William Doody

Journalists are nimble creatures. We're often thrown into environments and situations we have to study and understand very quickly. And that's where we thrive. I have yet to meet a journalist that doesn't nerd out on something. While most of my career success has been covering the tech industry, I previously covered community news, retail, restaurants and even nonprofits. Understanding the nuances of every company and industry was a challenge, but one I thoroughly enjoyed. Journalists know this about each other, but those outside the industry seem to be a little less aware of the benefits a journalist can bring to your team. We have strong communication skills, are used to delivering on tight deadlines, know how to have conversations with executives and multiple stakeholders. We have to manage, sift through and make sense of complicated matters so we can explain why something matters. We're constantly trying to think outside the box and skilled at building relationships. We know how to write, edit, produce videos, create interactive content, develop and lead a live events, network in a room full of leaders and engage on social media. Those skills can transfer to so many different roles. With that said, I'm still currently exploring roles inside and outside of journalism. I'd love to help you make connections, craft narratives and think creatively. Some roles I'm open to beyond editing and writing include grant writing, support roles for theater/performing arts, nonprofits and social impact organizations, and positions that help support employees or inform the public. Feel free to reach out if you'd like to chat!

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Which profession wants you to work like a white-collar worker but pays wages equivalent to that of a blue-collar worker? The answer will always be journalism.

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Nonfiction authors want to impress publishers and so will often say things that they feel give them an advantage when in fact these things often do more damage than good. Here are four things NOT to say to a publisher: 1. “I have in mind an entire series of books that look at this topic and…” Don’t tell a publisher about your idea for a series. Every book presents a financial risk, and while a publisher may commit to taking that risk on a single title, signing on a whole series (unless you’re an internationally established luminary with instant global name-recognition) would be unwise. If the first book fails, the publisher remains on the hook for two or more books that are also likely to fail, which would be compounding a bad investment with a painfully slow financial bleed. Trust me, if your book sells, the publisher will come to you begging for the next in the series before you’ve even thought of one. 2. “My marketing plan includes outreach to the Today Show, Rachel Maddow, NY Times, FOX news, NBC, Joe Rogan, and…” Yes, that is the same marketing plan a couple of other million authors also have, and each of these venues receive a few hundred books a week that will not be looked at. My boss once told me about when he went to the NY Times offices and there was literally a huge table strewn with the hundreds of books they receive weekly -- most still in their mailing packages -- for any staff member to take home, re-gift to someone, or use as a door-stop. If you don’t have an actual “in” to these places, your chances of getting noted are about the same as hitting the lottery. 3. “I have an excellent endorsement from XXXX who is world-famous, and this will…” Endorsements rarely make a difference. Authors think they do, but they really don’t. They’re...nice, and they don’t hurt, but your endorser remains unlikely to go on the road touting your book and singing its praises as your marketing partner. It’s just a plug, that’s all. We’ve had two books not just endorsed by but also included an actual foreword (the gold standard of an endorsement, incidentally) by the Dalai Lama himself. Both were great books, and, hey, the Dalai Lama wrote the forewords. Neither one met even its bottom-end sales projections. 4. “I am also currently working on another book which…” A publisher wants you to be absolutely driven, focused, and motivated around a single book. They want that book to be the only thing you eat, breathe, and drink until published and then at least for a year or two after publication, because you are the sales vehicle for that book. If you’ve already got other books bumping around in your head, it suggests you’re not ready to give this one book your all. Red flag. I know, a wretched business that demands your soul on its own terms, but at least you have warnings now! #publishing #books #nonfiction #writing #authors

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AI is built on theft and needs regulating. “Access to the world of copyright presents an opportunity for this administration to dive even deeper into training artificial intelligence (AI). New laws and regulations on what could or could not be copyrighted are not out of the question, nor is the reality that many of the most important works of American creativity, research, and history be fed to the machines with reckless abandon. What the machine is fed would, of course, be selective and leave out the full scope of history and policy.”

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Today’s top tip from Corten Editorial There are three basic “voices” (perspectives) to use when writing, which are as follows: 1. First-person voice = I, we, my, our, etc. 2. Second-person voice = you or your 3. Third-person voice = he, she, they, his, hers, theirs, etc. The main thing to watch out for is staying consistent within a document (e.g. don’t start off referring to your customers as “you” and then switch to the third-person voice “they” or “customers”). This is also true for books, which are generally written in either the third-person voice (most common) or the first-person voice throughout.

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Margaret McKay nailed it in this post: why good editing is never fast and fast editing is never good. This holds for fiction as well as non-fiction. Just as you wouldn’t choose a surgeon who prides themselves on being fast, you would be wise to choose an editor who is slow cautious, systematic, deliberate, and methodical.

