– First, the ‘good editing’, where everything is clear, well done and clean.
– Second, ‘great editing’, where everything is dirty and full of mistakes.
– And finally, ‘no editing at all’, which is also a term that applies to the worst of these.
It is important to note that I prefer the ‘good editing’ in this category; some editors prefer the ‘good editing’ in other categories.
In this category, there are three different categories.
A good edit should be ‘good’ with regards to grammar; meaning that the words used are clear, simple, and clear meaning; and the tone of meaning of words used are neutral in terms of being plain and without irony. A great edit should be “great” in terms of grammar, meaning it should be grammatical, in particular when the words are used as it are in this book. If the editing has no editorial control, it is not a ‘good’ edit. A no edit edit would be any edit done on the basis of some emotional reaction, such as ‘it’s better than nothing’ (even though nothing is).
A ‘good’ edit should be ‘good’ in terms of composition.
A great edit should be ‘great’ in terms of composition.
A no edit edit should be ‘no’ in terms of composition.
There are only three categories.
Now, for the third category.
There are no categories in this category, and there are three categories in this category.
The editors ‘decide which’ category to give the chapter to.
You, of course, know which category the chapter went to, and it doesn’t matter whether it is very good—like, ‘great’—or very bad–like ‘no editing’, ‘no good editing’.
If you, like other editors, ‘decide which’, and this is very important, you will know who is giving to the chapter to get the book to market.
And in this category we go, as in that in the previous category, to the editors’ ‘decisions’.
If we can determine how the chapter went to ‘decision’, then we can also determine who is giving the chapter to get the book to market.
If we, with our ‘decisions’, see who is giving the chapter to get the book to market, we also have an overview of
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