Editor's Notes #18 : Does Your Editor Go the Extra Mile?

I'm sure each of us has been the recipient of the phrase, "It's not what you said, it's how you said it!" when we've inadvertently offended someone. I would be willing to bet there's not a person on this earth who hasn't said the right thing in the wrong way at least once. Heck, I do it all the time, so I probably skew the statistics a bit for everyone else. 

Is tact really an art form, or can any ol' schmo learn it? I do think some people are naturally more tactful than others, but I think a small helping of tact can smooth over a plethora of situations. In our family, we have the two ends of the scale, right under one roof. Lucky us, right? Hmm. Well, on one hand there's me:

PERSON: Would you like to come over on Saturday? We're having a picnic with a bunch of people you don't know and probably won't ever see again, but you're always good for a fun time.

ME: [I'm tired and do NOT want to go but can't lie about it, either.] Well, I have a lot going on this week, and Saturday's the only day I can catch up with my family, so I'll have to bow out this time. But thanks for inviting me! That was really sweet of you.

And there's my husband:

PERSON: Would you like to come over on Saturday? We're having—

HUBBY: No.

The man does have it in him to be tactful when necessary, like when I say, "How does this look?" and he replies, "Well . . . I know you really like that outfit and it doesn't look bad, but it's not the most flattering thing you own." More often than not, he prefers to be blunt. Because he never does it with the intention of being hurtful, people who know him appreciate that they'll always get an honest answer.

I associate honesty with caring. If I care about you, I'll tell you if you've hurt my feelings. I may wait a bit so as not to react in knee-jerk fashion, but I need to the relationship to be healthy and therefore won't let it fester. It may not always be the comfortable thing to say, but I'll put it out there and if the other person also cares, the issue will get fixed.

How does this relate to editing, you may ask? Let's put it into the proper context. I get paid to do the job of a copy editor. I can correct typos, fix those tricky semicolons, and correct your homophone use. I can do the bare minimum required. I sends da bill, I gets da money. Fair and square.

But what if the manuscript needs more than what my job description entails? Furthermore, what if I know what needs fixed and have suggestions on how things can be made better? Am I obligated to tell the author these things? No.

But . . .

My personal standards don't allow me to skip that step. If I care, then I am, indeed, obligated to say something. Sometimes the improvements are light, easy fixes, and other times, a whole lot of work is involved.

Perhaps this word might work more effectively here than the one you've used sounds a whole lot nicer than Do you even know what this word means? The first suggestion implies there's a better option out there and it may improve the book to use that option. The second implies that the writer is a moron who deserves to be charged double.

This is not to say it's kinder to only say easy things. There are times that hard truths need to be said, and saying them kindly doesn't mask the fact that they may still be hard to hear. If someone truly wants to improve his work, he'll at least ponder those truths and confirm them with others. If ego takes over, the truths will be stubbornly ignored, and the work may never improve. 

It's my hope that those I work with will always see my comments and suggestions as stemming from a desire to see the book at its best. I would rather tell the truth than stroke the ego any day of the week.

T = Take a Step Back

Once you’ve written your first draft, get away from it for a short bit. Some say a week; some say a month or two. I don’t know that the length of time matters as much as the distance itself.

When you’ve invested the time and effort into writing a story that your own mind created, it’s hardly surprising that you’re not objective about it. The story is great! The characters are great! Your working title is . . . yep, great! Everything is shooting out rainbows, unicorns are prancing across the page, and you can hear Morgan Freeman reading for your audiobook.

If you give it a little rest, though, you’ll find it’s easier to spot the things that need work. Something that sounds great at three a.m. often looks a bit less special by the light of day. Your manuscript is no different.

In the same way, if you’re struggling to make things “fit” in your story, walk away and focus on something else. If you have another story idea with characters in your head, saying, “Write me next,” then write up an outline and some basic points you want to cover. It might be exactly what you need to get the creativity on track once again. Absence makes the heart grow fonder, after all. You’ll go back to the main project ready to go with a fresh attitude.

R = Revise, Revise, Revise

Consider everything you write as a first draft. Write with the intention of changing things later, for cohesiveness, details, consistency, and sensory input. Can you see it? Can you smell it? Can you hear it? Who’s talking? Can you tell by the dialogue? Is your dialogue appropriate to the time period or geological region?

