warning. Here's a big warning though. Don't try to do this while your first drafting. Save the editing for after the first draft is completely done. Allow that first draft to really flow and really be creative. We actually do use different parts of our brain for the different jobs, creating and editing. So make sure you allow a natural flow while drafting. But in the editing and revision stage, we can and should work over our manuscripts and clean them up. Creating a story that is much easier and more. I don't want to put something out to you here while I've got this up. Ly, LY, LY, LY. One more. If you're seeing a lot of LY words, they probably belong on your, the internist. Many of the steps that we take when we're at our other to clarify the meaning or to tighten the pros. I've noticed that many people will say, I hope it doesn't rain. Instead. I hope it stays sunny. Or in the crucial chasing, people will write, don't stop, instead of keep going. I challenge you to explore your writing in this way. To really analyze what you're saying, what you're really saying, and how you're saying it. I challenge you to look carefully at your writing and see if you were saying what is or what is actually not. Say what it is. Instead of saying something is nearly or almost, say what it actually is, this will give your work clarity, positivity and punch. A good example of this is almost tripped or a nearly tripped. Say instead, I stumbled. Now you're using one strong word that describes quite actually is. Instead of using two-week or words, that says what almost. We look for these danger words we've come to recognize in our work. We seek ways to speak or have our character speak more directly. More accurately. We watch for repeated words that are too close together or empty words that aren't adding anything. Watch out also for passages where you repeated information already stated and no new information is being added. Quite often when we're first drafting, we'll write a line and then we'll write another line that says the same thing only better. And it's great at that point to just keep going. And not worry about the fact that you just said the same thing, two different ways. The idea is to come back in the editing stage and look for those things where you can pull that whole first sentence or take the best bits out of each sentence and combine them into the strongest sentence of all. Tightening all of this up may sound painstaking, but this is what it takes to take a good story and make it a great one. The best news is, after a decade or three of writing, this sort of stuff starts to become more natural. It's easier to catch yourself right in the moment and write without needing to sentences to get what. It just takes practice. That's the only way they're put in the time. Okay, here we have a phrase, a call came. And he looked up in time to see, we can easily change this. All these words here. We summed up in one word, right? They're important to be direct and use active verbs, active voice instead of passive voice. Taking my dog for a walk as fun. Walking the dog is fun. It's so much more direct, straightforward, easy to read. 1234567812345. There are many phrases that you may want to add to your danger words lists. Well, that was just one of them. Same idea with phrases like when you need to make changes to your manuscript. Try instead, when you need to revise your manuscript. We took make changes and turn it into revise. Some other phrases that you may think of adding is eating every way, in some way, shape or form. And so on and so forth. Somewhat like. See if we can, all of these phrases can be eliminated to make a stronger manuscript. Noon can only happen at 12. So to say New, you can find lots of instances where you can take a couple 234 words and turn them into one. Study, what you can learn. Instead of looking at what you collect. He is a more powerful word anyway. A small but helpful book by Ken ran called the 10% solution, contains more tips on how to take new writing. Now we're on to work twice, character choice. And what really matters in lesson three, we'll learn about powerful tool of subtext. 3. Lesson 3 Word Choice: Text is in my mind, the most powerful tool that allows writers have in our toolkit. Subtext explains why word choice is so important, is the art of saying one thing, but meaning several, of suggesting, foreshadowing, implying, and setting the tone or subtexts prepares us for what's to come, even if it's subconsciously, it sets up what I call story promises. This is the idea that if there's a gun on the mantle in the first scene, it better go off by the end of the story. Because you made a promise to the reader that the gun was important. You mentioned it, highlighted it, and you included it in your opening scene. You brought our attention to it. Now it must be used. That's a story problem. Here's another example. If you describe a record player in the opening scenes, it should be important to the story in some way. Chicken played beforehand. Subtext is the implicit undertone created through conscious use of language to reinforce the unspoken idea. Subtext is why every word counts. It's why some description is essential and other bits boring. In this example, we're reading an early paragraph of a novella. The author has chosen words like torn, swayed, uncapped, Dallas, and ended the paragraph with a strong word. I like that. Ending a sentence or even better, a whole paragraph on a strong word. That's a really powerful thing that each of the words chosen here sets the tone for the story that follows and makes the reader curious. In fact, the novella is all about breaking free of chains. So choosing chains as the final word of such an important