FOR EDITORS, PROOFREADERS AND WRITERS

A common stumbling block for editorial business owners is making time for marketing. Here’s why we must make time, and some resources to help you organize your business-promotion schedule.

Read on to find out more about:
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• Why running a business means finding clients
• Working for others – being an employee
• Working on your business and in your business
• Setting up a business and marketing: The order of play
• Shifting from a no-time mindset to an all-the-time mindset
• Taking a strategic approach to marketing

Every time an editor or proofreader says they don’t have time to build and implement a marketing strategy, they’re saying they don’t have time to find work.

None of us can run a business if there’s no business to run. Editing and proofreading work is essential. Otherwise we’re nothing more than a fancy title on a business card.

​If marketing isn’t a part of your business model, it’s time either to work for someone else or shift your mindset.

There’s nothing wrong with being an employee. For some it’s a more suitable career choice. Unless you apply for a job in the marketing department, it will be someone else’s responsibility to do the company’s promotional work, to pull in the clients.
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If you want to do your own thing, however, a commitment to business marketing must be part of the mix. That’s the difference between being self-employed and self-unemployed.

Every independent editorial business owner has two jobs:

• The work they do
• And the work they do to get the work they do

There’s no way around this. The approach we use to find work will depend on who our target clients are. Think social media, content marketing, advertising, directory listings, professional membership, a visible website, letters, emails, networking, phone calls, and SEO. All or some of these will be in play.

If a no-time mindset is tripping you up, ask yourself whether you can imagine saying any of the following:

• I don’t have time to do editing.
• I don’t have time to send invoices.
• I don’t have time to check the spelling of a word in a dictionary.

Those statements sound daft, don’t they? Of course we’d make time for editing, invoicing and checking spelling! We’re professionals and we’re business owners – those things are essential.

Finding work is just as important. If we don’t, there’s no editing to do, no invoices to send, no spellings to check.
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Since we’re employers (of ourselves), not employees, we must do our own marketing, right from the get-go, and continue to do it for as long as we’re in business.

Marketing doesn’t come after we’ve set up our business. That’s a misfire. It views marketing as if it’s a separate entity.

If we spend 12 months training to be a professional editor but dedicate no time to our marketing strategy, all we’ll have at the end is a skillset that’s invisible to everyone but us.

I know how to make lasagne, change a tyre, and remove a thorn from a Labrador’s paw, but those skills in themselves don’t mean people are offering me work as a chef, a mechanic or a veterinary nurse. Why would they? No one but me, my husband, my kid and my dog know I can do that stuff. I’ve not promoted those skills or set up a business around them (nor do I plan to, just in case you’re wondering!).
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If you’re serious about becoming a professional editor, so much so that you’ve invested your hard-earned cash in a high-quality training course, start working on your marketing strategy at the same time so that you don’t end up as a professional thumb-twiddler! 

Whatever marketing approach(es) you choose, do them regularly so that they’re a normal part of editorial business ownership.

Invoicing and tax returns are my least favourite aspects of running a business but I do them anyway. I have to. We all do.

Same thing with marketing. You don’t have to love marketing. You don’t even have to like it. Just do it anyway, all the time. Dedicate time in your business week to the task.

​Every time you’re tempted to use that slot in your schedule to do something else, remind yourself that you don’t want to be self-unemployed, that you do want to earn a living from your editing business, and that when the client cupboard is bare it makes you feel miserable and stressed.

Here are three things every editor needs to recognize about strategy:

• ‘I'd better do a bit of marketing because I’ve got no work lined up next month’ is not a strategy. It’s an emergency.
• ‘Great! I just got some work for next month so I don’t have to do any marketing for a while’ is not a strategy. It’s a recipe for a future emergency.
• ‘I’ll accept that horrible low-paid job because it’s better than nothing’ is not a strategy. It’s a business model that puts others in control.

A long-term marketing strategy is planned, targeted, and implemented continuously. That’s what keeps the cupboard full of good-fit clients, and what gives us the power to decide a project’s not a good fit, the price isn’t right, or the scheduling’s too tight.

