Get to Know Your Editor

If someone is pulling out the red
pen for you, get to know your
editor. Photo | EKHumphrey

I've been fortunate as an editor that I have a number of repeat clients. Authors who are writing or planning their second or third book in a series and want to hire me to edit for them. I'm flattered and thrilled when that happens. It's a win-win for everyone because it provides consistency for the writer and the editor, which can strengthen series.

I started wondering how a writer will decide to come back to the same editor. In the first go-round, the clients who I've gotten to know better than the others are the ones who return. They also appreciate or understand my editing style. I think there are at least three major ways you can get to know your editor and re-hire them:

Don't haggle over money. You just finished your book. Not a walk in the park, was it? Editing can be intense as well. Your editor will live with your manuscript longer than most of your readers. Believe, if they have the credentials, they are worth the money. I'm not saying that you should pay anything asked, but if you think the rate is too much, ask for a lighter edit, which should save you some money. If your editor has shown his/her worth and you've returned to them, consider their worth to your work.

Talk to your editor. One of my favorite clients asked to speak with me. Sure, we emailed back and forth fine, but he wanted to speak to me. We set up a time and spoke via Skype. He asked about what I liked to write and read. He got to know me better as an editor so that I wasn't just a distant email. I was a person he could trust with his writing. In fact, I think I should request more regular calls with him as I continue with his projects. Just to keep in touch and put a voice to his words.

Tell your editor what you want. A friend recommended me to a woman who wanted an editor. But she didn't want someone to mess with her story. Her story was important to her and she let me know about it. She was new to writing and it was important for me to know her comfort level. Other clients haven't taken the time to understand the different levels of editing an editor can provide. Or if an editor is different from a proofreader. Start the discussion about how you want your work to be shaped. You know how you want it done--just let the editor know about it.

Talking to the editor and understanding the editor's voice and vision can be useful in determining how to work together. At the end of the day, your name is on the manuscript, but, as your editor, I take pride in the work I've done on your manuscript. I feel like I'm a part of your team. Isn't that the kind of long-term literary relationship you want?

Elizabeth King Humphrey is a writer and editor living in North Carolina. She's just getting geared up for the holiday season and wondering about great gifts for writers...and editors.

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2 comments book editing, editing, editing fiction, editing services, editor relationships, Elizabeth King Humphrey, manuscript editing

Building a Micro List for Self-Editing

Creating an editing list for your work
is a great way to improve your writing.
Photo Credit | EK Humphrey

I was invited to speak at an introduction to editing college course yesterday. The class takes a look at the publishing industry and it was a blast. As soon as I started talking about editing, I kind of threw out my notes. Probably not the best idea, but I realized I wanted to hear their questions and concerns. What they wanted to know trumped anything I had planned and wanted to tell them.

We talked about micro-editing. Not the big-picture editing where you are moving through a manuscript to look at the scenes from the view at 50,000 miles above to see if they will work. But the editing that focuses on whether you have repetition or if you are stuck in the passive voice. The students are approaching it from the self-edit perspective, but in many ways their learning could apply to editing for a client or employer.

Some questions the students bounced around were everything from how much does someone pay for editing (it depends on the level of editing) and are there different kinds of editing (yes, lots, including cookbook editing).

At one point, I projected a manuscript so they could see it and asked them to take it to the level of a micro-edit. I asked them to list what they would look at within a manuscript to start a micro-edit. What would they do first?

When I first started as an editor, I kept a checklist nearby to make sure to cover the important elements of a manuscript. Now I work in such a way that I don't rely on a checklist (as much). But when it comes to my own work, the editing checklist is buried.

So I started wondering, if I had a micro-editing list for my own writing, could I write something specific to follow to ensure a better quality of writing? Why not?

So, based on what the students and I discussed, here are a few items I would add to my editing checklist:

• I learned to type in the two spaces after a period era, I always need to check myself on that one!
• Is this a specific type of writing that has a formula that needs to be followed? If so, have I followed the conventions or have I used my own style?
• Am I repeating myself to my reader?
• Am I being clear?
• What is my writing group or reader always pointing out to me as problematic in my writing?
• Keep in active voice!
• Am I showing actions, not telling about them?

