Some rules for the editor.
Determining the smoothness and clarity of the text control, namely, that the writing is easy to understand (the reader should understand everything that is said).
Report rhymes (eg, "smiling at last," "height ... pace") and the repetition of a short same word.
Report the similarities.
Check the timing of the story (the fall should not follow the spring, or in the evening, night).
Check punctuation.
Check the consistency of verbs.
suggest when to switch to direct speech (more pleasing to the reader.)
Do not simply report what is wrong, but to propose the changes.
Do not be afraid to make comments which could regret.
express an opinion on texture, style and composition.
Recommend appropriate synonyms.
Rules of the writer
(being compiled)
by Di Michele Cervantes Saavedra
Don Quixote
Ed Casini, Rome, 1987
- nor anyone tell me that the authors of many books they write everything to mere fiction, and are not bound by the laws of ordinary point, since both the fiction is more vague as to the truth is approaching, and all the more welcome as can has more doubtful of itself and of the possible. The stories should be associated with the discernment their readers and be written so that it makes easy the impossible, smoothing out the difficulties, having outstanding minds, or make the reader surprised and satisfied, and occupy so that the wonder goes hand in hand with delight, nor shall never achieve this end, those who deviate from the verisimilitude and the imitation of nature which is the perfection of a writer. (Part One, chap. XLVI, p.. 332)
-... I know what are the temptations of the devil, and that one of the more dangerous it is to put in the head by a man to be both to compose and print a book with which those who earn so much money, fame, and how much money fame. (Part Two, Prologue, p.. 376)
-... I think ... that to write stories or books of any kind, Let there be in need of a large trial and mature discernment (ibid., Chapter III, p.. 390)
-... it often happens that someone who enjoys a high reputation for his writings until they gave it to himself, then lost in the prints to give, or otherwise obscure the much more. (Ibid., p.. 390)
-... being a poet and wanting to achieve stardom, most other people ought to consider that your opinion has no father, no mother has referred to their own children think themselves ugly, and the more we find the poet in this deception as the ' talent is mediocre. (Ibid., chap. XVIII, p.. 464)
Andre Gide
Conseils au jeune écrivain
Ed Proverbs, Paris.
(La Stampa, 07/25/1992)
(Note: comments in italics and brackets are Senior)
- It is comforting to think that ... the art work done never seems so beautiful at first. (Senior is not so vain).
- Responding to the attacks? It's an itch before which do not advise anyone to give up. If the attack is unfair to let the reader's knowledge. If the attack is not just all the effort that will expose your sensitive spots and your vulnerability ... Let your work to defend you and moves on. If your work does not stand up, everything you say to engineer a rescue will not prevent its ruin. Employed rather than to make another that is more resistant! (Senior forego doing another).
- It is interesting, but not swear it's real advantage over soak the art of others. Knowing the job of others, and acquire for himself a mediocre effort ensures that artists and the most modest success. But the true and sincere artist every new subject has a new difficulties and to overcome all that is acquired first is useless. (Senior says: sacrosanct words).
- The virtuosity has never produced anything but banal. It's not your job but you have to improve yourself. Choose your enemies, but leaves it to the friends you choose. Confidence in the survival of his work gives the work of an artist a certain gravity in the joy and serenity in a certain sadness. The artist does not complain at all really hard not to have been understood by his time. He finds, on the contrary, this lack of security to survive. (No comment).
- It is important to feel good. A certain restlessness in the soul is the reflection of that of the flesh. I can not see very soul that has never known the anxiety, but above all I admire those who can master it and find peace, balance. (Mens sana in corpore sano).
- Do not despair when you lose sight of the goal. Persuade the masterpiece that is reached through a direct pursuit, it takes cunning and patience. Do not get mixed up on one point, moves on. Remember that the node is in your spirit, more and more shots on the knot tightens. Unravel it alone if you'll let it rest a bit '.. Every work of art is a solved problem, a problem consists of a multitude of small problems that await each of you, your solution. The unit of your book is the drive of your swing.
(Senior is mostly agree on the words "Every work of art is a solved problem, a problem consists of a multitude of small problems that await each of you, your solution.")
- If you want to write well in a drunken state, but when you Be fast re-read. If you want progress not rest ... The real originality is not always apparent. Always write as simply as possible ... Avoid superlatives as possible. (Senior is totally agree).