If you’re already marketing your editing business, fantastic. If you’re not, start now and don’t stop!

You don’t have to do your marketing the way I do my marketing. The foundation of my strategy is content marketing, but that’s because I work exclusively with independent authors in a specialist genre, and want those authors to find me via Google.

Your marketing strategy should reflect the best method of being visible to your ideal clients. That might mean sending emails, making phones calls, engaging in a group or forum, or advertising in a particular space.

And even if you don’t like marketing, make it part of your business practice anyway. Place it alongside the other aspects of your business that you’re obliged to do but would rather not. Why? Because marketing can mean the difference between working and walking away. If you’ve already invested your energy and money in training, that’s a waste of your valuable skills. You deserve more than that.

And who knows? You might even enjoy promoting your business once you start reaping the fruits of your labour! 

Check out these additional resources about building a sustainable editorial business:
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• Blogging for Business Growth (course)
• Branding for Business Growth (course)
• Business Skills Collection (6 ebooks)
• Marketing resource library (books, booklets and blogs and podcasts)
• Marketing Toolbox for Editors (multimedia course)
• Marketing Your Editing and Proofreading Business​ (book)

Does ‘said’ come before or after the subject in a dialogue tag? Does it matter? This post explores the options and offers practical recommendations that serve writers seeking to build their author platform.

Read on to find out more about the following:
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• What a dialogue tag is
• Why tags should support, not supplant dialogue
• Tagging: Positioning the verb in relation to pronouns
• Tagging: Positioning the verb in relation to nouns
• Standing out in ways that serve reader expectations

A dialogue tag, or speech tag, is the short piece of text that tells a reader that a character is speaking, and which character is speaking. For example:

• ‘Are you enjoying reading that blog post,’ Louise said.
• ‘I’m interested in learning about dialogue,’ ze replied.
• ‘Can I stick to non-fiction editing?’ he asked.

Effective dialogue tags use verbs from which the reader can infer that the action of speech is taking place. Examples include ‘said’, ‘asked’, ‘replied’, ‘whispered’, ‘muttered’, ‘yelled’, ‘continued’ and ‘added’.

Ineffective dialogue tags use verbs that bring to mind action that’s not related precisely to speech but to some other behaviour. Examples include ‘sneered’, ‘grimaced’, ‘laughed’, ‘harrumphed’, ‘huffed’, ‘sighed’, ‘snarled’ and ‘urged’.

In this post, I’m going to focus on a question that beginner fiction authors and editors often ask about: where to locate ‘said’ and other effective tagging verbs.
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First, though, here’s a quick recap about why ‘said’ is such a popular dialogue tag.

‘Said’ is the most popular speech tag in English-language writing because it’s virtually invisible. Readers are so used to seeing it that they ignore it and instead focus on its mechanical function – to verify who’s doing the speaking.

It’s become so conventional that when authors go out of their way to replace every instance of ‘said’ with alternatives, they risk creating prose that feels laboured.

Showy speech tags in particular stand out, and that means they pull the reader’s attention away from the dialogue and push it towards the speech tag.

That’s not a good reader experience because when characters communicate through speech, that’s where the action is in that moment. The tag should support that action, not supplant it.

You can find out more about how to tag dialogue in Editing Fiction at Sentence Level, including:

• Showy speech tags and underdeveloped dialogue
• Showy speech tags and double-telling
• Non-speech-based dialogue tags and the reality flop
• Alternatives to showy speech tags – more on action beats
• Using proper nouns and pronouns in dialogue tags
• Omitting dialogue tags

Now let’s look at where to place ‘said’ and other tagging verbs.

Regardless of which pronouns are in play, it’s conventional in contemporary commercial fiction to place ‘said’ or any other tagging verb after the pronoun. Take a look at what’s on your bookshelf. Examples are easy to find. Here are some from my collection.

​Let’s have a look at those examples when the verb is placed before the pronouns.

​There’s actually nothing grammatically wrong with any of the edited examples, though I wasn't able to retain the past perfect in the second. What has gone awry is the narrative setting.

The dialogue is written in contemporary English but the verb placement evokes a distinctly historical feel that’s inappropriate.

