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A Guide to Understanding CMOS Em Dash Rules & Signs of AI Writing

Scrabble letters mixed up on the table with "AI" on the shelf.
A writer sits in front of a computer taking notes by hand

Considered one of the telltale signs of AI writing, Em dashes are hotly debated. Make your human writing stand out by following these simple Em dash rules.

There’s a dialogue right now in many writer communities surrounding em dashes. Ah, these poor misunderstood punctuation, favorited by writers so much that The Chicago Manual of Style (CMOS) has an entire section of em dash rules (6.91 to 6.100), laying out how and when and why they should be used. But my experience with reading real human writing, in the real world, is that writers evoke the em dash wherever they like, which might sometimes seem random, but at best, is inconsistent. 

Knowing how to correctly use an em dash in a sentence may not be something to add to your resume, but in this age of questions about authenticity and AI-generated writing, an understanding of how to use the em dash correctly will help strengthen your prose and establish your voice and authenticity.

The Current Problem With Em Dashes, AI, and Human Writing

Artificial Intelligence (AI) Language Learning Models (LLMs) are commonly used by many writers (at all levels in the industry) to generate ideas, compose text, edit, and more. Because LLMs have been trained from samples of existing text—online, from books, from marketing copy, and from a variety of other sources—and because there are different em dash rules in different style guides and a plethora of inconsistent existing text, LLM writing shows a tendency to overuse the em dash. 

Because AI-generated writing can only approximate what it thinks human writing looks like, and LLMs don’t understand nuance nor context well, em dashes have been dubbed one of the clear-cut, telltale signs of AI writing and are undergoing an increased level of scrutiny across all writing-based industries (book and journal publishing, journalism, and more).

This high use of em dashes in AI writing is now causing backlash among real writers who compose their text themselves using em dashes (sometimes according to the style rules, sometimes not). Those real writers’ text is being flagged by AI-detection software as AI-written, even when it isn’t! 

First: When and How to Use an Em Dash in a Sentence

Setting aside all the problems with AI-detection software and its evaluations of human writing (the short version: They are inconsistent and inaccurate, at best), the bottom line is that many writers are left with conflicting information about how and when to use em dashes, and these writers are becoming wary of them, understandably wanting to avoid being flagged as AI. 

Additionally, there are also writers who use AI to generate or edit some of their text, who don’t understand why editors remove or correct em dashes to other punctuation. Online, I’m seeing increasing discussion from editors about pushback from writers who use AI. Responses along the lines of “Well, I put it through ChatGPT, and it said…” 

Scrabble letters mixed up on the table with "AI" on the shelf.
Photo by Markus Winkler, Pexels.

Man, that is causing frustration for a lot of trained editors who understand em dash rules, in addition to confusion for a lot of writers who are seeking answers but aren’t finding clear, consistent solutions.

So, let’s clear up some of these misunderstandings! 

There are times and places where em dashes are appropriate or make the most sense as your punctuation of choice. Let’s look at some of the most common uses. Understanding how to use the em dash (but really, all punctuation) properly will give you insight into how to wield it as a tool to better connect with readers and keep the question of AI use entirely out of the comments section (and reviews) of your book. (No signs of AI writing here!) 

Got questions about how to use semicolons? Check out my previous blog,
“Two Common (and Easy-to-Use) Semicolon Rules.”

An Overview of CMOS Em Dash Rules

Em Dash Use #1: To Amplify, Explain, or Expand

Perhaps the most common use of em dashes is to amplify or explain an idea. While commas are also common and appropriate, if you want to place emphasis on the phrase or strengthen an idea, use an em dash in a sentence instead. 

She cautiously tread along the cliffside—the same cliffside responsible for twenty-three deaths the year prior.

In a sentence interjection that typically requires two commas, instead, use a pair of em dashes to emphasize the interjected phrase or clause. However, CMOS em dash rules state that you should be consistent, and whichever punctuation you choose, use them as a pair; do not mix a comma with an em dash here. 

I heard my name called out from the crowd, despite wearing my best disguise, and felt my stomach drop.

or

I heard my name called out from the crowd—despite wearing my best disguise—and felt my stomach drop. 

These same uses apply to parentheses as well. As seen below, where parentheses could be used to set off a phrase or clause without emphasis, you can also use em dashes if you want to amplify or clarify your idea. (Commas here would be a bit confusing because of the list, so one of these alternate punctuation choices is recommended). 

My three cats (Mosley, Tabitha, and Kibble) are my greatest source of happiness. 

or

My three cats—Mosley, Tabitha, and Kibble—are my greatest source of happiness. 

Em Dash Use #2: Amplifying a Noun With a Pronoun

In some em dash rules, only one dash is necessary. This is frequently seen with an introductory noun (or series of them) followed by a clarifying idea or pronoun. This may sound confusing, but I promise, it is less complicated (and more common) than it seems. 

A sword—the greatest weapon he could wield in his quest to defeat the dragon. 

A game board, a pair of dice, and a couple figurines—all that was needed for them to build their dream campaign. 

