Here, for the first time, I reveal a writing secret.

People often say to me, “George, what are the secrets to writing well?” I’ll mumble something about there not being any. But of course I’m lying. Why? As a freelance writer, I am loath to divulge these secrets. Give away one here, another there, and before long a client might make an ugly comment such as, “Do we really need George?”

But I’m not an overly secretive person. So now, for the first time, I will reveal a single writing secret that’s been so closely guarded it has not once appeared in any book on writing (of which I own all but two or three thanks to my unfortunate discovery of Bookfinder.com). (Tempted to click on that? Wouldn’t if I were you.)

All right, here goes. There comes a stage in composition when editing on paper provides a writer with a helpful change of perspective. Problems and alternatives stand out in ways that they never did on the computer monitor. When this moment arrives, the tendency is to reach for a red pen. All you amateurs, this is a colossal mistake.

Seeing red? Uh oh. 

Among the colors of the spectrum, red is the most aggressive hue—and it’s never consented to anger management. Red is the color of war, of blood, of heat. Red admonishes, e.g. Stop here, or else. Red warns, e.g., CHECK ENGINE. Red assigns blame, e.g., The Scarlet Letter.

Consider some “red” expressions. A business in the red? Doomed. Red-faced? Embarrassed beyond belief. Red card? Not only ejected from the match, but from the sidelines, too. A Red? A communist. Red herring? To be misled on purpose and feel foolish about thinking it actually was the butler who did it.

So unless you’re into self-flagellation (and if you happen to be, please seek help immediately), avoid editing in this angry color.

(Of course if you’re Chinese, red is a lucky, happy color that brings good fortune; and the above Western biases would not apply.)

Feeling blue? Not good. Not good at all.

Blue? Blue is a “neh” color for editing. Blue is nonchalant. An edit in blue says, “Make this change. Or don’t. No one really cares.”

And when blue isn’t diffident, what is it? Depressed. They don’t call the blues the blues for nothing. That English rock group The Moody Blues? Sucessful, sure, but no one would call them happy. Those NYC rockers, Blues Magoos? Forgotten, sadly.

Take “blue” expressions. A person blue in the face is extremely exasperated. Or dead. If something goes into the blue, it went far into the unknown—and good luck getting it back. Out of the blue? Appearing out of nowhere, and that’s rarely associated with a positive development. Bluetooth? Short-range wireless technology that disconnects for no known reason. Devil in a tan dress? Little black dress? White strapless evening gown? No, it’s devil in a blue dress. Black and blue? In a bruise, yes. In an edit, forget this namby-pamby color.

But combine those two flawed primaries and the result is perfect purple.

Don’t laugh. Purple has one positive connotation after another. Purple has long been been associated with royalty. As far back as ancient Rome, purple denoted rank, authority, and privilege. Today, the Purple Heart honors those wounded in battle.

But is purple more? Purple is more. Purple is fun, e.g., the 1958 hit single, “The Purple People Eater.” Purple is playful, e.g., Barney the Dinosaur. Purple is a revelation, e.g., Who knew Oprah could act until The Color Purple?

So edit in a color of positive connotations; edit in purple, the secondary color that writers in the know reach for first. Not too laid back, not too emotional, friendly purple pops off the page and says, “Yes! Yes you can write The Great American Novel—or at the very least a pretty decent essay for that grad school application.”

What shade of purple? I personally recommend the Pentel EnerGel® Deluxe RTX Retractable Liquid Gel-Ink Pen in the 0.7 medium metal tip, in violet. I get my editing mojo on with that pen.

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