So how about when nouns rather than pronouns are in play?

Authors published by mainstream presses tend to follow the same convention: the verb follows the noun. Once more, a visit to your bookshelf will confirm the frequency in contemporary commercial fiction. Here are some more examples from my collection.

Now let’s move the verb so that it sits before the noun.

Again, there’s nothing grammatically problematic about this structure. Furthermore, the switch doesn’t jar in the same way as when the subjects are pronouns.
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So how should independent authors (and the editors who support them) approach the structure of a tag?

I recommend my authors follow the noun-first convention, not because it’s right, or best, or grammatically correct, or the only one true way, but because when it comes to contemporary commercial fiction:

• lots of potential buyers of their books have come to expect this construction
• and it's the approach that mainstream presses tend to take.

When readers are presented with stories that break with convention, there’s a risk that the story’s no longer the standout feature. Instead, those with strong preferences focus on minutiae that challenge their expectations.

That focus isn’t serving a writer who’s trying to build their author platform.

Mick Herron has built enough trust with his readership with his brilliant Jackson Lamb series that no one will bat an eyelid when they read the following in Slough House:
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‘Ian Fleming,’ said Diana Taverner. ‘Means “Death to spies”.’
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Nevertheless, I scoured the first chapter of that book and found that in the main he still favours placing the verb after the subject. 

Placing ‘said’ and other speech-related verbs after the subject isn’t a ‘rule’ that must be applied in order to ensure a dialogue tag is grammatically correct.

However, it’s such a common convention that I recommend indie authors of contemporary commercial fiction follow it.

When the subjects in a tag are pronouns, this structure is essential for retaining a contemporary feel. When the subjects are nouns, placing them first gives the pedants one less thing to gripe about.

• Coben, H., Fool Me Once, Arrow, 2016 (Chapter 1, Kindle edition)
• Connelly, M, The Dark Hours, Orion, 2021 (Chapter 1, Kindle edition)
• Crosby, SA, Blacktop Wasteland, Headline, 2021 (Chapter 1, Kindle edition)
• Crouch, B, Dark Matter, Pan, 2017 (Chapter 1, Kindle edition)
• Harnby, L, Editing Fiction at Sentence Level, Panx Press, 2020
• Herron, M, Slough House, John Murray, 2021 (Chapter 1, Kindle edition)
• McDermid, V, 1979, Little, Brown, 2021 (Chapter 1, Kindle edition)

Fiction editing training courses

• How to Write the Perfect Fiction Editorial Report
• Narrative Distance: A Toolbox for Writers and Editors
• Narrative Style: Viewpoint, Tense and Voice
• Preparing Your Book for Submission
• Switching to Fiction

Are your thriller’s sentences front-loaded with filter words? If so, you could be slowing your reader down. This post explains what filter words are, how they affect a sentence and how to decide whether to include them or ditch them.

Read on to find out more about:
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• Why the start of a sentence is important.
• What filter words are.
• How filter words reduce momentum.
• How filter words make space for reflection.

If you’ve read any guidance about online writing, you’ll have come across the concept of front-loading a sentence. It means putting the most important stuff at the start. The idea is that website visitors are busy and scan for relevance. The quicker they find it, the more likely they are to engage.

While a novel that reads like a Google snippet from start to finish isn’t likely to win any prizes, the principle is worth paying attention to because the information at the start of a novel’s sentence is still what the reader will pay most attention to.
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The start of a sentence is therefore valuable real estate. If filter words are being assigned to that top spot too often, more interesting subjects and verbs are likely being demoted.  

In everyday speech, we sometimes use the term ‘filter’ to convey a sense of slowdown or separation, usually because of a barrier of some sort. For example:

• Sunlight filtered through the tree canopy.
• Over the next couple of hours, information about the explosion filtered out of the camp.
  
• The children filtered through the turnstile and lined up in in yard.

In literature, filter words are verbs that do a similar thing – they slow down the reader’s access to what the viewpoint character is experiencing.

Examples include 'watched', 'saw', 'noticed', 'spotted', 'looked at', 'felt', 'thought', 'wondered', 'heard', 'realised' and 'knew'.

