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Posts tagged ‘editing’

Guest Post: Taking Out a Contract

This is a guest post from the friendly and talented Joe Monson. I had asked a couple of people I know who had managed anthologies, and Joe got back to me with the following post. Hopefully it will be helpful if any of you are considering herding cat… er, putting together an anthology! 

Taking Out a Contract

I’m fairly new to the writing and editing scene. At the time of writing this, I have only one published short story and one published anthology (as co-editor) to my name (though a couple are out for consideration by editors and publishers). So, I can’t say that I have years or decades of experience to my name. Read more

The REAL Work

A meme floated across my media feed the other day. It went along the lines of “when you’re done writing the story, the real work can begin: editing!” I’ll be honest: it pissed me off. I’m still a bit tetchy about it. I think it denigrates the creation of stories, and plays right into the large publishers vision for writers as penitent petitioners, asking to please, please, please be considered for the great honor of being allowed to be published. Read more

But That’s Not What I Wanted

Life in Fortress Dave proceeds apace. Like usual. Wee Dave was remanded into my care when his teachers wouldn’t have him in class anymore, ever, for a few days at least. Of course, they refused to have anybody in class, so he’s no more special than he was, but Writing Time turned into Man Time while they had professional time. What about Dave? What about Dave’s professional time? *shakes fist*
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Are you really sure?

One of the most frequent comments you’ll hear when you ask someone why they want to sign a traditional publishing contract has to do with the “services” they get from a publisher. Next to distribution to bookstores, probably the most often quoted reason authors want a publisher is so they have an editor. They trust the publisher to make sure their book goes through not only content editing but also copy editing and proofreading. Because of that, they don’t worry as much about turning in a publication ready manuscript as they would if they were going the indie route.

It doesn’t matter if they are talking about a small press, mid-sized press or one of the Big 5. Too many authors believe the hype publishers try to sell – that they will get the kind of attention you see the Castles or other fictional authors receiving. Unfortunately, just as they won’t get the sort of promotion and push they see in fictional settings, they also aren’t guaranteed the level of editing they believe they’re going to get. Read more

Something new(ish) from Amazon & more

I know I promised the next installment of “Know Your Genre” today but I’ll be honest. I’ve been too busy to write the post I want to. It needs a bit more research than I’ve had time to do. So I will be back later this week with the post. In the meantime, there’s been some news out of Amazon this month that should be of interest to all the indies out there. Also, for those who, like me, prefer tech over old-style but who still find it easier to edit with pen and paper, I may have a new option for you.

Last year, Amazon began offering a beta program which allowed indies the option of creating print books through their KDP program instead of going to Createspace or one of the other POD options currently available. The pros for the new beta program were simple: 1) you could upload your pdf files directly to your KDP dashboard instead of going to another site to do so; 2) your digital and print books linked automatically; and 3) you didn’t have to charge as much in order to get a royalty. All of those were great but there were drawbacks. It was a beta program and we didn’t know how long it would be before Amazon decided if it would stick with it or not. It did limit distribution somewhat. There were no print proofs offered and, the big kicker as far as most of us were concerned, authors could not order at a discount. Read more

The importance of proofreading

As writers, we know the importance of having a good editor AND a good proofreader. A structural editor can take a good book and make it great by simply pointing out how to strengthen the story or the flow of the story. A proofreader helps save us from the dangers of relying on spellcheck. The latter has been proven once again in the book, Fire and Fury, published by Henry Holt & Co. Read more

Return to the Extreme Pantser’s Guide: Meet the Internal Editor

(Work has Kate snowed under and she asked me to post this for her.)

You’ve finished your first draft, you’ve given it a decent amount of time to sit (trust me, for pantsers this is essential), and now it’s time to edit. As with all things pantser, particularly extreme pantser, it’s not that simple. Editor time is when you need to take this thing that’s lived inside your head for months, and put it through the shredder – and most of the pantsers I know (yes, including me) have major problems letting go enough to do this.

Probably the first and simplest tool in the kit for turning on your editor-mind is to phase-shift: to look at the piece in a different format than the one you wrote it in. Print-outs work for this. So does making a copy of the file and getting the copy onto your ebook reader or smartphone (preferably one with annotation or editing capability) and reading it there. The different format is usually enough to keep you out of writer mindset (or worse, “this is my baby” mindset).