 What would be on your list? Do you have an idea of your strengths and weaknesses? Do you already have a list of edits you need to make for your work?

Elizabeth King Humphrey is a writer and editor in the throes of updating her website. She's using a checklist for that. Absolutely.

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2 comments editing your writing, Elizabeth King Humphrey, manuscript editing, micro-edit, Self-editing

Q: When is it time to drop your manuscript and move on?

One thing that makes publishing an e-zine issue worthwhile is the feedback we get from readers. We often receive compliments, thank yous, and success stories related to the markets or advice in an issue. On occasion, we receive a question related to the topic of the e-zine issue that we did not cover.

After reading WOW’s latest e-zine issue on Revision & Self-Editing, Janet C. wrote in with a question that we felt deserved more exploration. Her question is below, along with some great answers from some of WOW's experts with varying viewpoints. We’d love it if you shared your opinion at the end of this post as well.

As a writer, how do you make the decision you’re beating a dead horse rather than being persistent by revising and resending your manuscript to yet another agent or publisher? It’s your baby. You love it. Your beta readers continue to love it (for whatever good that does you!). But at some point, you have to come to terms with the concept that it might not be good enough writing to publish. I know, I know; there are a lot of bad manuscripts out there that sell. But I’m talking about people like me who won’t settle for less than awesome. Where is that line and how does a writer know how to find it, drop your manuscript, and move on?

~ Janet C.

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Allena Tapia writes:

A few things:

1. She should consider taking the manuscript to a writer’s conference and pay the extra money for a one-on-one. At said meeting, she should insist on honest, bare-bones feedback.
2. Stephen King. Stephen King. Stephen King. Anytime I hear this question, all I can think of is the forty-odd times he’d been rejected (thirty for Carrie alone!).
3. In the absence of time and money for #1, above, she may want to find a (new) writer’s group. Perhaps her current compadres are now too close to the manuscript, too.
4. Has there been any feedback from agents? Anything at all—“Good, but not for us,” etc? Those few phrases should definitely weigh in, too.

[Allena's upcoming class: How to Become a Paid Book Reviewer]

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Devon Ellington writes:

One of my classes, “The Graveyard of Abandoned Projects,” actually deals with something similar to this—how do you know when it’s not working and when to put it away?

First of all, make sure you’re dealing with a finished draft because unfinished projects drain creative energy. So, even if you’re having second thoughts, finish the latest revision. If this is a piece you’ve been working on for a long time, you’re probably sick of it.

Put it away for about two months.

Very important: During those two months, work on something new. Or several somethings new, if you work in both long and short formats. If all you do is sit around without writing, you’ll just spin. Keep writing. Every day. Even (especially) on the days you don’t feel like it. Apply what you learned from the process of writing the book to the new piece.

Re-read it, with fresh eyes, as though someone else wrote it. How does it feel when you read it? Is it something you’d buy in a bookstore? Or does something feel off? Have you learned anything in the interim—working on another project—that helps get this one in perspective? What can you apply?

Look at any notes you received from places you submitted, or from your trusted readers. Do they all like the same things? Dislike the same things?

Research the market. Is there anything out there that is similar? How is it doing? How does your piece stand apart from it? Is it before its time? Have similar books in the arena peaked? Does yours stand out enough to re-invigorate interest?

I agree with everything Allena said, especially about getting some one-on-one feedback at a conference or from an agent/editor/mentor meeting. Some editors will let you submit just the first three chapters for intensive line editing/critique, and, if you’re self-motivated, you can take those comments and apply them to the overall book.

Do you still love the piece? That is the litmus test. If you can’t see your way to living with it any longer, continuing to revise, and then live with it through the production process and the marketing once the book goes out—put it aside. Keep working on things. Maybe in a few years, you’ll come back to it and get re-energized. Maybe it was your training wheels book. Maybe you needed to write this to explore characters and/or themes that you want to take in a different direction in another book, but you wouldn’t have been able to do so without this one.