Take a look at this short excerpt from Chapter 2 of Razorblade Tears by S.A. Cosby.

Ike is the viewpoint character, which means we experience the scene from his perspective.

Notice first what’s front-loading those two sentences. The subjects (Ike in the first, ‘she’ – Ike’s wife – in the second) and the verbs  ‘let go’ and ‘slumped’.

That front-loading forces our gaze outwards – first towards Ike, then towards the movement of Ike’s wife’s body.

Now let’s introduce a filter word.

Now the second sentence is front-loaded with a new verb – ‘watched’. Our access to the movement (the slumping) has been slowed down. We can’t shift directly to it without taking an extra step that involves centring our gaze for just a second on Ike’s watching. 

In that brief moment, we’re no longer looking outward at what Ike’s experiencing. Instead, we’re looking inward at Ike and how he acquires that experience – by watching.

Less experienced writers can be tempted to overuse filter words. Indeed, it’s one of the most common problems I see in my editing studio. At sentence-level revision stage – whether that work’s being done by the writer themselves or with the help of a professional editor – it’s therefore worth watching out for them and assessing whether they’re impeding the novel’s pace.

Thrillers are supposed to thrill, and action-packed scenes such as escapes, fights, heists and chases need to be written with razor-sharp precision so that readers don’t start skimming.

Problematic filter words can appear anywhere in a sentence, but front-loading sentences with them is even more likely to rip the momentum out of the prose. If you want your readers to focus on the action, make sure that any you retain are earning their keep.
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Take a look at an excerpt from a published thriller that I’ve fiddled with. It’s a heist scene and the action takes place in a matter of seconds. The viewpoint character is coked up to his eyeballs and desperate, acting on impulse.

The three instances of filtering moderate the pace and draw our attention towards the narrator’s doing knowing, thinking and watching, none of which are as interesting as what he knows, thinks and watches. All those filter words act as barriers that the reader has to jump over in order to get to the action.

We could even argue that they introduce a sort of voyeurism – as if Ronnie is reflecting on the impact of his violence, almost in slow motion. But that’s not what’s going on here. Rather, he’s wired, out of control and operating in the moment.
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And that’s why the unadulterated version of Blacktop Wasteland  (p. 113) – also by S.A. Cosby – is perfect:

The filter words have gone, and with them the unintended pathological introspection, but the momentum is restored. We're in the moment with Ronnie as he lashes out. It's no less violent but the pace of the prose now mirrors the action authentically.

Sometimes, however, the author wants us to slow down, step back and focus inward on the acquisition of experience.
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Let’s take a look at another example from Cosby’s Razorblade Tears, this one also from Chapter 2.

The filter phrase is ‘looked at’, and it’s important. Ike is looking hard at what’s in front of him. As will be revealed later, this girl is his murdered son’s daughter. Ike recalls something he’d said to his son a few months earlier: ‘But that little girl, she gonna have it hard enough already. She's half Black. Her mama was somebody you paid to carry her, and she got two gay daddies. So now what?’

Ike and his wife will now be raising the little girl. Cosby wants to focus our attention inward for a moment on Ike’s reflection, and the filter word makes space for that.

While filter words can be effective when they’re used to create a sense of introspection, littering prose with them will be disruptive and pull the reader out of the viewpoint character's headspace. In other words, the psychic or narrative distance will be widened and we’ll feel disconnected from the immediacy of the character’s experience.

For that reason, always use filter words judiciously. In the above example, Cosby offers just a single nudge, and it’s enough.

Every filter word needs to be assessed on its own merits. Some will have a place in a novel because the author wants to introduce a sense of introspection into a viewpoint character’s narrative. Just bear in mind the following:

• When filter words front-load a sentence, they’re the first thing a reader notices. 
• They destroy momentum and so are often best avoided in pacy action scenes, regardless of their position.
• And even if they do serve a purpose – focusing a reader’s attention inwards on how the viewpoint character acquires the experience they’re reporting (by looking, thinking, feeling etc.) – it's worth keeping their use to a bare minimum. One nudge will likely be enough.

