Now, let’s look at how to do the actual editing.

Watch for common errors

Most writing mistakes are depressingly common; good writers just get better at catching them before they hit the page. If you’re serious about improving your writing, I recommend you read “The Elements of Style” by William Strunk Jr. and E.B. White, a how-to guide on writing good, clear English and avoiding the most common mistakes. “Politics and the English Language” by George Orwell is also worth studying if you want to avoid “ugly and inaccurate” writing.

Some of the things you’ll learn to watch for (and that I have to fix all the time in my own writing) are:

Overuse of jargon and business speak . Horrible jargon like “utilize,” “endeavor” or “communicate” — instead of “use,” “try” or “chat” — creep in when people (myself included) are trying to sound smart. It’s the kind of writing that Orwell railed against in his essay. All this sort of writing does is obscure the point you want to make behind false intellectualism. As Orwell said, “Never use a long word when a short one will do.”

Clichés. Clichés are as common as mud but at least getting rid of them is low-hanging fruit. If you’re not sure whether something is a cliché, it’s better to just avoid it. Awful, right? Clichés are stale phrases that have lost their impact and novelty through overuse. At some point, “The grass is always greener on the other side” was a witty observation, but it’s a cliché now. Again, Orwell said it well: “Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.” Oh, and memes very quickly become clichés — be warned.

The passive voice. In most cases, the subject of the sentence should be the person or thing taking action, not the thing being acted on. For example, “This article was written by Harry” is written in the passive voice because the subject (“this article”) is the thing being acted on. The equivalent active construction would be: “Harry wrote this article.” Prose written in the passive voice tends to have an aloofness and passivity to it, which is why it’s generally better to write an active sentence.

Rambling. When you’re not quite sure what you want to say, it’s easy to ramble around a point, phrasing it in three or four different ways and then, instead of cutting them down to a single concise sentence, slapping all four together into a clunky, unclear paragraph. A single direct sentence is almost always better than four that tease around a point.

Give your work some space

When you write something, you get very close to it. It’s almost impossible to have the distance to edit properly straight away. Instead, you need to step away and come back later with fresh eyes. The longer you can leave a draft before editing it, the better. I have some essays I go back to every few months for another pass — they’re still not done yet. For most things, though, somewhere from half an hour to two days is enough of a break that you can then edit well. Even 10 minutes will do in a pinch for things like emails.

And when you sit down to edit, read your work out loud.

By forcing yourself to speak the words, rather than just scanning them on a computer screen, you’ll catch more problems and get a better feel for how everything flows. If you stumble over something, your reader will probably stumble over it, too. Some writers even print out their drafts and make edits with a red pen while they read them aloud.

Cut, cut, cut

Overwriting is a bigger problem than underwriting. It’s much more likely you’ve written too much than too little. It’s a lot easier to throw words at a problem than to take the time to find the right ones. As Blaise Pascal, a 17th-century writer and scientist (no, not Mark Twain) wrote in a letter, “I have made this longer than usual because I have not had time to make it shorter.”

The rule for most writers is, “If in doubt, cut it.” The Pulitzer Prize-winning writer John McPhee has called the process “writing by omission.” Novelist Sir Arthur Quiller-Couch (and not William Faulkner, although he may have popularized this version of it) exhorted a version of the oft-repeated phrase, “In writing you must kill all your darlings.” This is true at every level: If a word isn’t necessary in a sentence, cut it; if a sentence isn’t necessary in a paragraph, cut it; and if a paragraph isn’t necessary, cut it, too.