Does your plot make sense? Does your first page capture the reader’s interest? Is your word count too big? Too small? Do you have clichés? Are you telling, or are you showing? Does everyone fit well into the big picture? Are there too many unnecessary characters?

Once that first draft is written, that’s when the real work gets underway. To take a good idea and turn it into a great manuscript is more than just a one-shot deal. The best of writers go over their work numerous times, and it shows. Their work may sound like it just flowed out of them, ready to go, but you can rest assured they worked hard to get it that way, and it wasn’t by typing “The End” and closing the file.

In the construction business, they say, “Measure once, cut twice.” I think in the publishing business, they should say, “Write once, sell once,” because if your first draft is what goes to print, you won’t have any repeat customers. You might fool them once, but . . . well, you know the rest.

O = Obstinacy Never Sold Any Books

This sort of goes with yesterday’s post, although this one refers more to the pre-publication stage. The most polished and successful authors have a host of people who read their work prior to publication, whether for content and plot, or for typos, punctuation and grammar issues. These authors have learned to deal with others who sometimes ruthlessly say, “This has to be cut,” or “This makes no sense,” or even “Kill off this character; she’s doing your book no favors.”

Self-publishers, in many cases, have never had to deal with that type of criticism, no matter how constructively it’s phrased. When they show their work to someone (anyone), the typical result is praise, simply for having written a book. This is not to be confused with an informed opinion. (See letter “F” post about friends being cheerleaders only.)

A critique partner, beta reader, or editor has nothing to gain by telling the truth about bad writing, other than a clean conscience. Nobody seeks to hurt anyone’s feelings. Feelings, in fact, have nothing to do with the rules of writing. Those who cling too tightly to what they’ve written and refuse to fix errors will either sell no books (after someone reads their poorly written sample), or will sell only one book per person, with no repeat customers (after someone, having skipped the sample, reads their poorly written book).

Be open to criticism, especially if many people mention the same things in their criticism. They just might have something you can use.

J = "Just Get it Out There and Fix it Later" is Bad Advice

I can’t count how many times I’ve heard someone say, “I know it still needs work, but I’ve gone over it again and again, and I just can’t wait any longer. I can hire an editor to go over it after I have some profits from sales.”

Not only is that foolish, but it’s just bad business. You only get one chance to make a first impression. In regular life, you might meet someone who makes a bad first impression on you, but who gradually rises to a better status in your eyes as you get to know her better. Perhaps she was having a bad day when you first saw her, and wasn’t acting in her typical cheery fashion.

In the book world, you’re not likely to have someone give you a second chance if the first impression isn’t a favorable one. The reader gave you a chance already and didn’t care for what she read. She may have paid good money to not care for what she read. She’s not going to give you another dime if she can help it, because she does not know you personally, does not have to interact with you on a daily basis, and owes you nothing. She may even insist YOU owe HER something: a refund for a not-edited, poorly written book.

If you’re waiting for profits to pay for post-publishing edits, you’re doing it all backward.

E = Editing Comes in Many Forms

Someone who's “looking for an editor” is most likely referring to the need for a copyeditor. There are, however, a few types of editors to choose from, and it’s best to know what you’re looking for if you want to get your publishing budget set up accurately.

Developmental editors work with you from the very beginning. If you have a concept or a great story idea but aren’t sure how to execute it, a developmental editor can help you organize your thoughts, give suggestions to aid your research, and help you get a handle on the big picture. They’ll spot when your writing isn’t clear, your characters are weak, when your plot has holes, and when timelines don’t add up properly.

Line editors/copyeditors come into play when the text is nearly final—or as final as an author can get it on his own. This type carefully reads each sentence, correcting structure, typos, spelling, punctuation, word usage, and grammar. They’ll alert you to stilted dialogue and inconsistent character details.

Proofreaders take the final look at your project. They ensure all the copyeditor’s changes were implemented, and fix any typos that may have been missed during the initial copyedit.

Each type of editing comes with its own price structure, so it’s best to know what you need before rushing right out there. Many authors think they only need a "light proof," but actually need a developmental editor for a manuscript that’s not yet ready for even the copyeditor. Know your strengths, but also recognize your weaknesses and set your budget accordingly.

D = "Dialogue tags aren't always needed," she cried.

Have you ever read something like this?

“Where are you going?” he queried.

“I’m headed to the store,” she whispered.

“Really?” he gasped.

“That’s right,” she breathed.

When I’m reading, the overuse of dialogue tags in a book catches my eye as if it’s in bold print. Odd or uncommon tags are even worse. Sometimes “said” is good enough.