Take a look at these related resources for editors and writers. They'll help you develop your fiction line craft:
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• For editors: Fiction editing learning centre
• ​For authors: Line craft learning centre
• Becoming a Fiction Editor (free booklet for editors)
• Blacktop Wasteland, Cosby, S.A., Headline, 2020
• Editing Fiction at Sentence​ Level (book for editors and authors)
• Filter words in fiction: Purposeful inclusion and dramatic restriction (blog post)
• Making Sense of ‘Show, Don’t Tell’ (book for editors and authors)
• Narrative Distance: A Toolbox for Writers and Editors (course)
• Razorblade Tears, Cosby, S.A., Headline, 2021
• Switching to Fiction (course for editors)

Here are 6 tips that will help emerging indie authors make informed decisions about their editing and writing process during NaNoWriMo (National Novel Writing Month) and beyond.

Regardless of whether an author’s doing their own editing or working with someone like me, I always advise them to make sure they understand the different levels of editing and the order of play.

The first draft of a book is unlikely to be ready for proofreading. Instead, focus on structure first – so how the story hangs together as a whole.

Next comes stylistic line work that focuses on the flow and rhythm of prose.

Copyediting comes after that. This is the more technical side of the work that looks at consistency and clarity.

Only then is it time for the quality-control stage: proofreading.
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Writers who want to know more can watch a video, listen to a podcast episode or download a booklet.

To make the most of your budget, focus on the five Cs:
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• community
• content
• craft books
• courses
• conscious language

Community
​Take a look at the Alliance of Independent Authors (ALLi) and the Society of Authors. They’re two fine examples of organizations who are dedicated to supporting writers at different stages of their journey.

Membership includes access to free and affordable paid-for events and resources. But they offer something else that’s incredibly valuable too – a network of like-minded people.

Trying to make your mark in the publishing world can feel overwhelming, so being able to get advice and inspiration from others on the same journey is priceless.

Content
There’s a ton of useful – and free – guidance about the craft of writing online, so it’s worth budget-sensitive writers spending time digging around in the search engines. However, those interested in sentence-level guidance can visit my resource library as a first port of call.

I also recommend The Creative Penn, a superb knowledge bank through which Joanna Penn guides aspiring authors on how to write, how to get their books published and how to make their work visible. I love Joanna’s genuine and approachable teaching style, and how she makes self-publishing accessible to everyone.

​Craft books
Books are the most affordable way I know of accessing high-quality guidance. There are lots – too many to mention here – but I recommend fiction writers start with The Magic of Fiction by Beth Hill because it pays attention to structure and helps writers create a great first draft.

My own Editing Fiction at Sentence Level focuses on line craft that helps writers refine the flow, rhythm, mood, voice and style of their prose.

For non-fiction writers, Andy Maslen’s Write to Sell is an excellent tool for any content creator who wants to craft a compelling message, something that’s critical for authors when they’re promoting their books.

And Joanna Penn’s How to Write Non-Fiction takes authors step by step through the whole book-creation process – from mindset to marketing and everything else in between.

Courses
Love learning at your own pace? Online courses are an affordable and convenient way to study in a multimedia environment.

There are lots to choose from. For starters, take a look at Joanna Penn’s business-focused author courses, and for craft-based tuition for fiction, try Narrative Distance: A Toolbox for Writers and Editors and Preparing Your Book for Submission, two courses from my own training stable.

The National Writing Centre also offers online training that aims to build authors’ confidence. Some of their courses are even free. The NWC also partners with the University of East Anglia to provide more in-depth premium creative-writing courses that come with tutor support.

Conscious language
Anyone who’s aware of the events surrounding Kate Clanchy’s Some Kids I Taught and What They Taught Me will understand the importance of reviewing their work through the lens of representation.

I’m not for a minute suggesting that a work of fiction or non-fiction has to follow a set of prescribed ‘rules’ about what can or can’t be written, but rather that writing means applying the same mindfulness to the words we put on a page as those that come out of our mouths.