As you can see, the dash is once again used to expand on a previously established idea. This is especially effective in suddenly introducing a prominent idea (or ideas) to readers before explaining its significance. One of the signs of AI writing is that AI overuses this type of sentence structure and em dash, so consider saving this trick for moments where it produces the greatest impact. 

Em Dash Use #3: For an Example or Pause with Emphasis

Another popular use for an em dash in a sentence is to introduce an example or alternative phrase that emphasizes or renames an idea after a pause. This is frequently combined with expressions such as that is or namely

He felt great about his outfit—that is, until someone pointed out the stain on his shirt. 

She always had an extreme fear of dogs—namely, German Shepherds.

Em Dash Use #4: In Dialogue, When a Speaker Is Interrupted

In a scene with dialogue, when a speaker’s dialogue is interrupted either by their own action or by another speaker, use an em dash or a pair.

She began, “I said to her—”

“I don’t care what you said!” he yelled. 

or

“I said to her”—she flapped her hand at the girl—“I didn’t want to hear her complaint.”

Note in the first example (where the speaker is interrupted by someone else), the dash is contained within the quote mark for the interrupted dialogue; however, in the second example (where the speaker interrupts their own dialogue with an action), the em dashes appear outside the quotation marks, without spacing or other punctuation. 

Looking for more tips for writing dialogue? Check out my previous blog,
“How to Write Authentic Character Voice in Dialogue.”

Some Em Dash Don’ts

Humorous wanted posted depicting the punctuation "em dash" as wanted dead or alive for $1 million.
Image from Kramar, “Who gives a f___ about an em dash?”, The Chronicle, Dec. 15, 2025.

Knowing the em dash rules for what to do also means you want to be familiar with what not to do. Online and in book editing, I’m seeing em dashes used because both human writing and AI-generated text confuse some other common punctuation and formatting uses. 

1. Em dashes are not meant to substitute for all instances of commas. For example, use commas in a list instead of Em dashes. 

Incorrect: He went to the store to pick up cheese—eggs—milk—and bread.

Correct: He went to the store to pick up cheese, eggs, milk, and bread. 

2. When it comes to dialogue, DON’T use a dash to indicate a pause or emphasis, which is very common in fiction writing. 

“But—I love you,” she stammered. “And nothing will—ever—come between us.” 

3. To indicate trailing dialogue or a pause in the speaker’s delivery, use an ellipsis. (You know, the three periods: …) 

To emphasize wording, use italics. CMOS prefers using italics for emphasis sparingly, so limit italics to one or two words at a time, not full phrases or sentences. General advice also suggests not adding italics to the end of a sentence or paragraph, which are naturally emphasized because of placement. 

“But…I love you,” she stammered. “And nothing will ever come between us.” 

(^^See how normally that would be in italics, but I left the text roman here to be clear? The CMOS rule states that when an already-italicized word needs emphasis, it is romanized: …nothing will ever come between us.)

4. DON’T use an em dash to introduce a contradictory statement. It is one of the most common signs of AI writing that I see. For example: 

It’s not about being who others expect—it’s about staying true to yourself.  

I have seen innumerable examples like this in the past two years. To me, it’s a giveaway that I’m not reading human writing. Just use a good ol’ semicolon here, or find a way to phrase your idea that doesn’t set up this kind of “it’s not this, it’s that” sentence construction. (Challenge yourself! You’ll develop much stronger phrasing by addressing these.) 

Being who others expect is not the goal; the goal is to stay true to yourself. 

Or better yet

Do not be who others expect; keep the goal centered around truth to yourself. 

Effective Employment of Em Dash Rules Opens Your Understanding of All Punctuation

Paper decorated with question marks lay on a tabletop with an open notepad and pen.
Photo by Leeloo the First, Pexels.

Despite developing a reputation as one of the signs of AI writing, em dashes have specific and important functions. Careful and correct use of an em dash in a sentence can set your writing apart as distinctly human, writing beyond question of the touch of any kind of artificiality. If you feel wary of em dashes, or indeed, any punctuation mark, remember, they are tools for you to wield, to guide the reader through your story, to create drama and tension. 

If the em dash rules continue to elude you, remember, you can always rely on the humble comma. As the most common punctuation (and probably the most versatile), use a comma if you’re not sure which punctuation is appropriate; your editor will clear it up for you. If an em dash works, your editor will add it, and all will be well. For a more thorough understanding, you can also start a discussion with your editor. 

Ready to speak to an editor?

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Announcing: SRD Editor Completes Editing with Macros Course

Black letters spell out "Congratulations" against a white background with colored confetti surrounding.
Black letters spell out "Congratulations" against a white background with colored confetti surrounding.

 

SRD Editing Services is pleased to announce that editor Cortni Merritt has completed the Discover Macros in Word editing course from the Poynter Institute and ACES: The Society for Editing (a.k.a., the American Copy Editors Society).

Cortni joined ACES in 2026 for educational opportunities such as this course, as well as networking possibilities with other professional book editors. When Cortni was completing her MA in English literature in 2014, there were no courses available on the enhanced and automated features built into MS Word, and Cortni was excited to update and upgrade her understanding of the software.