In my house, we talk to each other. I would suspect most households are the same. My husband has never growled, or even grunted, “Pass the coffee, Dollface,” and to the best of my recollection, I’ve never wailed, “We’re out of shampoo!” He doesn’t roar or bellow when he’s angry—and frankly, I think that would scare the crap out of me if he did, since he has a deep voice. I might exclaim here or there, or shout to someone up the stairs, but I don’t gasp when the mailman drives up, even when the package says “Amazon” on it.

http://litreactor.com/columns/on-dialogue-tags-why-anything-besides-said-and-asked-is-lazy-writing has a great article on dialogue tags, and my favorite part of it is the very beginning:

Chortled is a verb. The definition is: To laugh in a breathy, gleeful way; chuckle. And it is a horrible, terrible, stupid word. For me it conjures the image of an obese woman laughing through a mouthful of spray cheese. I don’t know where it came from, but I do know we should send it back and light it on fire.

What a vivid mental image. The columnist, Rob Hart, describes expressive dialogue tags as “the laugh track of the literary world.” They tell, rather than show, what’s happening, and every writer in every part of the world who’s ever written a single word has heard the “show, don’t tell” speech. Ultimately it shows lazy or immature writing.

If you read the authors everyone recognizes as skilled, you’ll notice simple dialogue tags or none, in most cases. I’ll bet Stephen King doesn’t chortle. He probably laughs, just like the rest of us.

C = Clichés Need to Go

Avoid them like the plague. Considering that I was able to find, in about three seconds, a multitude of Google results for “clichés in writing,” it’s amazing to me that writers continue to use and abuse them (there’s a cliché or two for you in this paragraph alone).

There are those who go for the obvious phrases, like “stick out like a sore thumb,” “like a kid in a candy store,” or “breath of fresh air.” Others are more subtle than that. 

http://authonomy.com/writing-tips/publishers-list-of-phrases-for-writers-to-avoid/ mentions the newer trend of “stock modifiers”—words that are commonly paired together that have become clichés of their own. Someone isn’t moved; he’s visibly moved. Another is woefully unprepared. Yet another is unfailingly polite.

Clichés don’t always have to be set phrases; they can also be storytelling clichés, as discussed on http://litreactor.com/columns/top-10-storytelling-cliches-that-need-to-disappear-forever. There’s an easy way to proceed, which usually turns into a cop-out. Describing your character’s looks by having her look in a mirror? Don't fall into that trap; be unique and don't follow the crowd. Is your character a bad guy? Blame bad parenting or past abuse. I’ll tell you a secret: the scariest bad guys are the ones who have no horrendous incident to blame. They’re just psycho and that’s that.

Editor's Notes #8: Is This Editor a Good One? Part 2

Last week, I posted the first half of "Is This Editor a Good One?" It seems that although an editor may not be hard to locate, finding a good one is an entirely different matter. If you missed the first part, you can read it here, and find out why pricing isn't always an obvious choice of "cheap v. expensive;" why asking around is a good start; why it's a good idea to look at samples of the editor's work; and why it's essential to contact the authors an editor has worked with.

If you've done all the above steps, you should have a narrowed-down list of editors who may fit into your budget, are recommended by their authors, and whose work looks good. 

The next move?

GET A HANDFUL OF EVALUATIONS
If you're considering a specific editor, he should be able to give you an evaluation or sample edit of roughly 1000 words of your manuscript. This will show you whether your editor is eagle-eyed, unobservant, pushy, uninformed, or well-versed in the rules of grammar and punctuation.

I suggest getting at least three to five evaluations and comparing them. It's good to note the similarities, because they may be pointing out things that will help you to improve as a writer overall. It's also good to notice the differences. Why did this editor use a comma here, and another used a semicolon? Are both variations of "correct" or is one of them wrong? Why did this editor say "jutting out" is redundant phrasing? Why does he keep removing the "of" when I say "off of," and why did the other editor leave it in? Which one is correct?

PERSONALITY COUNTS
I'm a firm believer in this. I have to feel comfortable with the person I'm working with. I need to be able to say what needs said in a way that doesn't mince words, but is still kind and encouraging—genuine encouragement, which means I need to be wholeheartedly supportive of the story. I want the author to realize that too, so when I write a margin note like, I suggest changing this word, because a high school boy is not "debonair." If you continue to write about him when he's 60 years old, he can be debonair then and I won't take it out, I know the author will laugh with me instead of being insulted. Or when I write, Did you write this [double entendre] on purpose? Because I don't know whether to laugh or make you change it, and the author says, "No. No. NO. Oh my gosh, I can't believe you caught that," and we have a good chuckle.