Remember, nothing is ever wasted. Everything is a foundation to something else. Finish the draft, even if you then decide to shelve it indefinitely. If you leave a partially finished draft around, it will hurt you when you try to move on to other projects.

The knowledge of when to keep working and when to put something away is, ultimately, in your gut. Your heart will take you on a complicated route, as will your head. What is your gut response when you handle the manuscript? Learn how to separate head, heart, and gut responses—and go with your gut.

[More from Devon in Issue 55: The Layered Edit]

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Cathy C. Hall writes:

As I’m currently dealing with a similar situation, I’ve given this “beating a dead horse” subject quite a bit of thought lately—ahem.

So, I’m thinking that this is a manuscript that has received feedback from agents/publishers? If the feedback’s been positive (a personal response rather than a form response, a request to see more pages, or even a positive critique at a conference) then I think it’s likely that the manuscript has potential. What might be keeping the manuscript from breaking out is concept. It could be fine writing, great voice, wonderful technique—but lacking in original concept. I think Devon mentioned something about a manuscript being different enough. If an agent/publisher is going to make money from your writing, it has to be writing that will sell. Agent Jill Corcoran mentioned this point at a conference I recently attended. That a fantastic concept with great writing and luck will help you sell your book. (Notice, she said fantastic concept and luck—that’s how hard it is!) But you have to star with concept. Do your homework, look at comparative titles, and before you do any more rewriting or revision, determine whether the concept is fantastic enough to warrant more of your time and energy.

Hope that helps! (And P.S. I read Save the Cat—it’s a screenwriting book that Corcoran recommended—so that I could figure out concept once and for all. It was hugely helpful!)

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Kathy Higgs-Coulthard writes:

It is very hard to put away a novel that you have invested so much in. I should know. I have two novels that I have set aside as “trunk novels” to borrow Stephen King’s term. I have three more that I am still revising and another one I just started. I have learned so much from each of these. When I wrote them and revised them tirelessly, I felt they each were The One. Now, with more experience writing, I feel like each was a stone in the path to publication. I had to walk that way to learn what I have learned. I still may publish them someday, but meanwhile, I’ve developed a feel for when I cannot improve a novel without growing more as a writer.

[More from Kathy in Issue 55: Help! I've Frankenmonstered My Manuscript]

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So, there you have it! Four of WOW’s experts chimed in with their opinions. What about yours? How do you make the decision that you're beating a dead horse? When is it time to drop your manuscript and move on?
 

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3 comments beta readers, critique group, finished draft, letters to the editor, manuscript editing, revision

Would you like pepperoni with that manuscript?

While editing levels and styles seem like a very straightforward, grammar-filled discussion, if you don’t know about the differences, then it’s hard to understand what might be available. It's a little bit like ordering a pizza. You may know the basics, but if you don’t know about the differences, you might not know what to order on a pizza...or know how to look at a manuscript for the edit.

(I know, I know. It is The Muffin, but we’re talking pizza today!)

A homemade pizza with lots of
toppings. || Credit: P. Humphrey

For me, often being able to visualize something helps me to understand it. Sort of like: How can you order a pizza without knowing what’s the pizzeria offers? Maybe I’m too hungry as I start writing this, but I was thinking about how to explain to a student about editing and variables in editing.

And I started to think in terms of pizza. When I started trying to think of something else, I kept coming back to the image of a pizza.


Why a pizza? Because there can be so many toppings, but editors build upon a base. Besides, doesn't everyone has their own favorite pizza?

• As editors, we have to know our base. Maybe it’s APA-style versus Chicago-style crust. Is there a house style to consider that alters the pizza style to make it their own? Don’t we all have a favorite pizza place?

• What kind of writing is it? Is it a technical document versus a romance novel? Think about how toppings can change what the pizza is: Is it pepperoni or pineapple with ham?
• How is the pizza divided and served? Regionally diverse colleagues discussed the unusual square-cut pizza pieces one local Southern pizzeria provide versus those who might provide a meal-in-a-slice. Is the document a short story, a novel or an instruction manual?