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I remember there were many essays written about the "Saas apocalypse". Sure, anyone can vibe code an app, but who is going to maintain it? Fix it when it breaks and leaks? #AI #Software

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"Said" is acceptable (and even preferred) as a dialogue tag because it’s nearly invisible to readers. Because "said" is so common, readers process it almost unconsciously. It doesn’t interrupt the rhythm of the dialogue, so the focus stays on what is being said, not the tag itself. That leaves space for the dialogue and context to convey emotion instead of the narrator telling us how to interpret it. #FixYourFic #Writing Advice #WritersofFacebook #FictionEditing

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𝐇𝐨𝐰 𝐝𝐨 𝐈 𝐛𝐮𝐝𝐠𝐞𝐭 𝐟𝐨𝐫 ...? If you're seeking editorial services for the first time, finding a competent professional whose service you can afford is tricky if you don't know where to look or what those pros charge. When encountering an "I need an editor/book designer/proofreader/ghostwriter" message or request for proposals, I first scrutinize it to see whether the potential client has established a budget for the project or for the service. How I respond depends a lot on that. For potential clients who don't post a budget or who post a ridiculously low budget, I assume those clients haven't done their research and don't know what the service they want costs. Therefore, it's time for a little instruction. The go-to site I recommend is the 𝐄𝐝𝐢𝐭𝐨𝐫𝐢𝐚𝐥 𝐅𝐫𝐞𝐞𝐥𝐚𝐧𝐜𝐞𝐫𝐬 𝐀𝐬𝐬𝐨𝐜𝐢𝐚𝐭𝐢𝐨𝐧. Every so often, the EFA surveys its members regarding the services they provide and how much they charge. The EFA then publishes a report citing the 𝐦𝐞𝐝𝐢𝐚𝐧 𝐫𝐚𝐭𝐞𝐬 𝐨𝐧 𝐛𝐨𝐭𝐡 𝐩𝐞𝐫-𝐡𝐨𝐮𝐫 𝐚𝐧𝐝 𝐩𝐞𝐫-𝐰𝐨𝐫𝐝 𝐛𝐚𝐬𝐞𝐬. It's a handy guide and not to be confused with an assumption that the EFA sets prices. It does not, but those median rates enable pros to adjust their own rates according to what their colleagues are charging and helps to level the playing field. The EFA isn't the only source. 𝐌𝐚𝐧𝐲 𝐩𝐮𝐛𝐥𝐢𝐬𝐡𝐢𝐧𝐠 𝐢𝐧𝐝𝐮𝐬𝐭𝐫𝐲 𝐟𝐫𝐞𝐞𝐥𝐚𝐧𝐜𝐞𝐫𝐬 𝐩𝐨𝐬𝐭 𝐭𝐡𝐞𝐢𝐫 𝐬𝐭𝐚𝐧𝐝𝐚𝐫𝐝 𝐫𝐚𝐭𝐞𝐬 𝐨𝐧 𝐭𝐡𝐞𝐢𝐫 𝐰𝐞𝐛𝐬𝐢𝐭𝐞𝐬. This practice offers transparency, but does not take into account adjustments the pro might make to accommodate a constrained budget, a clean manuscript, a rushed deadline, or other variable that either creates more or less work for that project. That kind of adjustment comes from additional information and a discussion between the professional and the client. Although pricing may feel like the service is treated as a commodity (per-word or per-house), 𝐭𝐡𝐞 𝐬𝐞𝐫𝐯𝐢𝐜𝐞𝐬 𝐩𝐮𝐛𝐥𝐢𝐬𝐡𝐢𝐧𝐠 𝐢𝐧𝐝𝐮𝐬𝐭𝐫𝐲 𝐩𝐫𝐨𝐬 𝐩𝐫𝐨𝐯𝐢𝐝𝐞 𝐚𝐫𝐞 𝐧𝐨𝐭 𝐜𝐨𝐦𝐦𝐨��𝐢𝐭𝐢𝐞𝐬. One can't "scale up" production without using AI tools or outsourcing—which I refuse to do because a client hires me to do the work, not a team, not software program. There are only so many hours in a day, and I can only do so much within those hours. 𝐖𝐡𝐚𝐭 𝐭𝐡𝐞 𝐜𝐥𝐢𝐞𝐧𝐭 𝐩𝐚𝐲𝐬 𝐟𝐨𝐫 𝐢𝐬 𝐭𝐡𝐞 𝐯𝐚𝐥𝐮𝐞 𝐨𝐟 𝐦𝐲 𝟑𝟓 𝐲𝐞𝐚𝐫𝐬 𝐨𝐟 𝐞𝐱𝐩𝐞𝐫𝐢𝐞𝐧𝐜𝐞 𝐚𝐩𝐩𝐥𝐢𝐞𝐝 𝐭𝐨 𝐡𝐢𝐬 𝐨𝐫 𝐡𝐞𝐫 𝐩𝐫𝐨𝐣𝐞𝐜𝐭. To know the average rates charged by freelance pros in the publishing industry so you can set a realistic budget for your project, go to https://lnkd.in/gsa2cXe. #henhousepublishing #ghostwriting #editing #pagedesign #proofreading