paragraph is a fine example of subtexts. Super charging the theme. Study your word choices, especially those in your opening scene, to ensure that you're conveying the tongue to actually mean to. You want to portray an atmosphere that suits the story. This is the other part of story promise. If you use words like fluff, calm, peaceful and serene and you'd beginning, but carry on to tell him hard talent, the trail, murder and drug abuse. You broken the story promise that you set up in the beginning. If the opening pages of the novel promise spaceships and aliens. But the story is more of a boardroom jockeying for power, political sci-fi. Your readers will be disappointed. No matter how good the plot, the wrong audience will buy. Each word choice we make as authors does matter. Each word sets the tone, shows us what's important to the storyline, tells us what to pay attention to. This goes for description as well. Don't just describe the bill for forest setting because it's beautiful. You're showing us something that protagonist is noticing. And that gives us a clue as to what the character is thinking, feeling, and focused on. And it should reflect the theme or the point of the story. While directing the reader to pay attention to the right details. For further your plot and set up handling. Consider carefully what you have your character say and twos to do. You need to think about which you have a notice when you describe the scene through their perspective. Here's an example. If you have a character with a truck and somebody asked him about it, there are a gazillion ways that they could respond. If they say, I own it paid for years. We learned something about that person. Money is a big deal to them and owning something is due. They might be a bit defensive. If they bark at you. No, I won't help you move. Well, you'll learn a lot about that character right there, right? If that character responds with a foreign path of the wheel well, and says, she's an old Jim, this girl, that sets a completely different tone. Each choice sets us on a different path of how we think about that character. It's up to us as authors to choose exactly the right words to guide the reader. This is what I mean by character choice being tied to word choice. And it's all linked up with that subtext thing I was talking about in lesson two. Every single word, patterns, every choice, every description you lay down, No pressure, right? One of the best ways we can use subtext is when we want to add pension. Why is that important? Let's talk about that in the next video. 4. Lesson 4 Adding Tension: Okay. Why does it matter so much to add tension that every page? Well, if he lacks attention, that gives the reader a chance to set the book down and go do something else. Likely never to return. As storytellers, We're here to entertain. That's why the stakes must be high. And the drama turned up to ten. What does low tension look like? Usually it's a scene involving driving, eating, or getting ready. Watch out for scenes in places like the kitchen. The drag your attention down to nothing. Often. If we take a scene and put it in a much more exciting atmosphere, adding obstacles and tensions even to completing the conversation that can really heighten a reader's interest. What does high tend to look like? Tension can be layers of meaning involved in the dialogue. Bbn, unreliable narrator. And it's obviously hasn't for travel. Or a striking reveal of some twists. Or maybe it's using subtext to create a sense of unease. Much like music is used in horror films to build suspense. Our job as writers is to create pension on every page to keep the reader engaged. When this is done with blinked and for shuttling, easily recognized. Perhaps a narrator tells us something bad will happen straight out. Most people can think of blatant examples of foreshadowing, quit easily. Lines like he had no way of knowing. This was the last time he would see her. These are effective because they ain't suspense by raising questions. However, they are anything but subtle. And the intrusive narrator can have a turing effect. It can take a little more work to raise your suspense or to raise questions in the reader's mind through quieter, calmer suggestions. Enforce. This might be a little harder, but it's worth it. Don't bog down your story with character history or what we call backstory, or any explanations are big gaps in the action. I especially don't recommend starting a chapter with a few weeks later, or worse, six years later. How can anything be interesting or pressing or important in your made-up world right now? If nothing came of it for months or years. There's almost always a way to plot the story with a tighter timeline, to add a ticking clock problems. How do we add it everywhere on every page, like it's recommended to do? One way is to really make sure that your characters are staying in the moment. You're not talking about the past. You're not talking about how they ended up being where they are right now in their situation. You're focused on what they are doing right now to make the situation better even if they fail. So stay in the moment. Have your character stay in action, the sites of action, and continue to wrap up the snakes and obstacles against them. Pick any random page from your manuscript and find a way to add tension, tighten the timeline, add an obstacle, races, mistakes are introduced a twist. In some instances, it might be enough to add subtext, sprinkling in descriptive words that set the tone removed. I highly recommend on losses book and the workbook. Writing the Breakout Novel for more on creating tension on every page. One thing that I just mentioned was staying in action. A good way to do this. This makes sure that you show don't tell. Have you heard that role before? Let's talk about that in the next video. 