Macros are a coding feature within Word that can be utilized to automate repetitive editing tasks, such as changing font and styling, removing or adding highlighting, correcting extra spacing and indentation, and so much more. They do not use Artificial Intelligence and are separate from AI functions in Word and other programs. Cortni’s integration of Macros into the standard SRD Editing Services process will enhance and streamline all aspects of her book editing.

Find out more about Cortni’s education and editing training experience on the About Me page.

The Poynter ACES Discover Macros for Word course includes two hours of self-paced video instruction and a wealth of exercises, practice lessons, and resources for writers and editors looking to enhance their knowledge and skillset.

Cortni is thrilled to complete this course and sees it as a building block toward improved editing process and results in the immediate future.

Want to know more about Cortni and her editing process?

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Announcing: SRD Editor Completes ACES Editing Certification

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Silver and gold balloon and confetti against a black and white background; celebration theme.

SRD Editing Services is pleased to announce that editor Cortni Merritt has completed the Introductory Certificate in Editing from the Poynter Institute and ACES: The Society for Editing (a.k.a., the American Copy Editors Society). 

Cortni joined ACES in March 2026 to become more active in the professional book editing community and seek opportunities through networking and continuing education. Since completing her Master’s in English at Florida State University in 2014, which included a graduate certificate in editing and publishing, Cortni has engaged in various online copywriting and editing courses from Copyblogger, LinkedIn, and the Editorial Freelancers Association. She has also received training from her work with New Degree Press and Elite Editing. However, she felt it was time to refresh her skills and update to the standards of book publishing needs in 2026.

Find out more about Cortni’s education and editing training experience on the About Me page.

The Poynter and ACES Introductory Certificate in Editing is earned through completing seven courses totaling 15.5 hours of self-paced editing coursework that cover fundamental topics such as clarity and accuracy, involving quizzes and practice exercises, and a final graded assessment. 

Cortni is thrilled to complete this course and sees it as a refresher that will prepare her for the Poynter and ACES Intermediate and Advanced Certificates in Editing, scheduled for completion in 2026. 

Want to know more about Cortni and her editing experience and education?

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Using an AI Disclaimer for a Book Copyright Page: What to Include, Whether or Not You Used AI

Close up image of hand holding phone, AI in book; disclaimer for a book

Can’t find a template for AI use? Here’s how to write your own AI disclaimer for a book.

With the rise of AI and its utilization becoming more commonplace, you may find yourself implementing it as a tool for your writing. Maybe you needed help crafting an outline, or perhaps you researched or developed your ideas using AI, or maybe you even requested it write an entire passage when you found yourself stuck.

Whatever the case, you may have questions about copyright. Well, for self-publishing authors, there is a clear, simple solution to creating a copyright disclaimer for a book’s copyright page in these situations. But, please keep in mind that AI is still emerging and growing within US law, so ethics regarding AI and copyright are still…a bit of a gray area.

Close up image of hand holding phone, AI in book; disclaimer for a book
Photo by Sanket Mishra, Pexels

So, What AI Use Is Acceptable?

Legally, no official law in the US requires a book copyright disclaimer about AI use, as the AI Disclosure Act is only in the introduction phase. While the world adapts to this new technology, make sure to keep up-to-date on AI copyright concerns as they develop. 

Chances are, you may have already applied AI to your writing process without knowing it. Services like Grammarly use AI to review your work and suggest the best grammatically correct option. Most readers typically see this use as acceptable, but once you wade into the waters of AI models that generate or revise your text for you, be mindful of how you use AI in your writing process. 

While OpenAI (the owner of ChatGPT) states in their Terms and Services that the user (you) owns the rights to any information given to the AI model, and to anything generated by the AI model, traditional publishers consider any fully AI-generated text as uncopyrightable. As suggested by the Author’s Guild, such AI-generated texts must be edited to fit your own words to be considered copyrightable. It is strongly suggested to only use AI in the form of developing ideas and storylines rather than generating passages or long bodies of text. 

In other words, AI can help you form the pieces, but it’s up to you to assemble them

Crafting a Proper AI Disclaimer for a Book

Currently, there is no industry standard wording that must be included in an AI-use disclaimer, so I suggest you construct your own! Crafting your own book copyright disclaimer that explains your AI use (or, lack of) is the best way to ensure your message to readers is phrased how you’d prefer. 

Transparency

First and most importantly, remember your goal is transparency. As a self-published author, 100-percent honesty about any AI usage in your work establishes trust. Even if you merely used AI to develop a character’s background, let others know. AI usage is still controversial, so notifying your audience exhibits respect for them.

Clarity

Use clear language. Avoid confusing or vague terminology, technical or complicated speech and be direct and specific about how AI contributed to your book. If, for example, you only used AI to assist with artwork and visual elements, include that detail. If you used AI in character development, worldbuilding, or plot analysis, you might not need to list out every step at which you used that tool, but you want to include clear wording in the disclaimer for your book explaining to the reader that AI was used in developing the writing.

