The self-editing checklist for nonfiction.

Fix the structure before anything else. There is no point polishing sentences in a chapter you are about to cut or move.

• You can state the book's promise and reader in two sentencesWrite who the book is for and what they will be able to do after reading it, in two sentences, on a card. If you cannot, stop and work that out before editing anything else.
• The introduction makes that promise clearlyReread only the introduction. Check that it names the reader, the problem, what they will get, and why you are the one to write it.
• Every chapter serves the promiseWrite one line per chapter saying what it does for the reader. Any chapter you cannot describe that way is a candidate to cut, merge or rethink.
• The chapter order buildsAsk whether each chapter depends on the one before it. If you could shuffle chapters without anyone noticing, the argument is not yet building.
• No two chapters cover the same groundList the main points of each chapter side by side. Where the same point appears twice, decide which chapter owns it and cut it from the other.
• Nothing the reader needs is missingList the questions your reader will have when they finish. Check that the book answers each one, or deliberately says it will not.
• Chapter lengths make senseNote the word count of every chapter. A chapter far longer or shorter than the rest is either doing two jobs or not enough of one.
• The conclusion tells the reader what to do nextCheck that the last chapter gives the reader a clear next step, rather than summarizing everything they just read.

Once the book's shape is right, make each chapter work on its own: one idea, a strong opening and a clear payoff.

• Each chapter has one main ideaWrite each chapter's idea as a single sentence at the top of the chapter. If you need two sentences, consider splitting the chapter.
• The opening earns attention on the first pageRead the first page of each chapter. It should start with the reader's problem, a story or a question, not with background or a preview of the chapter.
• The headings alone tell the chapter's logicRead only the headings in order. If they do not make sense as an outline, rename or reorder the sections.
• Every story earns its placeFor each story, write what the reader learns from it. If the answer is nothing, or it duplicates another story, cut it or move it where it proves a point.
• The teaching is something a reader can act onCheck that each chapter gives at least one concrete step, example, tool or decision rule, not just ideas.
• Each chapter ends with a takeawayRead the last paragraph of each chapter. It should leave the reader with the point, and where useful, a reason to turn to the next chapter.
• Chapter titles say what is insideRead the table of contents as a stranger would. Replace clever titles that hide the subject with clear ones, or add a subtitle.
• Examples are variedList the client or case examples by chapter. If the same company, industry or type of person appears again and again, swap some for others your reader will recognize.

Readers follow a book paragraph by paragraph. This pass makes each one carry a single point and lead to the next.

• Each paragraph's first sentence states its pointRead only the first sentence of every paragraph in a chapter. If that reads like a summary of the chapter, the flow is working.
• No walls of textScroll through each chapter and split any paragraph that covers more than one point or fills most of the screen.
• Paragraphs connectCheck each paragraph break. The reader should know why the next paragraph follows; add a linking sentence where they would not.
• Throat-clearing is goneSearch for phrases like "In this chapter," "As I mentioned," and "Before we begin." Most of these can be cut without losing anything.
• Nothing is said twice in the same chapterHighlight each key point the first time it appears. If you find yourself highlighting it again, cut the repeat or make it a deliberate summary.
• Lists and frameworks are parallelCheck that every item in a list or framework starts the same way (all verbs, or all nouns) and is named the same way every time it appears.
• Jargon is defined on first useList the specialist terms and acronyms in each chapter. Define each the first time it appears, or replace it with a plain word.

Now make every sentence clear and make the book sound like you talking to one reader at your best.