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Start where you are and use what you have. It’s advice I repeat often, because too many people wait for the “perfect moment” or the “perfect resources” before they allow themselves to grow. The pushback I hear most is: “But I don’t get paid to do it.” That may be true. But money isn’t the only form of payment. You can trade your time for knowledge, skills and experience that you can later monetise. The real cost is misusing your time on things that don’t move you forward. Theo Baloyi has always been passionate about e-commerce, but he didn’t come from a retail background. He started in finance. As an auditor, he worked with clients across industries, from mining to retail. Instead of treating it as routine work, he treated it as an education. Every client was a classroom. Every business was a case study. Every model was an opportunity to learn how different industries operate. That exposure taught him how business models work in the real world. In his own words: “I had this idea of starting a business, but I had never worked in retail. I gave myself time to learn the retail business model, and I got to work.” Today, he owns one of the biggest sneaker brands in South Africa and continues to scale at an impressive pace. And it all started with this mindset: You don’t need to be paid to start learning. You don’t need credentials to start preparing. You don’t need permission to begin. Sometimes the most valuable work you will ever do is the work you are not paid for yet. Make time to check out his latest interview on The Inside Show with George Avakian.

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Most first revisions miss the mark because writers start at the sentence level instead of the structural level. Polishing dialogue won’t solve unclear stakes. Better description won’t fix a missing character arc. Structural revision asks different questions: Is the protagonist’s goal clear? Do the stakes escalate? Does each scene cause the next? Does the ending fulfill the promise made at the beginning? Some revision requires the full draft. If you’re working on a novel and feeling stuck in revision, you may not need better sentences. You may need better structure. I share practical guidance on story structure and revision in my monthly newsletter. You’re welcome to join.

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The Word Macros A to Z course is turning five. 🎉 To celebrate, I've completely revamped it. It now covers more macros than ever, with 13 updated video tutorials, seven bonus lessons, and hands-on exercises using real-world editing examples. If you've been intimidated by macros or have tried to get started before without success, you're not alone! I've helped hundreds of editors get over that threshold. The course teaches Paul Beverley's library of pre-programmed macros, and you'll have plenty of support from me throughout the course. There is also a live Q&A session with Paul Beverley himself. Members of EFA, CIEP, IPEd, PEG, and Editors Canada qualify for discounted rates through their organizations. Use code JY-ZbdSA0dQt8 for an additional $10 off (valid on any EFA Education Program order over $150). See the link in the comments for more information and to register.👇

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I am excited to share my latest blog post, "Not Another Wardrobe: Why Portal Fantasy Is a Tough Sell," which delves into the challenges and nuances of writing within the portal fantasy genre. While this subgenre has captivated readers since the days of Lewis and Carroll, it is increasingly difficult to grab the attention of literary agents who face a saturated market filled with formulas that fail to innovate. This post explores why many portal fantasies don’t resonate today, highlighting common pitfalls such as oversaturation, the "kid stuff" stigma, and a tendency to prioritize world-building over plot. I'll provide valuable insights for writers seeking to breathe new life into the genre, from the importance of giving your protagonist a clear narrative goal to the necessity of making their journey consequential. If you’re an aspiring author or just passionate about fantasy literature, I invite you to read the full article on our blog: [Not Another Wardrobe: Why Portal Fantasy Is a Tough Sell](https://ift.tt/BX0tGNx). Let’s discuss how to create compelling narratives that push the boundaries of this beloved genre.

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One of the things I love about independent publishing is how authors can assemble their own teams—choosing editors, designers, and other professionals who best fit their vision and needs. But as someone who regularly collaborates with different editors, designers, publishing consultants, etc., I’ve noticed a challenge—there are no standardized processes in self-publishing. Each professional brings their own methods, styles, and expectations to the table. This is both a pro and a con. While I firmly believe that assembling their own team of professionals is an author's best overall route to quality and value when self-publishing, the downside is that it can lead to friction—unfamiliar editing styles, unexpected document formatting, or simply different ways of working amongst a variety of experts. The key is communication (big shocker, I know). In traditional publishing, teams work together within established systems. I believe we can do better by connecting, sharing, and learning from each other.  Let’s start a conversation: Editors, you first! ✍️ What do you wish book designers knew about your job or your process? ✍️ Are there any patterns you notice regarding tasks you think are the book designer's job, but that book designers seem to think are your job? Let us have it! 😅 What can we do better? Drop your thoughts below and let’s learn from each other.  ============= Hey, I’m Rachel. I’m a book cover and interior designer with a mission of elevating the quality of self-published books. I help purpose-driven, nonfiction authors publish impactful books through bespoke cover and interior design. DM me “Book Design” to chat about how I can help with your project. I’m also the creator of the Book Designer Collective, a community of support, collaboration, and learning exclusively for book designers. #SelfPublishing #BookDesign #Editing #NonfictionBooks