Human Review

In the past year, I have met some writers who have used AI to generate and edit the text of their book, and they chose to publish it without having a human read it first. Although this may be possible, it may not be the most efficient way to produce a commercially successful product. Readers often have strong negative reactions to AI-written books that have not been edited by a person, and the resulting backlash could prevent these writers from commercial success on any title under their name in the future. 

Of course, I recommend every book be edited by a human professional. (Even if it was edited by AI, having a human proofreader do a final review isn’t a bad idea. *wink*)

Additionally, I have worked with some writers who used AI and wanted to let their readers know, but who also wanted to inform readers that the AI-written text had been reviewed and edited by a human professional to maintain accuracy and integrity. In this case, we added the information to their disclaimers so readers would be clear that the text was reader-friendly and as intended.

AI Book Disclaimer Examples

In the past year, I’ve drafted the two following examples of disclaimers for books by clients who wanted to address their use of AI in different ways.

Book Disclaimer Example 1: Use of AI in Artwork Only

This book contains images that were created with the assistance of artificial intelligence. The author used AI image-generation tools as part of the creative process. All content was reviewed and edited by a human to ensure accuracy and to align with the author’s voice and intent. The author takes full responsibility for the content of this publication.

Here, the author is transparent about AI use, clear about how it was used, and direct in describing what role humans played in reviewing the final product. 

Book Disclaimer Example 2: Use of AI in the Writing Process

The author utilized artificial intelligence tools during the writing process to assist with organization of ideas. All content was reviewed and edited by a human to ensure accuracy and to align with the author’s voice and intent. The author takes full responsibility for the content of this publication.

Here, the author is also transparent about AI use and direct in describing the human role in reviewing the text. Because the author deployed AI to generate and organize her outline, then to review summaries of the chapters as they were drafted, they chose to clarify that AI was used during the organization of ideas. 

To see more book disclaimer examples for text that incorporates AI, check out this article. 

Remember: No matter how you used AI during your manuscript drafting, be transparent, clear, and responsible with your readers.

Woman's hand writing notes while other hand holds an open book; AI copyright disclaimer examples

What if I Didn’t Use AI in My Book? What Should I Put in My Book Copyright Disclaimer?

Luckily, there is a solution for you! 

The Authors Guild provides a Human Authored Certification mark, which can be used to signal to your readers that AI wasn’t used in any capacity in the writing of your book. As AI usage expands and people begin to question what is presented to them, this mark can offer a sense of reassurance that what you are providing them is completely original. 

For Guild members, this certification is provided free of charge once the author agrees to the terms and conditions; for nonmembers, the cost is $10 per title in addition to the licensing and registration requirements.

Make Your Disclaimer for Your Book Your Own

Because you are self-publishing, you have a great deal of freedom with the final book copyright disclaimers in your published book. But as we all know: With great freedom comes…well, options. Sometimes also, errors. 

Before even putting words on the page, remember that fully AI-generated passages are generally not accepted by publishers nor readers. It is your story, after all, and readers want your unique voice and style. Readers want emotion, creativity, and depth; readers want varied language. Readers want writing with soul. From brainstorming ideas to producing cover art, keep your writing human.

Ready to speak to an editor? Questions about using AI in your book or on finalizing disclaimers for your book?

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CMS Citation for Nonfiction Writers: Use IMDB for Film Citations

CMS citation example: showing paper with question and footnote joke.

When you’re writing nonfiction, it’s important to cite the sources of your information. Back in the day, it used to only be acceptable to include citations for books and journals, but not any more! Today’s Chicago Manual of Style (CMS) citation references include not only books and journals but websites, magazines, social media, and even film sources.

While you sometimes might want to include a quote or information that you came across in a fictionalized movie, there are also plenty of nonfiction films, such as documentaries or biopics, that you may want to include in your bibliography. When that’s the case, you can use the Internet Movie Database (IMDB) to find out all the details and fully cite your source appropriate to Chicago, MLA, or APA style – although this blog is going to focus mostly on Chicago.

Now: please note, the 18th edition of the Chicago Manual of Style was just released earlier in August 2024, but this blog will continue to elaborate on the specifics of the 17th edition, as that is still the mostly commonly used across many commercial publishers. Subscribe to the SRD Editing Services blog to be among the first to know about the 18th edition updates!

Film vs. Online Video

No matter what style guide you’re using, when you’re citing video, you will want to check whether the format of the video matters. For Chicago citation style, website videos – such as TedTalks, YouTube videos, or videos posted to social media – are cited differently than films that are released in offline formats first. 

For website citations, you’ll include some of the same information, such as the title of the video and the year it was published, but you’ll indicate to your reader that the source is specifically a video by including the word “video” in square brackets. Check the full details on Chicago citation style for websites for examples. 

CMS Citation for Film

When it comes to citing a film, you can think of what qualifies as a “film” by whether it is a production that requires a professional crew, a script, a studio or shots done on location, and other standards of film production that predate the internet and its distribution of film materials. 

So, for example, you may watch a movie on the web browser on your computer through a site like Netflix or Hulu, but if it’s a fully produced movie that you could also have gone to see in a theater or purchased a DVD copy, you wouldn’t cite it as a website video. 