5. Lesson 5 Show, Don't Tell: If you've been writing for any length of time, you have probably already heard the rule show. Don't tell. What does that even mean? When we're reading a story? We don't want to be told things. We want to experience the story through the emotions and reactions and decisions of the protagonist or the point-of-view character. Here's an example. He was majorly angry. The dark would pay for it. Now. Telling us that he's angry and telling us what's going to be done about it. What if we changed it? So it was more like this. His face turned red and he slammed his drink down to rock asleep. Commandment. He said, as he rose. This is showing we're being told that his face is red or blue, shown that he slammed his drink down these rolling up the sleeves. And then we see dialogue. Or he growls at the dark, menacing way. We don't have to be told these angry. We surmise that ourselves. And that's what rears wants to when they're experiencing a story. If you find you're telling the reader what the character is feeling, backup and see if you can show it instead. Here are the author wants us to understand how angry the character is. So we can show it in his appearance, his actions, and his dialogue. Bonus points for not using the cliche of the face turning red. Although it works so well, almost like shorthand, that it can be forgiven once in awhile. Allow the reader to experience what your characters look like, how they act, what they think or notice, and what they say. Then the reader infers what's happening. Actually don't want to be tone or have things explained to them. They want to watch what's happening in the story and make up their own minds about what it means. This again emphasizes why word twice and subtext are so powerful. It's our job to steer the readers inferences correctly so that they get the meaning. Now there is an exception to this rule. When we show instead of tell, it takes a lot more words to get there. He was angry three words. Trying to show that by describing his red face is actions slamming down with drank. That can take several lines. So there is a place where summary is more appropriate than showing. One. We need to know what happened in general, but not every detail or emotion or exchange of words that occurred. We can create a seat, a summarized scene. You can see showing takes more time to do more words. Summary, on the other hand, is when you need to convey information quickly without creating a false seen about it. Look carefully at what each scene is doing to move your plot forward. This will help you know when to carefully follow the golden rule of show, don't tell, and when to summarize and keep the pacing of the story moving forward. Here, an example of summarization is shown in red. The rest of the program rounded is in real time, which is showing instead of telling. Red text, is telling, showing it happened out in real time. But is instead summarize. The important moment of the character volunteering is shown in full action and dialogue. But the moments spent doing the voting, which weren't vital to the plot line. Where summarize, these are the moments when you can break the golden rule of show. Don't tell. If you want your writing to be really engaging, then you need to be prepared to show lot more than Dow. It's an important role. And I guess that's why they call it the golden rule. Next, we'll talk about sentence structure. How to vary them for good rhythm and sound in your story. And how that helps us create our own voice. 6. Lesson 6 Sentence Structures: Every rider develops their own voice that is unique to them. Even in speaking, individuals have their own way of phrasing things. One, we are drafting a new novel or short story. We should just plow along with the story, not stopping for corrections, typos. And these danger words that I talked to you about. This is how our voice comes out is in that first drafting. While it too much, you might find that your voice becomes a bit stilted. Sometimes if you don't know how the very vary your sentence structure and a good way. That can also leave your pro soundings stilted or difficult to read when it comes to line by line editing work. One thing to watch out for is in use at the same sentence structure too many times in a row. Very simple, short sentences. With longer compound sentences. Listen to this Gary provost quote to see what I mean about sentence structure and bearing. This sentence has five words. Here are five more words. Five word sentence structures are fine, but several together become monotonous. Listened to what is happening, the writing is getting boring. The sound of it drones. It's like a stuck record. The ear demands some variety. Okay, keep listening. Now listen. I varied the sentence length and I create music. Music, writing sings. It has a pleasant rhythm and lift harmony. I use short sentences, and I use sentences of medium length. And sometimes when I'm certain the reader is rested, I will engage him with a sentence of considerable link. A sentence it burns with energy and builds with all the impetus of a crescendo. The role of the drums, the crash of the cymbals, sounds that said listen to this, is this important? So rate with a combination of short, medium and long sentences create a sound that pleases the readers ear. Don't just write words, right to use it. Isn't that a great quote? And in variety to your sentence structure adds lived here, probes and can especially be used to add emphasis. A good example of this is the one word sentences used sparingly. They can quite often while editing. I will find two sentences in a row