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I haven’t just joined the trend of creating a caricature of me at my job — thinking through AI tools, new methodologies, and what comes next. As a documentation leader, I’ve joined something much bigger. TL;DR 😉 Documenters — let’s join the trend and apply our skills to building truly great Docs as Code in the age of AI. I’ve taken a U-turn — not away from what we know works, but toward finding better solutions for how documentation teams operate in an AI-driven world. For years, we’ve talked about Docs as Code. Now I’m asking: what does Docs as Intelligence look like? I’m exploring how we can: • Scan Jiras and automatically identify documentation impact • Pull stabilized code changes and translate them into structured draft content • Extract insights from SME meeting transcripts instead of chasing notes • Align documentation style with UX principles and product voice at scale • Apply best practices consistently — without slowing velocity This isn’t about replacing writers. It’s about amplifying them. It’s about removing friction so documentation professionals can focus on clarity, user journeys, architecture thinking, and strategic enablement — instead of repetitive synthesis work. Every day I’m learning. Every day I’m trying to stay ahead of what’s around the corner. Because more is coming. Faster than we think. AI is reshaping how products are built — which means it must reshape how we document them. If we don’t rethink workflows, tooling, and ownership models now, we’ll always be reacting instead of leading. Documentation leaders have a real opportunity in this moment: To move from downstream recipients of change To architects of intelligent content systems. I’m experimenting. Testing. Rethinking. And I’m energized by what’s possible. Curious how other documentation and UX leaders are integrating AI into their daily workflows. What’s working for you? #DocumentationLeadership #DocsAsCode #AIinTech #ContentStrategy #UXWriting

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AI is replacing knowledge workers like technical writers! AI is going to write all the documentation and courses automagically! Except...not. Fun fact, I recently tried out Anthropic's free course: Claude Code in action. It was not great. Don't get me wrong, the tool is impressive, and I certainly learned a bit. The problem is, it was hard to follow. I didn't always know what I was supposed to do, what was an example they were showing vs. what was part of the follow-along portion. Worse yet, Claude Code has clearly been updated since the course came out. Things like memory mode have been superseded by MEMORY.md, so the instructions did not work. The cherry on top, though, was the hook example. They gave files for making a hook that would invoke a script to prevent Claude Code from using Read or Grep on a .env file that contained a secret API key. All I had to do was actually build the hook part. When it came time to test the hook, Read was successfully blocked. Grep, however...wasn't blocked. I laughed for a good minute after I got the message shown below. So, can companies fire all their technical writers and instructional designers and depend on LLMs to write and maintain their technical documentation and courses? Yes, absolutely. Will their documentation be correct and current? Will it be something they are proud to stamp the company name on? I'm going to say probably not. Use LLMs and code assistants to build systems that assist and supercharge the humans, not replace them. Technical writers bring curiosity and empathy to the table, as well as original thought, which the robot minions cannot emulate. I hope this gave you a little chuckle, network. Please share similar examples in the comments. I can always use a good laugh.

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A lot of screenwriters treat beat sheets like formulas. What they’re really tracking is audience experience. When pressure shifts. When momentum resets. When a story earns its acceleration. That distinction matters. https://lnkd.in/eDUGun73 #writingtips #storystructure #beatsheets #narrativearc #writercommunity #screenplay #creativewriting #storytelling #plotdevelopment #writingprocess

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Technical writing isn't just "writing." It’s a stress test. Before a single word is typed, a technical writer has to live through the user’s frustration. We are the first to get lost, the first to break the UI, and the first to ask, "Wait, where did that button go?" I love this comic because it shows the true value of a writer: Stage 1-3: We find the friction points. Stage 4: We build the empathy. Stage 5-6: We translate chaos into clarity. If you can’t explain it simply, you don’t understand it well enough. But to explain it simply, you usually have to break it a few times first. Shout out to all the writers who spend more time "clicking around" than typing—that's where the real quality happens. #TechnicalWriting #ProductDesign #UserExperience #Documentation

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