I know. It’s kind of strange to compare writing and editing to pizza, right? Maybe. But I’m hoping this helps my student to see the amazing variations that editing can have. And it is just unusual enough to make it memorable. Or maybe it just reveals that I’ve been watching too many episodes of Kitchen Nightmares?

So tell me, is there an image that has helped you learn something about writing or editing? If not, do you have a favorite pizza?

When she’s not making or eating pizza, Elizabeth King Humphrey writes and edits in Wilmington, NC.

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7 comments editing, Elizabeth King Humphrey, manuscript editing, pizza

Interview with Tricia McDonald, owner of Splattered Ink Press

Have you considered self-publishing? If so, you know it can be a time consuming task with enough hoops to earn you a drink at the local circus train! So, today we toast Tricia L. McDonald who turned her own hoop-jumping experience into a one-stop publishing opportunity for fellow writers, Splattered Ink Press.

WOW: Tricia, Splattered Ink Press resulted from your own experience publishing Life With Sally: Little White Dog Tails. What prompted you to create a self-publishing business?

Tricia: As a writing coach, I help people realize their dream(s) of writing a book and the natural question for writers once they complete their book is “Now what?” At that point I talk to authors about the publishing options—traditional publishing, print-on-demand, and self-publishing.

I know how difficult it is to sign with a traditional publisher as I have many talented writing friends who have tried for years to find an agent and/or publisher. Plus, I’m discouraged by the fact that when you sign with a traditional publisher, they own your book.

And I am frustrated with many of the print-on-demand publishers because I see more of the money from book sales going into their pockets and not the author’s pockets. I know there are expenses in publishing a book, but as an author, I think the money from sales should go back into your pocket.

So I am a strong proponent of self-publishing. However, most writers do not want to learn the process involved in self-publishing, so my clients started asking me if I would publish their books. At first I said no because it is a lot of work, but I really wanted to help my writers. Once the idea was in my head, it wouldn’t leave. I found a great illustrator and graphic designer to work with, and then I hired a book formatter and we were off!

Now looking back, I am very happy that I took the leap and started Splattered Ink Press because I have met so many wonderful writers and love helping them get their books in print.

WOW: Beyond helping with the technical aspects of publishing, you seem to have a “life coach” relationship with your clients, coaching them on writing skills and nudging them along. At what point in the process should an author connect with you? Does she need to have a completed first draft?

Tricia: If an individual has a desire to write a book—they should contact me. The writers I work with have connected with me at different phases in their writing. Some have just an idea and don’t have any idea where or how to get started. Some have started writing, but need direction, accountability or encouragement along the way. Some have the book completed and want me to read it and help them with any problems they may be facing like plot and/or character development, dropped plot lines, length, etc.

So a writer does not need to have a completed first draft at all. They just need to have that desire to write and I will help them accomplish their dream of writing and publishing.

WOW: Formatting a finished book can be confusing as it changes depending upon whether the book offered in print or uploaded for eBook. What do you offer when it comes to formatting?

Tricia: I work with an amazing woman who does a wonderful job of formatting books for print and eBook. She is fast, accurate, and loves her job. When a writer comes to us for publishing, we take care of all the formatting requirements so they only have to focus on the writing.

WOW: Electronic books are increasingly popular, but there’s nothing like holding a print copy of your own work! How do you handle print copies?

Tricia: I have researched many printers and whittled it down to a few that we work with for printing. They provide quality books with a reasonable turnaround time and that is important to us, as it is important to our clients.

WOW: As exciting as it is to hold a finished book, what we really want is for people to read it! How can Splattered Ink help us get the book out to our readers?

Tricia: Many writers think that by self-publishing all the marketing falls on their shoulders and this is true. However, most traditional publishers are expecting the writers to do more of the marketing, and with print-on-demand the writer needs to market their book as well. So marketing is a HUGE part of the process regardless of which route you choose for publishing.

