Whereas experienced writers may not draw a sharp line between revision and polishing, beginners should. Revision is based on writing. It can be discussed using the same terms and goals as those used for planning and drafting. Polishing, however, encompasses a whole new world. There are several areas of polishing: polishing the style, polishing spelling and punctuation, and polishing the presentation. Each area involves complex decisions and rules.
To discuss these decisions and rules, beginners must first learn a whole new vocabulary, such as terminology for the parts of speech.
When students write using all the words they know and the complete range of sentence structures they use in speaking, they inevitably use words they can't yet spell and sentences they can't yet punctuate. If they confuse polishing with revision, they will also tend to confuse good writing with good polishing—and they will be dead wrong. A piece can be perfectly spelled, correctly punctuated, beautifully presented, and horribly written. Or it can be beautifully written and horribly polished.
We try to take a break after revision, so students can replenish their energies and see polishing as a separate project. Also don't ask polishing questions until students have finished revising their work. Avoid mixing polishing questions with revision questions when you comment or grade. Never try to teach new grammar, punctuation, or style rules through writing complete pieces or paragraphs. Students are too tired, and polishing a manuscript is a ludicrously slow way to learn a rule of punctuation or the spelling of a word. Teach mechanics separately. When you do teach mechanics, assign practice sentences, not para- graphs or stories. For example, never give assignments such as "Write a story using the words on your spelling list." Change such an assignment to "Write ten sentences using the ten words on your spelling list."
When students are polishing, keep in mind that part of their problem has nothing to do with their skills at mechanics. Writing takes as much endurance as it does talent or skill. That endurance is developed by writing consistently every day over a long period of time. In this respect, writing is no different than sports that demand physical endurance. When beginners reach the polishing stage, many run out of steam. It isn't that they don't know how to correct the error or that they don't care. They are just too tired to do it. If you want students to do a careful job, break polishing into little stages and give students rest breaks between stages.
Although it is not always possible, we recommend asking students to polish only those pieces that they intend to publish. Polishing takes time and energy. There really isn't any point in doing it if there isn't a reader on the other end. Most students really don't care that much if the teacher finds fault with the polishing. They do care if their ideal reader (Chapter 2, Activity 1) does. Polishing to publish puts the teacher in a better position, where it easier to point out errors without discouraging students. Students are gladly willing to find the errors and fix them when they are preparing to publish a piece of their choosing. Otherwise, they think that polishing is just nitpicking.
This is a good time to introduce students to the reference works that are the tools of the copyeditor's trade. Young students will not be able to use these books without help, but at the very least, they should know that such books exist. Young students assume that adults know all the rules by magic. It's a relief to discover that everybody needs to look them up—even professional copyeditors.
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Keep one copy of the each of following books in the classroom and make a point of consulting them when students ask questions:
Spelling Dictionary: Find a small dictionary with spellings only. Try The New Century VestPocket 50,000 Words.
Misspeller's Dictionary: This is a dictionary of commonly misspelled words organized by common misspellings. Try The Misspeller's Dictionary.
Usage Guide: We like Phyllis Martin's Word Watcher's Handbook: A Deletionary of the Most Abused and Misused Words.
Punctuation Guide: We like Margaret Enright Wye's blessedly short The Complete Guide to Punctuation: A Quick-Reference Deskbook. We also like Barron's The Art of Styling Sentences: 20 Patterns for Success by Marie L. Waddell et al. (although it is a better teaching tool than a reference book).
Style Guide: The most famous is William Strunk and E. B. White's The Elements of Style, but there are many other good choices. Gary Provost's delightful 200 Ways to Improve Your Writing contains an excellent collection of style tips. The most complete style manual available is The Chicago Manual of Style from the University of Chicago Press, a fascinating—if overwhelming—tour of the publishing process, from punctuation rules for writers who are preparing manuscripts to printer's typefaces. It should have the subtitle "Everything you ever wanted to know about editing and more."
It's worth keeping one copy in every school, so that students know that it exists and teachers have an authoritative guide to consult for tricky questions. Recently, some other presses, such as the New York Times, have published their style manuals in paperback. They are perhaps less complete than The Chicago Manual of Style, but they are less expensive and less daunting.
The Chicago Manual of Style is worth special mention, however. Full of ideas for the creative teacher who wants to model the writing classroom on the publishing house, it has the most authoritative and intelligent explanation of punctuation and editing rules found anywhere. You can find ideas for a quick writing or editing lesson on days when you run short of activities by opening to almost any page in the book. By the time students leave high school, they should treat The Chicago Manual of Style as they would a comfortable old shoe. If you can spare the time, read it yourself, and read it aloud to students. Keep an old copy around the classroom along with a good dictionary. Consult both often. Your students will thank you someday.
Part 2: Polishing to Publish ^ ^ 173 Activity 4:
Polishing for Style
t is not intentionally mannered writing that adds up to style, or richly poetic paragraphs, or the frank pursuit of novel prose rhythms.
The writer's own style emerges when he makes no deliberate attempt to have any style at all.
Lawrence Block
Avoid asking students to follow particular style rules or imitate a style before they have finished drafting. Good style begins with writing simply and naturally in one's own style.
The sound of a writer's own style, the natural voice, is as distinct as a singer's natural voice.
There is a difference between singing operas in one's own voice and imitating an opera singer.
The first may sound rough but honest; the second sounds ridiculous. Writing styles are no different. Students should write in the natural voice. If they want to polish their style, the time to do it is during polishing.
Instructions for Students
Professional writers use some simple little tricks to perk up sentences. You can use them, too. Follow the style tips in the handout, and your writing will really sound great.
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