Personality compatibility helps with trust, also. The author should know that whatever I have to offer is in the best interests of his book. If I change something, trust that I know the rules regarding that change. If I strongly suggest something, either obey me (with or without the gift of chocolates) or look it up and ask around to find out why I think it's so important. I can't force anyone to make the changes I suggest (that's the beauty of self-publishing), but if you don't want to accept any of them, then I can't in good conscience put my name in your book as the editor. And if I can't have my name listed, then it feels grossly unethical to take your money.

Part of an editor's personality should include the ability to admit when he or she doesn't have an answer. I have my own editing guru I contact when my knowledge and shelf of books yields no solid results, but I'll tell you about her in a future post. In the meantime . . .

DON'T BE AFRAID TO ASK QUESTIONS
You shouldn't feel awkward asking a potential editor some basic questions. For example, The Chicago Manual of Style, 16th Edition is the standard style guide for the publishing industry in the US. Chicago recommends Merriam-Webster as THE dictionary for reference. An editor of fiction and non-fiction books should know that and use it. If a potential editor doesn't know what a style guide is, or doesn't know which one he uses, move along. Nothing to see there.

Ask how long an editor has been in business. Ask if he has repeat clients. Ask if she specializes in editing for UK or US clients. Ask what genres he feels most comfortable with, and if he's familiar with your specific genre. Ask what type of editing she's best at: substantive/content, line edits, or proofreading. Ask what kind of turnaround time to expect—some editors work part-time, some full-time, and some only on weekends as a second job. Ask if a contract is required (and if the editor doesn't require one and you do, he should agree to one). Ask if payment is required in advance, at the end prior to receiving the edited manuscript back, or in portions throughout the work. Ask if discounts are available. Pay attention to whether or not she's answered your emails promptly.

Hopefully, these steps will help you in the search for a good editor. Remember, if you feel unsure at any point in the search, you are not obligated to hire that person. There should be no hard feelings on either end. It's a business transaction, and if you choose not to do business with that person, it's no different than if you obtained several estimates from contractors before deciding who gets to remodel your bathroom. The more thorough the search, the more successful the venture.

GOOD LUCK!

Editor's Notes #7: Is This Editor a Good One? Part 1

How do you know if an editor is any good?

After pouring yourself into the writing of a book, revising it, showing it to your critique partners, revising it, sending it out to beta readers, revising it again, reading it aloud and revising yet again, you are finally at the stage where you need a copy editor. But how do you decide which editor is best for you and your book?

PRICING
Many writers go no further than cost. "I need my book edited, but I don't have any money for it." "I need an editor, but I'm a poor writer/college student/unemployed." "Editors are so expensive! I just can't afford one."

I've heard many of the better self-published authors say they certainly aren't in it for the money. Let's not confuse that with whether they want to make money or not. Of course they do. But the authors who are determined to excel at their craft realize there's a good chance they may never recoup the money or hours they've put into a book—and yet, they still want to produce the best product possible, from writing to editing to cover choice.

Let's talk cost, then. Does cost always equal quality? Not always, although I've looked through the blogs of the "nothing over $60" types and have found them lacking more often than not. Let's face it, when someone advertises editing/proofreading services, the copy on their own blog should be error-free. If their home page says, "YOUR GOING TO LOVE US! WERE BETTER THEN THE REST!" then you should run the other way. Run hard and run fast.

Cost is a relative term. I know people who shudder at paying more than $10 for a meal, and others who think $40 for a decent entrée is no big deal. Is a pair of Manolo Blahnik shoes worth the $600-1300 asking price? I'd probably be afraid to wear them outside my house. And yet there are celebrities who own several pairs. It all boils down to your priorities. A friend of mine who is a notorious penny-saver will plunk down big bucks for a good book without batting an eye. Her reasoning? "It's a book," she says, as if that explains everything. 