Editing somewhere you don’t write is another tool that, while simple, works. The goal of moving is to put yourself somewhere your subconscious doesn’t recognize as writing-space. If you wrote the novel on your laptop while taking the train to and from work, don’t edit it there – or at the very least, don’t mark it up there. It doesn’t matter whether you mark up in approved editorese or not: you’re the only person who’s going to see this stuff, so you’re the only person who needs to worry about it. Highlights on a kindle with a one or two word note to say what it needs are just as effective as handwritten comments on paper, or comments embedded in a word processor file.

A word of warning here: if your word processing application uses any form of auto-formatting turn it off. There are multiple versions of Word in the wild, Word Perfect still happens, and then you’ve got Open Office and its clones, as well as any number of other applications that will create something more or less like RTF (aka “Rich Text Format” – which is text with fonts, bold, underlines and some other formatting, but not the fancy stuff). They don’t all use the same internal codes for anything that is not an obvious keystroke. What that means is that the beautiful file on your Mac ends up looking like someone threw confetti all over it with all manner of weird characters involving tildes and accents where you thought you had a quote mark.

Actually, that’s two words of warning. Do not use your word processor’s embedded comments feature. Not everything you’re likely to be playing with is going to be able to support that. My preference for this is to use something that won’t appear anywhere else in the manuscript as a flag character. So I’ll be writing along and there’ll be something like [add more description] in the middle of the text. That tells me what I’ve got to do and where I’ve got to do it. Sometimes it’s a plot note, sometimes flagging a really crappy sentence, and sometimes a note to remind me that a character’s name needs to change.

For stuff I need to research but don’t want to lose I use the same trick – a sudden burst of [research this] will get added to the story as I write. When I’m done the markup pass-through, I can search for [ and do what needs to be done. The benefit of this is that you can do it with anything, even Notepad (well, if the book isn’t too big – Notepad can’t read very large files. Although if the file is that big, you have other problems).

Okay, so you have your internal editor. Guess what? The editor popped over from Evil Bastard Central, and will cheerfully tell you what you’re doing sucks rocks, while leaning back in a recliner drinking your virtual booze. This is quite normal. I know it sounds like split personality, but heck, we pantsers already host a ridiculous number of personalities anyway. What’s one more?

Quite a few authors externalize the editor-mind, even going so far as to give it a name. Julie Czerneda calls hers the “Great Editor Voice” aka GEV, and posts interesting conversations between her and her GEV on her sff.net newsgroup.

You don’t need to go that far. If it helps to do something like this, go for it. Otherwise, don’t worry. So long as you can flip to editor-mind when you need to, that’s enough.

Of course, the other side of this is getting back to author-mind when you’re done with the editor-mind. That’s… interesting. It’s also crucial – you don’t want to be in editor-mind when you’re writing, any more than writer-mind is good when you’re editing. While the toolset is much the same, they’re used in different ways. The writer-mind is applying the paint, building the picture and framing it, while the editor-mind applies a scalpel to clean up the bits that got smudged, and takes the sander to the frame to smooth off all the rough places and hide the marks where the hammer didn’t quite go where you meant it to, and so forth. Not all writers are good at editing, and not all editors are good at writing.

Depending on how clean your drafts are (in the sense of dangling plot threads, odd byways you forgot to come back to, ideas that hit halfway through that you need to go back and seed and other such pantser oddities), you might not need much in your edit passes. Mine are typically pretty light: there’s a pass for plot/character issues where I’ll usually pick up most of the typo and grammar as well, and a second pass that takes a closer look at phrasing and tightening. After that will depend on what Amanda and Sarah, my long-suffering beta readers and in Amanda’s case editor as well, have to say. You might need dozens of passes to clean things up.

Or not. Pantsers have a horrible tendency to over-edit until there’s no life left. We really can’t edit our work until we’ve had a chance to forget it, and we’ve got to be careful about who we listen to. If you try to fix everything everyone says, you’ll end up with flat, rolled out tofu. Very dead tofu, at that. Instead, look for the possible problem that sits under what they’re saying, and work out how to address that.

And that, fellow pantsers, is that. Go thou forth and explore the pants.