that start with a preposition. If you were to read that out loud, you will immediately understand why it doesn't sound nice in the readers ear. Reading out loud can help you catch typos, word repetition, awkward phrasing, and so much more. Our eyes don't catch the sound of things the same way our ears to, of course. So reading your work out loud will help you catch all kinds of wonky phrasing issues that your eyes wouldn't have a problem with. Let's talk about sentence fragments a little bit. A sentence fragment is an incomplete sentence lacking either a subject, a verb, or both, or it contains only a dependent clause. If you have a subject that doesn't do anything, then you're missing a verb, a man and a dark. What did the two creatures do? If you have a phrase like practicing too hard at night, your problem is no subjects who is practicing. Now before someone jumps in to explain why their sentence fragments are art, I will admit that sentence fragments can work and sometimes do get left in. Let's see if I can take the example above and show you what I mean. The pathways were busy and most open spots in the lawn were taken up with picnics and frisbee games. Even in the usually quiet sunken garden. People and treated to all tethering ladies, a caretaker, a man on a dock. She moved on, hoping her last refuge would be peaceful. There. Three sentence fragments in a row. But it works and do so largely because there are list. It isn't art to be honest. One most writers need to up their game on if they're going to use them. Practice your sentence structures. Play with alternating types, lengths, and even breaking some rules with things like sentence fragments. Remember that you are the master creator here. And maybe sometimes by breaking a few rules, can we come up with something truly? Just make sure that you know what those rules are so you can break them affect the next video, we'll talk about theme and ethics and how to write an ending that says in memory. And it really makes sense. 7. Lesson 7 Theme & Endings: I've been at this long time and I've done my fair share of critiques, Critique circles, roundtable workshops, and things like that. I had meant to hearing. This story doesn't quite gel. Way too many times over my career as a writer. Looking back at old manuscripts, I recognize places I could have used foreshadowing and didn't know to, or was not a mature enough writer to do so instinctively. I've worked hard since then on tying theme and ending together, but still had hit and miss results until I learned this new tool combo. Now I can consistently ensure that my theme and things really jumped the reader and our believable and make sense. Foreshadowing does all of this, even if the reader doesn't notice the subtext involved. Bringing this together is incredibly exciting and powerful. It's also interesting to look back and see when I use these techniques and effectively, the stories sell. Foreshadow the big scenes where you are going to pull out all the stops. Those big scenes that are known as set pieces or pinpoint moments. Think of the one scene in the movie where the budget is completely blown. That's your set piece. That's what you want to hint at early on, so that every bit of it is believed and accepted by your reader. Let me explain. Say you need your audience to believe that the girl shoots her werewolf boyfriend. And you want to foreshadow it using subtexts. The goal is to make the reader surprise that she did it, yet completely believing her capable of it. So early in the story, you need to set this up. Maybe she shoots gophers with her grandpa. We see her using a gun and unafraid to kill an animal. Or perhaps if you want her to be more compassionate, she finds an animal broken for the live in a trap, suffering a slow death, and she shoots it to save any further pain. Now we have a sympathetic character, yet she's also taught fully capable of both using a gun and killing an animal. You showed us. When the finale comes in, her werewolf boyfriend. The reader may find it surprising, but we can believe it because you showed us in the beginning that she was capable. You said that that was plausible and possible. If you get comments from critique rules that say things like this really came out of left field. Or I'm not finding your ending believable. You may be in need of a little foreshadowing. Maybe you have your characters doing things to win the day that you haven't set up earlier in the story. If you find your readers don't seem to get your theme. Instead of adding explanation to ruin the story, try for adding subtext that both foreshadows key points and reinforces your theme. Plant the seeds of it in the subconscious of your reader's mind. Use these subtexts devices to foreshadow. So they accept your twists of fate and understand the underlying point you're trying to make. In this way, you will combine the forces of subtext and foreshadowing to create a powerful spouse or your reader. The key things to remember, our theme and ending our tie, and they must make sense together. It helps to echo your beginning. In the end. Did you make story promises? To keep those promises. And be sure to focus on what matters to the story or theme and deciding what to cut when you're editing. Oh, one last thing on and things on the monster dies, the story is over. Make sure you don't drag it on too much beyond that with your dying on me. In the next video, we're going to talk about backstory, how to find it, and how to destroy it. 8. Lesson 8 Backstory: So what is this backstory thing all about? Backstory is when you are filling in the reader about the character's past. Or you're explaining why the setting is important, or what history came before, that makes these