Back to the editing angle of it: I've had people tell me I charge half the cost per word they were paying elsewhere. I've had others look at those same prices and tell me they'd never anticipated it would cost "so much" to have their manuscript edited. Part of it is perspective—sticker shock, if you will—in not looking around and comparing prices well in advance of finishing the writing. Part of it is in direct correlation to their own work: if your manuscript needs more work, your cost will be higher. For "basic" copy editing, the Editorial Freelancers Association suggests $30-40 per hour (assuming 5-10 ms pages/up to 2500 words per hour). Assuming those figures, it would take me 20 hours to lightly edit a 50k-word novel, and that should earn me $600-800 for just the first run-through. I can tell you right now, I'm not making $30-40 per hour.

And those people who are offering edits (any number of words, light edit, heavy edit, or complete overhaul to the point of ghostwriting) for under $100 . . . they've got to be making under $3 per hour or they're skipping every other page to finish faster. If the price sounds too good to be true, you're probably going to end up with exactly what you pay for.

ASK OTHERS
A simple way to find an editor is to ask around. If an author is happy with his editor, he'll let you know. A service provider will always paint himself in the best light possible. Who wouldn't? We want to sell ourselves so you hire us. The real test is to ask others who they recommend. There are a lot of freelancers out there, and a lot of agencies. Gems and clunkers abound in both arenas, but there is someone out there for every writer. Someone might like his editor because she gives helpful suggestions. Another person might not appreciate the suggestions and wishes the editor would simply do her job and fix the typos.

Think of what you're looking for. If you know you need a lot of help, seek out an editor who gives a lot of help. I recently saw a post on Goodreads where the writer was looking for an editor specifically to help with verb tense. Another was looking for someone who deals with UK writing, rather than US. Another needed someone who grasped Aussie slang and dialogue style. Not every editor can fit those needs.

REFERENCES AND SAMPLES
Any editor you're considering should be able to show you what he or she has done. This has been made easy with the current availability of ebooks and sample chapters. In my "Links" tab here on my blog, I list the authors I've worked with and the books I've edited for them. I encourage potential clients to contact those authors to ask about me. I don't want to know which ones they contact, and I won't warn the authors ahead of time (or give them a script of wonderful things to say about me), because I want honesty in their answers.

A word of warning: this is an essential step. Don't skip it. It costs you nothing to contact people, and it costs you nothing to download a free sample of an ebook, to use the "look inside" feature, or to ask the author for a sample. I stress this for a very good reason. One of the authors I've worked with hired me to re-edit books that were done by an "editor" who did a horrible job, actually making the novel worse, not better. This so-called editor continues to list that author's books on her website as her editing credentials, and yet her name is no longer anywhere on the books, due to extensive rewrites. If someone were thinking of hiring this person, there would be no reason for him to assume she didn't do the final edits of the books, and would only find out the truth if he checked a sample (which would have my name) and contacted the author (who would be quick to tell him the truth about the other editor's lack of skills).

I have worked with every author I have in my links. I've edited the books listed and am doing edits for their soon-to-be-released works. Having repeat clients should speak for itself. But as LeVar Burton used to say at the end of each episode of Reading Rainbow, "But you don't have to take my word for it." And you shouldn't. This is the Internet. I can tell you anything I want to about myself, whether it's true or not.

WHAT ELSE SHOULD I DO?
Shopping for prices, asking others, getting references and seeing samples all add up to a good start when looking for an editor. Next post, I'll go into detail about the other things to look for and why they're important, including personality.

Editor's Notes #6: A "Harsh Critic" is Not a Copy Editor

I can't afford an editor, but my spouse reads all my stuff and she's pretty harsh. 

I have friends who pick books apart like crazy, and they go through my books before I publish.

My beta readers have caught things here and there . . . I'm good to go.

I self-edit. I'm tough to please, so I know I'm not cutting myself a break.

Hey! I went to school! Do you think I'm dumb?

Have you heard these phrases from fellow authors? Have you said these phrases to anyone before . . . or even to yourself? 

When writers discuss whether they've hired an editor or not, these are the types of comments that appear. Of course, I am of the opinion that every person who plans on self-publishing needs to hire an editor at some point in the process. However, my opinion isn't a selfish one, since there's no way I can personally edit for every indie author out there. Rather, my conviction is based on a simple fact:

Unless you know the rules of grammar, punctuation, and sentence structure, are able to read through the work objectively, and have a slew of resources at your fingertips, you are going to miss something along the way that should have been fixed. 

Maybe it's something small and maybe it's something big. Maybe it's more than one "something" and those multiple "somethings" will be the deciding factor in whether your book gets a good review or a bad one. And don't get me wrong: I'm not saying you shouldn't use your harsh critics. Every set of eyes helps, if you can get honest feedback.