Similar to an online video, the CMS citation for a film will include the title, the year it was released, and some of the production information, but the citation for a film will ask for a bit more than a website citation. 

Here’s what the Chicago manual has to say about including identifying information.

14.265: Video and film recordings

“Citations of video and film recordings…will vary according to the nature of the material….Any facts relevant to identifying the item should be included. Indexed scenes are treated like chapters and cited by title or by number. Ancillary material…is cited by author and title.” 

For both Notes/Bibliography style and Author-Date style, the Bibliography element will be the same. If you are referencing the whole movie, don’t include the “scene title;” that is only necessary to include if you are directing your reader toward a particular scene in the film.

“Scene Title in Title Case,” Title of Movie or Film, directed by FirstName LastName (Year; Location of studio headquarters: Film Studio Name, version date), Media or timestamp. 

Example: 

“Crop Duster Attack,” North by Northwest, directed by Alfred Hitchcock (1959; Burbank, CA: Warner Home Video, 2000), DVD. 

For the Note in Notes/Bibliography style citation, include the director’s name, the title of the film, and, where applicable, a timestamp of the moment to which you’re referring. This is similar to how the Chicago citation for books would include a page number or page range in the note. For shortened notes, include only the director’s last name, a shortened version of the title, and the timestamp. 

For an Author-Date style CMS citation, throughout the text, include only the director’s last name and the date of the film’s publication in the parentheses.  

If you have the DVD, the case may include most of the information you need, but if you don’t have the DVD case or it doesn’t have the details, IMDB is the place to go.

Special Cases for CMS Citation of Films

Of course, there are occasional situations where more or different information may be required. If a film doesn’t have a named director, for example, you could include a producer or lead actor’s name. If the film has been translated from a foreign language or distributed by different companies in different countries or for various editions, you may have to include some details about the translator or which version of the movie you’re citing, especially if you’re drawing attention to differences between the versions. (This is similar to how a Chicago citation for a book that has been translated or reprinted is cited as well.)

Ask Your Editor for Details on CMS Citation

So that’s a quick overview and the basics of CMS citation for films. When you’re writing fiction (especially historical fiction), you don’t need to include sources for material, although you can include information in an author’s note if you’d like. But when your book is nonfiction and you’ve taken the time to do the research, include the sources in a full bibliography. When you’re not sure how to cite, make sure to ask an experienced editor!

Talk to an editor about CMS citations

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How to Get Published: Literary Journal / Literary Magazine Submissions

Background of yellow wood with brown-haired woman wearing black holding a brown umbrella.

Where can you publish short stories, essays, and poetry?

If you’ve ever wondered about the process of literary journal submissions (aka “literary magazine submissions”), this blog may be able to answer some of your questions about how to get published in these types of periodicals. 

Recently, Authors Publish magazine offered a free talk from writer Shannon Mann titled “How to Increase Your Chance of Literary Magazine Acceptance.” (You can view the entire recording HERE). Listening to Shannon speak reminded me of my own days in graduate school, as a fiction submissions reader for Southeastern Review and of my experience submitting poetry to various online and print publications. (You can check out my published poetry on THIS page). 

I am also fortunate enough to remain friends with some incredible creative writers of short stories, essays, poetry, and more, and witness their successes (and struggles!) with publication in journals and magazines. 

In this blog, I’ve compiled an overview and provided some insight into how to get published in literary magazines and journals. I hope it helps you in your journey! 

How to Get Published Tip #1: Register on Submittable

If you’ve done any literary journal submissions already, you’re likely familiar with Submittable.com, but if you’re new to submitting, you will find this platform both common and useful. For many publications, submitting via this platform is required, for others, it’s optional but may perhaps be more convenient for you. If you have a lot of material you want to publish, you ultimately could have many submissions going in many directions. A central hub for managing and tracking them will be a lifesaver.

How to Get Published Tip #2: Start with Research

There are thousands of publications, publishing every type of writing, and you can spend a lot of time and money throwing your best pieces against the wrong walls, hoping they will stick. 

If there are certain magazines you subscribe to and like their stuff, start there in your search of options for literary magazine submissions. If you’re not sure or if you don’t write the genres that your favorite magazines publish, here are a few places you can look to start keeping a list of potential new homes for your words. Consider subscribing to their newsletters (where available) for frequent and easy updates and information on opportunities as well as tips on how to get published.

  • Writers Digest 
  • Authors Publish  
  • The Sub Club and Publishing … and Other Forms of Insanity newsletters
  • The Chill Subs and Duotrope databases
  • The acknowledgments in books, essays, bios, etc. of writers you admire
  • Social media including hashtags (#MSWL) and Facebook groups such as Calls for Submissions Publication Announcements.

How to Get Published Tip #3: Draft a Plan

The thing about literary journal submissions is that it’s a numbers game. The more submissions you send out, the more likely that one (or a few!) of them will get accepted and your work will be distributed. If you choose only one or two targeted publications to submit to, that’s okay, but expect not to be accepted the first time. 

