Learn about romance editing with editor Sarah Calfee in this episode of The Editing Podcast!

• What's special about romance editing
• The size of the market
• Tropes, challenges and styles in romance editing
• HEAs: Happy ever afters
• Romancelandia
• Understanding the romance writing and editing via Pride and Prejudice
• How to get in touch with Sarah Calfee
• Get a free sample of Sarah's book, How To Pride and Prejudice

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

Find out about 4 key things you need to know if you want to become a non-fiction editor. Louise Harnby interviews Denise Cowle!

• The main types of non-fiction editing and the kinds of things a non-fic editor needs to look out for   
• Working on complex materials     
• The move to digital content and the role of the editor·     
• Ethical issues the editor or proofreader needs to be aware of
• How to Mark Up PDF Page Proofs (course)
• How to become a fiction editor (podcast episode)

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

Find out about 4 key things you need to know if you want to become a fiction editor. Denise Cowle puts Louise Harnby under the microscope!

• The main types of fiction editing and the kinds of things a fiction editor needs to look out for
• What additional training you might need
• The market and client expectations
• The need for a flexible hand
• Becoming a fiction editor (free booklet)
• Switching to Fiction (course)

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

​Check out these additional resources that will help you develop your fiction-editing business.

In this episode of The Editing Podcast, Louise Harnby and Denise Cowle talk about editing short-form content such as newsletters, letters, blog posts, short stories, essays and reports.

Listen to find out more about

• The different types of content that fall into the short-form category
• The benefits and challenges of short-form content editing
• Advice on the remit: client expectations, the brief, ethical issues and practical responsibilities
• Consistency and style
• Scheduling issues
• Pricing
• Marketing​
  

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Music Credit
'Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

In this episode of The Editing Podcast, Louise Harnby and Denise Cowle talk to editor Crystal Shelley about sensitivity reading.

​Listen to find out more about

• What is sensitivity reading?
• What types of topics do people read for?
• What does the sensitivity reading process look like?
• Why should an author hire a sensitivity reader?
• What type of feedback does a sensitivity reader give?
• How does someone become a sensitivity reader?
• Some authors are hesitant to work with a sensitivity reader because there's concern about censorship or having books pulled. How do you address those concerns?
• Is sensitivity reading only useful for fiction? 
• How do authors find sensitivity readers?

Discover more about Crystal at Rabbit with a Red Pen.

Mentioned in the show

• Find a sensitivity reader: Binders for Sensitivity Readers
• Conscious Style Guide
• Editors of Color

​
Music Credit
'Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

Want to copyedit fiction for indie authors? Even if you have extensive experience of working for publishers, there are skills and knowledge you might need to acquire before making the shift.

Publishing has its own language
Fiction copyediting means something specific in a publishing company. It’s usually (there are always exceptions to the rule) the corrective work that focuses on spelling, punctuation, grammar, consistency and logic.

It’s important work – meticulous and detailed. It stops a character giving birth two months before she got pregnant; it spots when your protagonist’s eyes have changed colour; it flags up the trigger safety that doesn’t exist on the model of gun being described.

In the wider world, ‘copyediting’ can mean all sorts of things. It will include all of the above but might include a deeper level of stylistic work.

Some editors will use different terminology to describe their services, such that this middle-level editing – further down the chain than developmental or structural work but higher up than the prepublication proofread – is more intense.

Some editors even include developmental/structural work in their ‘copyediting’ service because their target clients fall into one or both of the following categories:
​

• aren’t familiar with all the levels of editing
• are more likely to search for terms such as ‘copyediting’ and ‘proofreading’ even though the big-picture elements of their story might also need some work

The mismatch between language and need
Some editors work only for publishers. Some work only for indie authors. Some work for both.

That messy publishing language becomes problematic when everyone’s using one term – ‘copyediting’ – to mean different things.

Plus, none of us knows what we don’t know.

If an editor has copyedited fiction only for publishers, and then moves into the indie-author market, there’s a risk that their knowledge and skills match the needs and expectations of mainstream publishers, but not those of indie authors.

Many indie authors are self-publishing for the first time. They’ll expect a professional editor to know what they don’t. But a fiction copyeditor, just by virtue of having done something called ‘fiction copyediting’ as defined by publishers, might not know how to handle the stylistic issues in a book.

That doesn’t mean they’re a bad editor. It means they have a specific skill set that might not be what the indie author needs or asks for.

I’ve done all three in my time. My choice was based on the author, my schedule, and the connection I felt with the project. There’s no wrong or right, just informed decision-making.

What’s gone wrong in the editing process?
So what went wrong in that case study? This problem arises because of flawed assumptions about language and responsibility.

Language
The author and the editor are using the same language to describe different outcomes.

• The author thinks of ‘copyediting’ as a middle-ground service between developmental/structural editing and proofreading.
• The editor, who works mainly for publishers, considers ‘copyediting’ a non-stylistic type of work that comes after line editing.