It's still not the same as using a copy editor. 

The average reader may or may not notice mistakes in the text. If your reader is not a strong speller, he or she might not notice misspelled words unless there's a red squiggly line underneath them. Even then, I'm firmly convinced that there are people out there who think the red squiggle means "what a fine, strong word you have here!"

Typos slip by easily, also. "One" instead of "once." "Tree" instead of "three." Real words, but not the correct words. 

What about these scenarios?

• Which words are hyphenated only sometimes—but not always—depending on their usage? 
• Which words are spelled differently in the US than they are in the UK?
• Does this movie/song/book need italics or quotation marks?
• Does the punctuation go inside the quotes or not? (Another US/UK difference.)
• Are the verb tenses mixed, moving from past to present and back to past?
• Is there "head-hopping" going on, rather than staying with a particular point of view?

These are a few of the things a copy editor is paid to notice. Friends and spouses can help, but the bottom line is that they're just not looking for the same thing a line editor is looking for.

If you want your hard work to be seen at its best, hire the person qualified for doing the job thoroughly. Take your time, scout around, and save your money. Copy editing doesn't have to break the bank, but it may be the deciding factor of whether your piggy bank ever gets refilled or not from book sales.

Editor's Notes #5: The Importance of Beta Readers

Statler and Waldorf: two of the most popular Muppets ever, because they say the things we wish we could say. 






W: That was wonderful!
S: Bravo!
W: I loved it!
S: That was great!
W: Well, it was pretty good.
S: Well, it wasn't bad.
W: There were parts that weren't pretty good, though. 
S: It could've been a lot better.
W: I didn't really like it.
S: It was pretty terrible.
W: It was bad.
S: It was awful.
S & W: Terrible! Eh, boo!

As much as we might laugh at those two, I believe many authors are worried that having a beta reader might yield the same results. After all, beta readers are supposed to be brutally honest while they tell us everything that's wrong with our books, right? And we just know the focus is going to be on the "brutal" part. It's much easier on our hearts and more convenient overall to have our friends and family read our manuscripts. Nobody wants a stranger to tell them they stink.

Thankfully, good beta readers won't tell you that you stink. Allow me to adjust that a bit: good beta readers might tell you that you stink, but they'll do it in such a way that you want to take their suggestions and improve, rather than tell them not to let the door hit them on the way out.

Beta readers work much in the same way as substantive/content editors. A skilled beta reader will pay close attention to your plot and whether it held his attention. Is your voice consistent? How's the pacing? Did he force himself to keep reading?

I'm reminded of the people who are chosen for a movie's advance screening: they watch a completed movie and give feedback on its good points and bad points, what might have slowed down the action, whether the characters were likable, and whether the movie-watcher was willing to stay put with a full bladder because the story was too fascinating to leave the theater even for a moment.

Betas offer that same kind of feedback. And much like a movie screening, if enough people hit on the same problems/negatives, the author is forced to recognize that there may be an adjustment needed here and there. A good author will take the feedback, mull it over, and sift the objective truths from the opinions. A good beta will try to keep opinions out of the equation to the best of her ability.

The advantage of betas who don't charge a fee is obvious: it's free. One less thing on which to spend your money. The trick there is to find someone (or a handful of someones) you trust with your manuscript. I've heard authors complain that they've tried betas who didn't "get" their genre, or worse, who never gave an evaluation at all, basically using the "I'll beta for you" game to get free reads. I'm hoping this is not a frequent—or even regular—occurrence. 

The advantage of betas who evaluate for a fee: you will get an evaluation, and in some cases you'll get input similar to that of a content editor for a fraction of the cost. They know what to focus on without having to be guided through, although they're open to any specific things the author wants them to look for. I occasionally beta for people, though it's a challenge sometimes to take off the editor hat and ignore specifics in favor of the overall package. The disadvantage of a paid beta is that you don't get the eval for free, but to my eye, that seems to be the only disadvantage.

Authors, don't be afraid to use betas, whether paid services or free of charge. It's their job to keep things professional and to be as objective as possible, whereas using only family or friends as your betas may get you many attaboys but not nearly enough of the type of critique you may need. Doing the tough thing now might save you from having to face the tough critics later.