First, understand that knowing how to get published is only part of the battle; you must understand your true why. Ask yourself, why am I submitting? Is it simply because I want to share my words with the world? In her webinar, Shannon discussed common reasons people submit to literary journals or magazines, including a sense of community, for validation, for prestige, to reach interested readers, and/or to build or support a writing career. If you’re trying to make money, she warns and I can confirm, these types of publications are not the way to go. 

Sure, you might win prizes or get paid some (small) fees for some of your accepted submissions, but literary magazine submissions alone (likely) won’t be enough to allow you to make a living off your writing. And if you’re submitting to publications that charge reading fees, you could pay out more than you make back. So factor that into your plan. (You could, of course, target only those publications that don’t charge a submission fee). 

Black background yellow neon sign "everything is connected"
Combine your materials, your cover letter, and your matchmaking skills into a literary submission package.

When you’re formulating your submission plan, I advise asking yourself the three following questions. Consider your true goals and strategy, and follow your heart when it comes to the answers. 

Consideration #1: What am I submitting?

While reviewing potential publications to submit to, be very clear on which pieces of yours are ready to send out. A couple short stories, a batch of poems, an essay or two that might be ready in a few months. You may want slightly different strategies for each piece, but your literary journal submission process will likely look a little different for each genre. 

First: Determine the genre. The number one place you will look for any publication to clarify how to get published with them is their submission guidelines. Look at what they require or what types of pieces they prefer to publish, and tag your work with descriptive keywords/tags to keep yourself organized. Then, you’re basically matchmaking between what you have and what the magazine is looking for. 

If a publication is looking for flash fiction and you have only nonfiction essays to offer, it’s not a good match. Know what you have, organize it for yourself, and make it easy to find when the time comes; this will give you the best chance possible to match up the right piece with the right publication at the right time. 

Consideration #2: What practical information do I need for submitting?

After you’ve created your short list of pieces to submit and your short list of places to submit, you’re on your way! 

First: Consider the upcoming timelines. You might want to schedule a single day once per month to go over upcoming deadlines and send out your submission packages. If you have a lot to submit, maybe you schedule a few hours every week. But whatever your planned schedule, you’ll be far more efficient if you have one, and far more likely to actually follow through on your literary magazine submissions if you make it a regular item on your to-do list and block off time on your calendar. 

Second: Plan ahead for fees that need to be paid. Don’t wait until the last minute to see if you have the money and find yourself overspending. Incorporate that as part of your plan and make sure to budget and have the card you want to use prepared. 

Third: When it’s submission day/time and you sit down to send off your writing to your publications of choice, pay attention to the submission guidelines for each of them. Every publication will tell you exactly what they want you to include in your submission package and how they want your work submitted. If you can’t follow these basic guidelines, expect to receive rejection letters for every submission. 

Don’t spend time formatting your literary journal submissions or your cover letter in any way other than what the guidelines ask for. If there are no instructions, assume that a common font like Times New Roman or Arial is preferred, and stick with a medium-sized font like 11 or 12. I’d suggest 1.5 or double spacing as well. 

However, if they are specific, follow all instructions. If they ask for no more than a certain number of pages or poems, don’t go over the limit. If they ask for all work to be single-spaced, then format it as such. Etc. 

This may seem tedious or nonsensical to you, but they have their reasons, and if you want to play on their team, you’ll just have to play by their rules. It’s as simple as that. The best advice on how to get published: Follow all submission guidelines to a T.

Consideration #3: What do I say in my cover letter?

Many submissions will have you attach your work to an email or upload it to a platform. Either way, it’s appropriate to include a cover letter that addresses the recipient of your message (email or otherwise), providing some basic information regarding your literary magazine submission.

If the publication has a masthead and/or you can identify the name of the submissions reader at the publication, address them specifically. Remain professional, not overly personal, but addressing your message to the specific person is more welcoming and warm than “To whom it may concern.” 

Keep the letter short and sweet. It’s appropriate to open with something you like/admire about the editor’s work in particular or the publication’s work, such as an example of a story they published that you enjoyed, etc. This can help establish a personal connection. 

Include any information asked for in the submission guidelines, and tell the editor you hope they enjoy the attached [insert work here] (five poems, two essays, partridge in a pear tree, etc.).

Special Note!: Simultaneous Submissions

Always pay attention to whether the publication allows concurrent/simultaneous submissions. Many publications will ask you to let them know if you are submitting the same piece simultaneously to multiple places. You may need to include a line about whether any of the pieces included in this literary journal submission package are being simultaneously/concurrently submitted to other publications. If asked to include this information, be sure it’s in there. 

If the submission guidelines ask for an author bio, give them what they ask for. Usually, an author bio is expected to be between 50 and 100 words, written in third-person, and include info such as where your writing has been featured befor, or if you’re a debut/new/emerging writer who is excited to publish their first piece. Use a little humor and showcase your personality here.

How to Get Published Tip #4: Expect Rejections

It’s reasonable to expect that between 0% and 20% of your literary magazine submissions will get accepted. If you’re really good, your stats might be above that, but even professional writers know that not every piece is right for every publication at every time. Maybe your beautiful poem about your mother’s death happens to get submitted a month after they published another poem on the same theme by a different poet, and they don’t want to publish the same type of material in back-to-back issues. So it goes. Timing is out of your hands. Rejections happen for any number of reasons other than just “my work sucks,” so it’s time to get ready to grow some thick skin. 