two people uncomfortable and so on. You, the author need to know this stuff. But in writing good fiction, all you do is show how awkward they are together. And let the point of view characters notice. For example, we don't ever want to see a story slip into being explained. We want to watch it unfold in action, just like we talked about in the lesson on show, don't tell. We want to experience a story through the emotions and reactions of our main characters. The two problems with backstory is it slows or pacing. And it's usually a lot of telling. It interrupts the action. To pull us into a Paris. We probably don't care about, especially if it's early in the story. And we don't really know these characters yet. We haven't had a chance to bond with them, so we don't care about them. There are plenty of exceptions written by exceptional writers. But watch for backstory, clogging up or bugging down your beginning. This is a worthwhile as a next step for every writer. If you think you must have it, it better be answering a question and written with as much or more tension than the rest to keep the reader going. There are a few places that I recommend never having backstory. The opening. In fact, the first 50 pages shouldn't have any backstory and the author may need 50 pages to get to know the situation and interactions. But the reader doesn't. The reader wants a story for action intention of people faced with problems and taking action to fix them. So here's a challenge for you. Open up a story you've written and cut the first three paragraphs if it's a short story or the first three chapters, if it's a novel, crazy, right? Yeah, I'm serious. Trust me, I've been through this tube and more often than not, the first bit is just us getting our heads around the story. If there's a detail or three that's still needed to uphold the plot. Slide it into the action that follows. It really works. Try it on a copy of your story, not the original, so that you can see them side-by-side and compare. Let us know if you try it. Post a screenshot if you're brave, and tell us if it worked as well as I think. I've seen it work so many times. It's always worth the exercise. Backstory is a bad habit and can kind of point a lazy writing. It's us explaining what the reader needs to know. Instead of showing them what's important, it can make a big difference on how your story comes across. That's it for the lessons. Now let's go ahead and take a piece of my own writing and apply some of these techniques. 9. Lesson 9 Editing Demo: Okay, let's go over a page of a manuscript and apply some of these techniques. I recommend you watch this demonstration and then go ahead and try applying this to your own work. Be sure to refer back to some of the other examples in the other lessons. If this opening had backstory in it, there would be some explanation of why she was so worried about the tire writer on horseback. And that would slow the pacing. It would be BS, as we like to call it. And also likely look a lot like telling instead of showing. What we see here though, is something that tantalized as the reader and fills them with questions as they wonder about these new characters. And therefore, they read on. If you stop the action and try to explain anything, that's BS. Here's an example of word repetition. If you read it out loud, you can see how using the same word too closely together. Since the readers ear here, I would replace the second dark with black. Here. I just stated that she glanced around. So writing she saw is what we call empty word. It's not adding any information to what we already have. Here. The reader cannot easily grasp which she, the author is referring to, Isabelle or herself. This word can be easily misread as defendant. So I might search for a better word about things like rebelled require the second word against. So there is a trade-off. Because I'm finding so many seeing verbs in this section. I might change this here to find she's doing entirely too much looking in this one-page already, be aware too many she looked and he saw and whatnot. Just cut to the chase as I've shown here. I've removed seven words and changed one to fit the revision. I hope you get a chance to apply these techniques to your own work. It helps to only focus on one or two of the time. Especially when you're going through a novel length manuscript. With practice, you'll begin to notice these things even while your first drafting. But here's a word of caution. Again, don't try to apply these techniques when you're first drafting. I can't stress enough. Don't do your editing. Will first drafting allow your creative side free rein to explore ideas, to let the words flow, to capture the moments that will stand the reader and stick with them forever. The editor side of your brain will mess that up if you allow it. In fact, my advice is to edit in a different location than where you write. Teach your brain when it's timed, right? And when it's time to edit. They're both very different mindset. It's also true that you will always find more to pick her up. At some point. You have to just stop and let it go. Sometimes you can actually record story. If you pick the part. If it reads nice and flows well, then it's time to rest it before getting fresh eyes on it once again. Okay, storytellers, Now you can show off your work. Please remember to be supportive and helpful. Never hurtful. My name is Adrian lay crap. And I hope I've helped you with your fiction writing today. You can learn about me and my editing services and my website, Adrian les.com. And you can watch me carved on carving the cottonwood on YouTube. Thanks for joining me on this class. And remember, you can edit an empty page. So just keep writing.