S: Boo!
W: Boooo!
S: That was the worst thing I've ever heard!
W: It was terrible!
S: Horrendous!
W: Well, it wasn't that bad.
S: Oh, yeah?
W: Well, there were parts of it I liked.
S: Well, I liked a lot of it.
W: Yeah, it was GOOD, actually.
S: It was great!
W: It was wonderful!
S: Yeah, bravo!
W: More!
S: More!
W: More!
S: More!

[Statler and Waldorf skits taken from actual Muppet Show transcripts.]

Editor's Notes #4: Do I Need a Substantive Editor?

When a writer sits down to put words on a page, he usually has some sort of idea of what he wants to write about. 

There are exceptions, to be sure, but as a general rule, the idea comes first when writing a book. Many authors describe a story as "knocking around" in their heads, or having characters wanting to tell their stories, not resting until the typing begins.

And as soon as it's on paper, it's off to the copy editor! Right?

What—no?

The copy editor is at the end of the line, not the beginning. Think of the copy editor as frosting on a cake, with a final proofreader as the sprinkles. You need a good cake with a good recipe before you can use the frosting . . . unless you're my husband, who thinks cake is only there so you can hold your frosting easier. But my husband isn't writing this post, so we'll stick with needing a good cake for now.

The recipe and delicious cake come in the form of a substantive editor, known in some publishing environments as a content editor because this type of editor checks the content you already have. 

How do you know if you need one? You can think of a substantive editor as your own writer's coach.

This editor is typically brought in during the earliest stages of writing, once you have a full text. If your chapters need re-ordered, or if facts just don't mesh, the editor will notice these things. If you're stuck with moving the plot from Point A to Point B smoothly, a content editor might point out a way to adjust some details so it can happen.

Some of the things a substantive editor looks for:

• Plot holes
• The reader should never be left wondering how something worked itself out, or how you connected the dots. It should be clear to all.
• Does it get going right away, making the reader want to keep reading?
• Some readers will only read the first few chapters before quitting if a book's beginning doesn't grab them; others won't go past the first chapter.
• Book length—what can be trimmed?
• If your debut novel is over 140k words, you may wish to split it into two books. Not only will the printing be cost-prohibitive, but many people don't want to invest that much time and money in an unknown author.
• Too many characters
• The reader can't remember why Walt the milkman is important, and perhaps he's . . . not.
• Weak characters
• Are they forgettable due to lack of personality? Are readers turning back pages to remind themselves of who someone is?
• A main character/hero who's a bit "too" heroic
• Perfect looks, chiseled abs, popular, billionaire, VIP job
• Is a character's behavior inconsistent?
• Does your tough-as-nails CIA agent turn into a puddle of goo when her personal space is invaded?
• Does the teen boy in your novel sound like a teen boy, or the way a middle-aged female author thinks a teen boy should sound?
• Do all your characters sound the same, or does each have a unique voice?  
• The voice in your head may change, but it needs to translate well in the text. The reader should be able to tell Sally from Sandy by their attitude and speech habits. 
• Is the dialogue believable? Can you picture yourself saying these things to someone and having it flow naturally?
• "I shall not fail you, Mother," may work well in a Howard Pyle novel or a Regency Romance, but that same phrase would be completely out of place in a contemporary novel set in Texas, USA.
• Contractions are fine. Really. Most people use them in everyday speech.
• Are your verbs strong or weak?  
• Using the proper verbs can help the reader to "see" the action better. "Racing out the door" is more specific than "leaving."
• Are you overusing adverbs or clichés?
• "Like a dog with a bone." "In a heartbeat." "With her heart in her throat."
• Is your setting accurate?
• People in the US don't refer to sweaters as "jumpers," nor sneakers as "trainers." Likewise, people in Australia don't say, "Y'all." Northern US people may refer to "barbeque" when cooking outdoors on a grill, but southern US people only use that word to describe seasoned pulled pork with tangy sauce added.

If you're writing historical fiction, your substantive editor may gently point out the obvious: that Julius Caesar could not possibly have been on the Mayflower. Or the subtle: the US Civil War began in 1861, not 1961. 

When I was in college, I had to write a short essay about a particular William Blake poem. At some point in the essay, I must have gotten pretty tired, because I began to refer to the poem's author as Henry Blake. Thankfully, my professor had a good sense of humor and gave me a good grade on the essay while laughingly pointing out that Henry Blake was on M*A*S*H. 

Oops.