Related blog: How to Face Rejection as a Writer: https://srdeditingservices.com/how-to-face-rejection-writer/

Consider: What is a Successful Submission?

Now, one interesting thing that Shannon discussed is that a custom rejection letter is a successful submission. Why? Because editors don’t write custom rejections for everyone. They have standard form letters/templates that are sent to most people. But, if you receive something that seems like the editor genuinely liked your piece, or it contains a personal detail that is outside the realm of a form letter, then make note of that in your submission records/notes. You should try that publication again later, with a different piece. Because there’s a chance that editor will remember you, and there’s a chance that your next piece might be more along the lines of what they’re looking for.

How to Get Published Tip #5: Execute Your Plan, Track Your Data, & Adjust Your Approach

Of course, you will not see results from a plan you do not execute. Once you’ve laid out your strategy for a literary journal submission process, you must follow through. Those dates you marked off on your calendar, reserved for sending your materials out in the world? You must sit at your computer on those days, follow the guidelines, and put the plan into action. Send your writing into the world. 

After some time – typically a few days to as long as a year – you will begin hearing back from the publications where you submitted. (Even if you haven’t heard back when your next scheduled submission date comes around, proceed with the plan!) You’ll need to keep track of which pieces were accepted (hooray!) and which were rejected, which means they can now be submitted elsewhere. So now it’s time to choose a new potential home for them and put them back in the submission queue! 

After a few rounds of literary journal submissions, you’ll begin getting the hang of the process and know a bit better what to expect. As you learn more about how to get published in your genres or in your dream publications, make adjustments to your approach. Workshop the materials more if need be, and always update and customize your cover letter. There is no one-size-fits-all solution, so making tweaks to suit your personal style and goals is the only way to reach those goals and fulfill your why

Consult with SRD Editing Services for Literary Journal Submissions

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1 Year with EFA: Editor Training on Sensitivity

Two hands holding wooden letters spelling out "webinar"

July 1 is the first anniversary of SRD Editing Services’ membership in the Editorial Freelancers Association. In the past year, editor Cortni Merritt has taken some awesome editor training and webinar sessions provided by the EFA, and we wanted to tell you a bit more about what’s going on behind-the-scenes and in-front-of-the-screens at SRD Editing Services.

EFA Member & Public Webinars & Editor Training

The Editorial Freelancers Association offers a number of live trainings and recorded webinars. Most are accessible both to editors who are members as well as to the general public, however, a number of them are exclusive only to EFA members. While some webinars and trainings are free, others have an enrollment fee associated with them, although typically the fee is reduced for EFA members.

In addition to a series of webinars to help freelancers and business-owning editors enhance their business skills, several EFA courses focus on improving practical skills such as copy editing and proofreading, while others are meant to enhance the editor’s techniques within certain genres—mystery, memoir, children’s literature, etc. 

This year, editor Cortni Merritt completed and participated in a number of editor trainings that she felt could enhance practical technical skills across multiple genres, while also enriching the customer service experience she could provide to authors who choose SRD Editing Services for their editorial needs. 

The Art of Feedback

Although the MA program and editor training at Florida State University provided extensive practice on giving writers feedback, this hour-long webinar hosted by EFA Chief Executive Officer Christina Frey was a helpful refresher.

Napkin next to a red coffee mug showing feedback loop of "same old thinking" leads to "same old results" and vice versa

Feedback, especially from an editor, should be both collaborative and effective. The author must find it helpful, and above all, everyone must feel respected for feedback to be applied. 

When giving feedback, it is helpful for the editor to provide a neutral, “reader-first” perspective that is not based on opinion but instead on the authority of professional experience.

Authenticity Reading---What It Is & Why Editors Should Care

Authenticity reading, also known as sensitivity reading, is a type of pre-publication read-through for feedback in which the reader focuses on a specific area that readers might find unfairly portrays a group of people.

Most books have some content to which a particular sub-set of readers might be sensitive; different genres and books of different readership have different concerns, but when the writing might be considered “insensitive,” it should be evaluated for those concerns.

Trans Allyship for Writers & Editors

Writer and activist Davey Shlasko led this insightful editor training that examined how an editor can be aware and sensitive to trans identity and expression in the writing they edit. Above all, they say, “Be curious, be self-aware, and be willing to push past your comfort zone.” 

Flags depicting allyship with LGBTQIA+ community

In case of doubt about a person’s pronouns, ask! If you offer yours first (she/her), you may open the space for the other person to share theirs.

When assessing trans content, consider whether characters are being portrayed as real, whole people. Consider who the audience is and suggest further review from sensitivity readers as needed.

Lastly, Davey offered a variety of interesting resources for trans-ally copy editors, which I feel deserve (and will hopefully get!) their own blog: The Radical Copy Editor, The Conscious Style Guideand The Trans Allyship Workbook.  