I want my writers to be successful in selling their books, so it is important to me to share my knowledge about marketing with them. I am attending conferences, taking classes, and gleaning as much information about marketing as possible. As I learn more and more about the marketing process, I am sharing it with my writers.

We are, at this time, assisting our clients in getting their book(s) on Amazon immediately and teaching them the Amazon process for selling and getting paid. We market their book on our website and Facebook page, provide them with marketing materials (bookmarks) to help get them started, and help them locate their target market(s). I see marketing as an ongoing process and plan to continually help my writers get their books sold.

WOW: You really are a one-stop shop! I’m sure our readers are wondering about the bottom line. How do you handle the financial end?

Tricia: Our pricing is separated by three divisions—Coaching, Manuscript editing and Publishing.

WRITING COACH. As your writing coach, we meet four times a month (usually via telephone), once a week for an hour. As a writing coach, I:

• Help you define your writing goals:
• Why do you want to write?
• Who is your audience?
• How will your writing project effect readers?
• Help you create a method to:
• Focus on a specific project
• Take action on a regular basis to reach your goals
• Provide accountability with weekly and monthly deadlines
• Work with you to overcome any roadblocks to your success
• Assist you in organizing and developing your book
• Monitor your writing with feedback and editing
• Keep an eye on your progress and help you keep moving forward with your goals
• Help you overcome gremlins that may be getting in the way of your success
• Defeat creativity blocks
• Prioritize projects
• Manage your time effectively and find the time to write and get published
• Make the process easier, more fun and more effective
• Empower yourself in publishing
• Share publishing dos and don'ts

My coaching fees are $375.00/month with a six-month commitment. If you pay the entire six months in advance, you receive one month free.

I do offer a money-back guarantee. If, after participating fully, you do not agree that the process of coaching is worth every penny of the price you paid, just let me know anytime within the first two weeks of your coaching experience and I will promptly refund your monthly payment or the full pay option amount of $1875 if you pre-pay for the six months.

MANUSCRIPT EDITING. We give the writer a little and big picture edit. Little Picture is a line-by-line edit, pointing out places to cut words and make the writing tighter, places where holes exist and require filling and finding those pesky grammar errors.

Big Picture is a review of plot, characters and layout, an overview of your book or story in its entirety.

What you receive with manuscript editing is your manuscript returned with proofreading and line-editing marks. You will also receive a detailed summary of my review of the manuscript including weaknesses and strengths, along with recommendations for improvement. The cost for this service is $4.00/page and subsequent edits are done at a 20% discount.

BOOK PUBLISHING. This process is broken into packages depending on the number of print copies the writer is interested in purchasing. Our base price is $1,500.00 and it changes depending on the number of books you want to order. If you want 50 copies, the cost is $1800; 250 copies is $2,750.00; and, 500 copies is $3,750. In addition to the print copies, each package includes full book/text formatting, cover design and formatting, plus:

• Copyright
• 100 Double-sided bookmarks
• Listing on Splattered Ink Press website
• Marketing assistance such as Amazon placement, etc.
• ISBN and bar code

Please see our website for additional information regarding what our clients receive with the individual packages.

WOW: Thank you for sharing so much information. In closing, is there anything else you would like our readers to know?

Tricia: When I wrote and published my first book, Life With Sally: Little White Dog Tails, it was truly a dream come true. That is our mission at Splattered Ink Press. We want to help writers make their dreams of writing and publishing come true.

We are not a giant company with hundreds of employees, but we will give you one-on-one personal service and our commitment of quality services and products.

Please feel free to contact me for more information at triciawrite[at]gmail[dot]com.

Thank you and happy writing.

WOW: Thanks, Tricia! Congratulations on your success!

Readers, if you have a question for Tricia, you can ask a question in the comments section below or contact her at her e-mail addy above. Find out more about Splattered Ink Press by visiting: www.splatteredinkpress.com

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3 comments book publishing, manuscript editing, self-publishing, Splattered Ink Press, Tricia McDonald, writing coach