When we write, we’re building a relationship with our readers, even though we don’t know who most of them are. And so consciously considering whether our words are helping or harming is just good human practice – one that means our books function as we intend them to, whether that’s to teach or to entertain.

For authors who want a little more guidance on this, I have a free booklet on inclusive and respectful writing. It doesn’t prescribe, just helps writers make informed decisions.

The first draft isn’t usually something that should be sent to an editor. More often, the first draft is where the author lays down the story just as it comes.

Once that’s done, put the book away – just let it sit for a while – then revisit it and decide what’s working and what isn’t, what needs refining, amplifying or deleting.
Perhaps follow Sophie Hannah and Jeffery Deaver’s lead and create detailed outlines that help keep you on track even at first-draft stage. You can read more about Hannah’s method in ‘Why and how I plan my novels’.

If you do decide to work with an editor, invest time in finding someone who’s a great fit for you: someone who gets you and is engaged with what you’re doing with your writing.

That person should also be offering the right level of editing (see 1. Understand the different types of editing).

And tell them if you’re nervous about being edited; it’s perfectly normal to feel that way. Just bear in mind that they’re on your side and are working for you, for your book and for your reader!

I'm sometimes asked: 'What’s your biggest writing pet peeve as an editor?' My answer is: There’s no room for pet peeves in professional editing – or at least there shouldn’t be.

Do I have preferences? I do – everyone does – but that’s all they are and they have no business in the work that editors do for their clients. Our job is to focus on a client’s goals, the world of their story, and the readers who’ll come along for the journey.
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There are stylistic and grammatical conventions in writing, and a professional editor should understand those and be mindful of them, but editing requires a malleable mindset that respects voice and rhythm as much as anything else.

​It’s about sense and sensibility, not prescriptivism and pedantry.

Listen right here to this collection of episodes from The Editing Podcast on language, grammar and style:

The main advantage of being an indie author is that you get to control everything.

The main disadvantage is … you get to control everything!

You’re the publisher as well as the writer, which means you decide which books to write and publish, what the cover will look like, which levels of editorial help to commission, which channels to distribute your book through, what the price will be, what formats the book will be available in, and how your promotion strategy will play out.

That’s a lot of work – work that costs you time and money. Publishers will do some of it for you. Still, that will come at a cost because you’ll be taking a royalty that’s likely lower than the return from selling direct.

Being your own publisher isn’t everyone’s wheelhouse, but for those who want to be in control, there’s never been a better time to wear that hat because of all the technical solutions available to authors.

Any writer can use Amazon. It’s the biggest bookstore on the planet. But you might want to sell direct via your website, too, because that’s your very own shop window.

Platforms like Payhip and BookFunnel have made that possible, and it’s made it easy … not just for you but for your customers too.

And for authors who are not only writing but also teaching about writing, there are multiple platforms that support that too – LearnDash (Wordpress plugin), LearnWorlds and Teachable for example.

Having a dedicated work space means you're not shifting two large monitors and a hard drive off the dinner table every evening. For those working from home, having a place where your business ‘lives’ helps you separate writing from family life. 

I realize that everyone’s situation is different, but I hope at least one of the following tips will speak to anyone trying to carve out a dedicated work space.
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• Agree boundaries in shared spaces: Decide which part is yours and which is theirs, and respect that.

• Create boundaries in multifunctional spaces: Some writers have to work in a bedroom, kitchen or living room. If there’s enough space, fence off a corner with a panelled room divider. These can be pricey so an alternative is to install a rail and fashion a curtain from an old duvet cover or sheet.

• Use mobile desks in cramped spaces: Mobile desks are readily available online and are priced competitively so that even writers on a smaller budget can house a monitor, keyboard, mouse and hard drive. Complement with a storage trolley for your books and stationery. Wheel the whole lot into another room when required!

There’s a lot to think about when you decide to become your own publisher – not just what you write but also who supports you during that process, the ways you’ll invest in developing your craft and how to manage the space in which your books are written.
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You’re not alone. There’s a ton of help available to help you … whatever your budget and whatever subject or genre you’re writing in. These 6 tips barely scratch the surface, but I hope they at least inspire you to take the next steps of your indie-author journey with confidence.