Demystifying the Language of Disability

Writer and activist Emily Ladau has been educating audiences about life with disability since age 10. In this editor training, she encouraged editors to consider person-first, identity-first language as a part of recognizing and removing subtle ableist bias.

Line drawings of the shapes of people, some who are disabled and wheelchair users or prosthetics users. Line drawings are in a rainbow of colors

People often have preferences regarding the language used to identify them, and if you’re interested in knowing a person’s preference, ask! Some people find “disabled” preferable, while others prefer a euphemism, but a well-meaning editor can devalue thoughtful choices of self-identity by making assumptions.

Generally, Emily advises editing with one eye on the lookout for the tropes of disability and to focus on increasing affirming language and reducing use of disability-insensitive metaphors. While representation is important, a review from a person similar to one being represented is ideal–“Nothing about us, without us.” 

More Editor Training Planned for 2023-2024

It’s only in 2023 that we’ve really ramped up our professional involvement and development, first by announcing the SRD Editing Services membership in the EFA in January 2023, and then announcing our membership in the International Association of Professional Writers & Editors in May 2023. But there’s more coming! 

Subscribe to our blog or follow SRD Editing Services on social media to stay up-to-date with all the exciting announcements. More editor training for our team happening at the Workshop at Authors Publish magazine, as well as from the University of North Georgia. 

Connect with SRD Editing Services on social

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29 Words to Cut from Your Novel

tips-words-novel

Each writer lives in a special, unique mind. Each can combine words into glorious chains, never before seen by human eyes. Yet, each writer is also a flawed human, who is liable to trip on the same rubble on the path to beautiful writing as every other writer. (And no writer wants to hear that there are words to cut from their writing…)

Now, first drafts are supposed to be messy. Second drafts, less so. But it’s not easy to clean up the first draft to turn it into the second. Nor is it simple to revise the second draft into the third. As an editor, I know. I’ve been there with my own writing and the writing of others.

Behold! A Video to Help!

Vivien Reis is a writer, editor, and YouTuber

I’ve had this video saved for a couple of years, and I keep referencing it when editing my clients’ fiction and nonfiction. 

When I thought about writing a blog on the topic of editing for word choice, I started to make my own list of words to cut. Then I realized: Why re-invent the wheel? Vivian’s done a spectacular job to begin with.

Instructions for Word Choice Edits & Which Words to Cut

Generally, I suggest writers do at least one edit through their manuscript for “word choice.” As you watch this video, take notes on which of these writing habits you’ve gotten yourself into, which of these words to cut you think might show up in your work. 

Then, open your manuscript. Let’s take a look at the current status. 

Do an automated search for the first word or phrase in question. In MS Word and Google Docs, you can Find specific words or phrases by pressing CTRL + F (or Command + F on Mac) on your keyboard. When you have the results, record the number of appearances in your notes. 

Search for all the words or phrases, without making any changes. First, you’re just gathering info. 

Making Changes

First, let me say: I do not advise that you use “Find + Replace All”.

I advise that you find all instances of a word or phrase, then examine each to determine the necessary action.

Yes. It is tedious. I understand. I have two points for you to consider: 

  1. Writing the book was tedious. You did that though. You can do this part.
  2. If you don’t do it, you can always pay your editor to edit these out for you. 

The reason I do not advocate that you simply “delete all” uses of a word or phrase, is that it will cause additional unintended effects. Trust me. Especially if what you Find & Replace can sometimes appear as part of another word. 

Instead, work your way through the words and phrases you’d like to cut or revise, search for each individually, then examine each occurrence and make a decision about how to handle each of them.

Some Words to Cut / "Big Offenders"

In the video, Vivian points out some of the biggest offenders that have become littered across contemporary writing. These are words — typically, adverbs — that can easily be removed, and generally when they are, your sentence will lose no meaning. 

Here is my “Big Offenders” list of words to cut. I commonly see each of these, and spend a significant amount of time and energy making sure to reduce their use.

  • very
  • just
  • that
  • “began” or “started”
  • “a bit,” “a little,” “a lot,” and other imprecise amounts
  • “kinda,” “sorta,” “almost,” and other hedging words
In particular, I see “just” frequently used, so I’ll pick on it as an example. Unless you’re discussing the concept of “justice,” limit the use of “just.” Just is just one of those words that just works itself into a sentence just about anywhere.

Bonus Thoughts on Words to Cut from Your Writing

What else do I look at when editing? Two other things I notice frequently that I suggest you examine in your manuscript: 

  1. “Parallel action”: You can find this by searching for the use of ‘as’ in your writing. It usually appears in dialogue tags, as in: she said as she walked or he thought while grabbing his hat. Of course, you will need to use this sometimes. Remember to vary your sentence structure.
  2. “Extreme hyperbole”: Examine your fight or action scenes. Do your characters often overexert themselves? I often see phrasing like as hard as she could or with the last of his strength, only to have the character continue to escalate the action after that phrase. Consider how to build tension Show the exertion, rather than tell about it.

Maybe these aren’t words to “cut,” but they are certainly things you want to be mindful of. 

Ready to talk about editing?