Editor's Notes #2: The Reader Doesn't Care

I've been stalking the Goodreads forums lately, and having a wonderful time of it. Granted, I'm sure there are other great writers' sites out there, but I've found the discussions on GR to be stimulating, sometimes very uncomfortable, and always informative.

One of my favorite threads lately has been going 'round and 'round about self-published authors (SPAs), their problems, and how to get readers to buy their books. I could write a year's worth of blog posts based on any one of those threads, but the SPA thread has me captivated.

This week's topic deals with the not-ready-for-prime-time books out there that are damaging the reputation of those SPAs whose work is as good as—or better than, in some cases—that published by the Big Five. Specifically, we'll talk about excuses given for poor work.

The writers I like to call "premature publishers" (because "author" doesn't really fit their abilities) are the ones who are typically in a rush to get their books published because they want the world to see the results of their hard work. There's no time to wait. That book has to get out there because the world needs them!

The problem lies in the fact that the reader expects a published book to be finished. Completed. Done. As close to "perfect" as possible.

"Finished" to the premature publishers means "I'm done writing." Period.

Having an idea and getting it written on paper (real or virtual) is a wonderful start, but it is exactly that: a start. As S.K. Anthony stated in our second Coffee Chat, after the first draft is written, that's when the real work begins. Revisions, tweaks, overhauls—whatever name you call them, it boils down to the same thing: making your work the best it can be.

One of the things I find frustrating is when an author becomes defensive after receiving a bad review. If someone gives a one-star review based on something dumb, like "I've always hated that color of yellow on a book cover," or "I can't believe someone kicked a kitten in this book!" then yes, the author has every right to be indignant about that review. However, many new authors seem unable to deal with bad reviews that mention editing, immature writing habits or style, plot holes, or pretty much anything that doesn't include the words "OMG I loved it!"

Some of the authors I've conversed with on GR are quick to tell others they learned a lot more from the negative reviews than the positive ones, though they would always prefer good reviews over bad. But it seems those who learn from criticism (even when it's not constructively phrased) are in the minority. Many premature publishers are full of excuses—overflowing with them, really—as to why their book has uncorrected issues.

Guess what? The reader doesn't care what kind of problems you had. Whether your book was offered as a freebie or purchased for whatever amount, the reader has every right to expect it to be complete and polished. Someone (known only as Tura) on the SPA thread on Goodreads put it perfectly:

I think a good thing to remember is the reader does not care. Yes, just writing a book is an achievement, but it doesn't mean everyone has to praise you. So forget the excuses people use when they complain reviews are harsh:

*"It's my first attempt." The reader does not care.

*"I had a really hard time while writing, for one reason or another." The reader does not care.

*"I wrote from my own experience." Well, so did many others. The reader does not care.

*"My family and friends all loved it." The reader . . . And so on. 

The unknown reader has a million books to choose from, and will go to whatever pleases her/him. You can't really argue anyone into liking your book; you can only show it to them. 

I don't expect every book I pick up to be an instant classic. Nor do I expect every book to have the same level of writing skill. What I do expect is readability and cohesiveness, not excuses.

I've heard many writers talk about the expenses of publishing. Writing costs nothing as long as you have a pencil and paper. Publishing has its costs, though. Content editing. Cover design. Proofreading. Printing. This is all part of the package from the moment the first word hits the page. 

Think of it in terms of purchasing a home. You have the money to buy a house. Do you have the money to live in it? You'll need basic tools, money for utilities, furniture, and groceries. You may need a lawnmower. You need money for taxes. You need more than just the price of a building.

To simplify further, let's say you have the money for the down payment, but no way of paying closing costs. What do you do? You continue to save, cutting expenses for months or even years in order to set the money aside. You don't tell the Realtor he should still give you the house because you've always wanted one, or because you're having another child and need the extra room, or because you've been saving and saving and you just can't wait any longer. 

The Realtor doesn't care about any of those things. If you can't pay, he will find another buyer.

The reader can be thought of in the same way. If you can't produce an adequate product, he'll find another author. I've heard writers talk about eating Ramen noodles, red beans & rice, and peanut butter sandwiches for months so they could save, dollar by dollar, for editing and a decent-quality cover. If you're self-publishing, there's no rush to get your book out there other than your own urgency to get people to read it. You're following no deadline but your own. 

Count the cost. The full cost, from soup to nuts. Save for it and pay for it before hitting that "publish" button. The reader doesn't care what you couldn't do. He only cares about what you did. Why give something other than your best?