- I am sure all those who admire you and I were not looking and could not predict the ultimate meaning of their writings. Be happy to see that what today's audiences applaud you is the part of your work that you feel are most significant. Those who are now acclaimed for valid reasons, are poor in spirit that will be forgotten soon after. Be praises to one ear, both to criticism. (Senior One thing is certain: nobody has ever clapped).
- Do not worry too fools. It is a pleasure to displease the silly, especially considering waiving all those fools who have not been able to please. Do not be afraid to surprise or displeasure, but never try to surprise or displeasure, and remember that the work of art must be the only valid odd accident. The deep qualities of a work first pass unnoticed. The work Art is not made notes. (Senior says: you have to be spontaneous).
BALZAC, HD (20/05/1799 - 08/18/1850) The Human Comedy
A. Mondadori Ed, MI, 1994
- Nothing reveals the impotence of an author as it accumulate facts on facts. .. The talent is obvious ... the mysteries of the human heart ... (Vol. first, Tomo I, p. 7). (Senior Comment: As Balzac is right! Must reduce the number of facts) .
Mercadet, Mourning
Edward Sonzogno ed., Milan, 1882
- Young people eager to publish what passes for their minds, and that disdain the correction as a stumbling of genius, can be profitable to know how Balzac worked. When his mind had arranged a plan of a novel, I wrote about thirty or forty sheets as: then delivered to the printer. When he received the proofs, corrected, changed, increased, became the one hundred forty pages with his additions. The day after he received the proofs back and replied, corrections and additions: and the tale was increased gradually in a voluminous novel. One of 'his novels, Pierrette, was corrected by him twenty-seven times! (Preface, p. 6). (It is a system that approves Senior).
Charles Baudelaire The Flowers of Evil
Superbur Classical November 1998.
- "A work of genius - or if you prefer, a work of soul (...) it is always good when it is done enough. - Also, there is a big difference between a piece and made a part - in most cases what is done is done and what can be done very definitely not done. (P. 26) (No comment).
POE, EA
(1809, Boston-1849, Baltimore)
Tales of mystery
TEN, Rome, 1992.
- reduces the scope of his vision for wanting to look at things too closely. Particularly acute caught one or two points, but ... naturally lost sight of the matter as a whole, an excess of depth. The truth is not always at the bottom of a well. In fact, as regards the concepts most important, I think it is invariably on the surface. The look in the bottom of the valley and not on top of the mountains where it is. (P. 26). (No comment).
(being compiled)
by Di Michele Cervantes Saavedra
Don Quixote
Ed Casini, Rome, 1987
- nor anyone tell me that the authors of many books they write everything to mere fiction, and are not bound by the laws of ordinary point, since both the fiction is more vague as to the truth is approaching, and all the more welcome as can has more doubtful of itself and of the possible. The stories should be associated with the discernment their readers and be written so that it makes easy the impossible, smoothing out the difficulties, having outstanding minds, or make the reader surprised and satisfied, and occupy so that the wonder goes hand in hand with delight, nor shall never achieve this end, those who deviate from the verisimilitude and the imitation of nature which is the perfection of a writer. (Part One, chap. XLVI, p.. 332)
-... I know what are the temptations of the devil, and that one of the more dangerous it is to put in the head by a man to be both to compose and print a book with which those who earn so much money, fame, and how much money fame. (Part Two, Prologue, p.. 376)
-... I think ... that to write stories or books of any kind, Let there be in need of a large trial and mature discernment (ibid., Chapter III, p.. 390)
-... it often happens that someone who enjoys a high reputation for his writings until they gave it to himself, then lost in the prints to give, or otherwise obscure the much more. (Ibid., p.. 390)
-... being a poet and wanting to achieve stardom, most other people ought to consider that your opinion has no father, no mother has referred to their own children think themselves ugly, and the more we find the poet in this deception as the ' talent is mediocre. (Ibid., chap. XVIII, p.. 464)
Andre Gide
Conseils au jeune écrivain
Ed Proverbs, Paris.
(La Stampa, 07/25/1992)
(Note: comments in italics and brackets are Senior)
- It is comforting to think that ... the art work done never seems so beautiful at first. (Senior is not so vain).