• Each chapter has been read aloudRead every chapter out loud, or have your computer read it to you. Mark every place you stumble, rephrase as you go, or run out of breath.
• Filler words are cutSearch for very, really, just, actually, basically, quite, in order to and the fact that. Delete each one unless the sentence needs it.
• Long sentences carry one idea eachFind sentences that run past two lines or contain two or more "and" or "which" clauses, and split them.
• The actor is clear in each sentenceSearch for "was" and "were" followed by "by." Where it matters who did something, rewrite so that person or company is the subject.
• Vague words are replaced with specific onesSearch for things, stuff, aspects, factors, various and many. Replace each with the specific thing you mean, or an example.
• Hedging is deliberateSearch for I think, maybe, sort of, kind of and perhaps. Keep a hedge only where you are genuinely unsure, and say why.
• Your crutch phrases are under controlAsk someone who knows your writing which phrases you overuse, or search for your favorites. Keep the best use of each and vary the rest.
• It sounds like youPick a stiff paragraph and say it aloud as you would to a client across the table. If the spoken version is clearer, write that down instead.

A nonfiction book's authority rests on getting things right. One wrong number gives a skeptical reader a reason to doubt the rest.

• You have a source logKeep a document or spreadsheet listing each fact, number and quote in the book, the page it appears on, and where it came from with a link or citation.
• Every statistic is traced to its original sourceFor each number, find the study, survey or report it came from, not an article quoting it. Check the figure, the year and what exactly was measured.
• Every quotation is checked word for wordCompare each quote with the original book, talk or article, and confirm who actually said it. Popular quotes are often misattributed.
• Names, titles and companies are correctCheck the spelling of every person and company name against an official source, and check job titles are current or clearly past tense.
• Dates and timelines agreeList every date and duration in the book in one place. Check they agree with each other and with the record.
• Client and colleague stories are clearedFor each real person in a story, note whether you have written permission or have changed enough details that they cannot be identified.
• Material from other works is flaggedMark every quotation from another book, article, song, poem or image. Note its length and whether you need permission before publishing.
• Claims about your own results are supportedFor each claim about what you or your clients achieved, make sure you can point to the evidence if a reader or journalist asks.

Consistency is what makes a book feel professional. Do this pass with a style sheet so your decisions are written down for your copyeditor.

• You have started a style sheetOpen a one-page document and record each spelling, capitalization, number and naming decision as you make it. Give it to your copyeditor.
• Key terms are spelled one wayFor each important term, search for its variants (for example, email and e-mail, healthcare and health care) and choose one.
• Numbers follow one ruleDecide when to spell out numbers and when to use numerals, and how to write percentages and money. Search for digits to check each case.
• Your framework and model names are consistentSearch for each name you have given a framework, step or model. Check it is capitalized and worded identically every time.
• Heading levels are consistentUse your word processor's heading styles rather than bold text, and check every chapter uses the same levels for the same kinds of section.
• Cross-references point to the right placeSearch for "chapter," "see," "above" and "below." Confirm each reference still points to the right chapter after your restructuring.
• Citations follow one formatPick one citation style for notes and sources, and check every note matches it. Your copyeditor will finish the job, but fewer fixes cost less.
• Names of people are consistentCheck each person is introduced in full once and referred to the same way after (first name or surname, not both at random).

One last slow read, as a reader would meet the book, before it goes to an editor or beta readers.

• You have changed the format before readingPrint it, or change the font and page size, or read it on an e-reader. A new look helps you see what is really on the page.
• You read one chapter per sittingRead slowly, one chapter at a time with breaks in between, marking problems rather than fixing them as you go.
• Spelling and grammar checks are done with judgmentRun your word processor's checks, but decide each suggestion yourself. Add names and terms you use often to its dictionary.
• Doubled words and stray spaces are goneSearch for common doubled words (the the, a a, to to) and for double spaces, and fix each one.
• The table of contents matches the chaptersCompare each chapter title and number in the contents list with the title at the top of the chapter itself.
• Notes to yourself are removedSearch for TK, XX, ???, square brackets and highlighting. Resolve or delete every placeholder and comment before anyone else sees the file.
• You have a clean, final fileAccept or reject all tracked changes, save one file with a clear name and date, and note its exact word count.
• You have written notes for your editorList what you are worried about, what cannot change, and any style choices you have made, in a short note to send with the manuscript.