- Responding to the attacks? It's an itch before which do not advise anyone to give up. If the attack is unfair to let the reader's knowledge. If the attack is not just all the effort that will expose your sensitive spots and your vulnerability ... Let your work to defend you and moves on. If your work does not stand up, everything you say to engineer a rescue will not prevent its ruin. Employed rather than to make another that is more resistant! (Senior forego doing another).
- It is interesting, but not swear it's real advantage over soak the art of others. Knowing the job of others, and acquire for himself a mediocre effort ensures that artists and the most modest success. But the true and sincere artist every new subject has a new difficulties and to overcome all that is acquired first is useless. (Senior says: sacrosanct words).
- The virtuosity has never produced anything but banal. It's not your job but you have to improve yourself. Choose your enemies, but leaves it to the friends you choose. Confidence in the survival of his work gives the work of an artist a certain gravity in the joy and serenity in a certain sadness. The artist does not complain at all really hard not to have been understood by his time. He finds, on the contrary, this lack of security to survive. (No comment).
- It is important to feel good. A certain restlessness in the soul is the reflection of that of the flesh. I can not see very soul that has never known the anxiety, but above all I admire those who can master it and find peace, balance. (Mens sana in corpore sano).
- Do not despair when you lose sight of the goal. Persuade the masterpiece that is reached through a direct pursuit, it takes cunning and patience. Do not get mixed up on one point, moves on. Remember that the node is in your spirit, more and more shots on the knot tightens. Unravel it alone if you'll let it rest a bit '.. Every work of art is a solved problem, a problem consists of a multitude of small problems that await each of you, your solution. The unit of your book is the drive of your swing.
(Senior is mostly agree on the words "Every work of art is a solved problem, a problem consists of a multitude of small problems that await each of you, your solution.")
- If you want to write well in a drunken state, but when you Be fast re-read. If you want progress not rest ... The real originality is not always apparent. Always write as simply as possible ... Avoid superlatives as possible. (Senior is totally agree).
- I am sure all those who admire you and I were not looking and could not predict the ultimate meaning of their writings. Be happy to see that what today's audiences applaud you is the part of your work that you feel are most significant. Those who are now acclaimed for valid reasons, are poor in spirit that will be forgotten soon after. Be praises to one ear, both to criticism. (Senior One thing is certain: nobody has ever clapped).
- Do not worry too fools. It is a pleasure to displease the silly, especially considering waiving all those fools who have not been able to please. Do not be afraid to surprise or displeasure, but never try to surprise or displeasure, and remember that the work of art must be the only valid odd accident. The deep qualities of a work first pass unnoticed. The work Art is not made notes. (Senior says: you have to be spontaneous).
BALZAC, HD (20/05/1799 - 08/18/1850) The Human Comedy
A. Mondadori Ed, MI, 1994
- Nothing reveals the impotence of an author as it accumulate facts on facts. .. The talent is obvious ... the mysteries of the human heart ... (Vol. first, Tomo I, p. 7). (Senior Comment: As Balzac is right! Must reduce the number of facts) .
Mercadet, Mourning
Edward Sonzogno ed., Milan, 1882
- Young people eager to publish what passes for their minds, and that disdain the correction as a stumbling of genius, can be profitable to know how Balzac worked. When his mind had arranged a plan of a novel, I wrote about thirty or forty sheets as: then delivered to the printer. When he received the proofs, corrected, changed, increased, became the one hundred forty pages with his additions. The day after he received the proofs back and replied, corrections and additions: and the tale was increased gradually in a voluminous novel. One of 'his novels, Pierrette, was corrected by him twenty-seven times! (Preface, p. 6). (It is a system that approves Senior).
Charles Baudelaire The Flowers of Evil
Superbur Classical November 1998.
- "A work of genius - or if you prefer, a work of soul (...) it is always good when it is done enough. - Also, there is a big difference between a piece and made a part - in most cases what is done is done and what can be done very definitely not done. (P. 26) (No comment).
POE, EA
(1809, Boston-1849, Baltimore)
Tales of mystery
TEN, Rome, 1992.
- reduces the scope of his vision for wanting to look at things too closely. Particularly acute caught one or two points, but ... naturally lost sight of the matter as a whole, an excess of depth. The truth is not always at the bottom of a well. In fact, as regards the concepts most important, I think it is invariably on the surface. The look in the bottom of the valley and not on top of the mountains where it is. (P. 26). (No comment).
His name is alive 