What Jo needed was an editor who recognizes that ‘copyediting’ could mean something different in the author’s head – something like: Do what’s required to make my prose sing! I don’t know what those things are, but that’s why I’m hiring you.

​What she got was a traditional high-quality copyedit as defined by a different client type. It’s work that she needed, but not all the work she needed.

Responsibility
A frequent fallback position on the editor’s part is this: it’s the author’s fault because they didn’t hire the right service. Jo shouldn’t have commissioned a copyedit when stylistic work was required.

That’s flawed. She hired a professional editor precisely because they’re a professional editor. She wanted them to show her what she didn’t know.

The situation is complicated further by the fact that editors define their services differently. I offer ‘line-/copyediting’. Some of my colleagues offer the same level of intervention but call it just ‘copyediting’. Others offer two distinct services: ‘line editing’ and ‘copyediting’.

Yet others don’t even call line editing ‘line editing’. It might be called ‘substantive editing’ or ‘stylistic editing’.

It is any wonder that an indie author chooses to ignore the tangled terminology and focus on collating a shortlist of editors who have extensive experience of working for traditional industry gatekeepers – publishers?
​
That works splendidly when the editors have the skills and knowledge to go beyond what a publisher might expect from a fiction copyedit. But it can fall of a cliff when the rigidity of the terminology restricts the depth of editing required.

How can editors help fix the problem?
Editors must take responsibility for the language they use and the skills they have so that they’re fit for a diverse indie-author market. That means learning and educating.

Learn line craft
Fiction editors serving indie authors should learn line craft – the stylistic sentence-level editing that might be required.

If we don’t understand the likes of show and tell, narrative viewpoint, tense, holding suspense, dialogue craft, and so on, we should question whether we’re ready for this market.

And if we do still want to serve this market with publisher-defined copyediting, we must be explicit about the fact that we don’t offer solutions to stylistic problems in prose.

Still, being able to say we don’t offer those solutions means understanding what they are in the first place. Not recognizing them is not an option.

Educate authors
We must go the extra mile to ensure that our online and direct communications with authors explain the different levels of editing and how we define them.

A website that boasts of our achievements but doesn’t show our understanding of the craft of fiction editing doesn’t help a beginner author make informed decisions. It serves only us, not them.

That can lead to disappointment on the author’s part. And disappointment leads to mistrust, not just with the editor who did the work but with the global editorial community in general.

Editors frequently report that editing is ‘undervalued’ and ‘underpaid’. But value and worth have to be earned. So does trust.
​
When an editor works with an indie author, but doesn’t have the skills to offer what’s required, or is ignorant of the fact that they don’t have those skills, it’s they – not the author – who is bringing down value and worth in the editing industry.

How can authors help fix the problem?
Writers can help themselves too. If you’re an indie author, and you’re not one hundred per cent sure about what you need, do the following:

Summing up
What publishers expect from a fiction copyeditor is often very different to what indie authors will want or need.

If you’re an editor who wants to offer sentence-level work for indie authors, think about the following:

• The language you use to describe your service.
• The indie author’s expectations.

Even if you have an extensive fiction copyediting background by virtue of having worked for a ton of mainstream publishers, there might still be a mismatch between what’s required or what’s asked for and your own definitions and experience.

​Be prepared to learn, and to show what you’ve learned when you communicate with indie authors. That’s how we build trust, value and worth.

In this episode of The Editing Podcast, Denise and Louise chat with book coach and editor Lisa Poisso about honing story craft before embarking on expensive structural and line editing.

Click to listen to Season 4, Episode 4

Listen to find out more about:

• Story basics: the Plot Accelerator 
• Why developmental/structural editing comes after book coaching
• Genre, viewpoint, tense, character motivation and conflict, plot and subplot, and character arc
• Book mapping, and avoiding drinking and thinking!
• Super critiques on steroids: making a story solid
• The dynamics of book coaching
• Most common problems authors face
• Super-critiques

Contacting Lisa Poisso

• Email: lisa@lisapoisso.com
• Website
• Blog
• Facebook
• Twitter: @lisapoisso
• Instagram: lisapoisso
• Clarity newsletter

​
Editing bites and other resources

• Moniack Mhor, Creative Writing Centre, Scotland
• Start writing fiction: Free Open University course

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

There are different types of novel editing: developmental editing, line editing, copyediting and proofreading. Revising in the right order is essential if you want your book to be in the best shape possible.

​Developmental editing
Developmental editing comes first. This is big-picture work that involves looking at the story as a whole.

You’ll also hear it called structural editing, perhaps even content editing, and the base components always include plot, structure, characterization, pace, viewpoint, narrative style, and tense.

• Plot: This is the sequence of events that take the reader from the beginning to the end.
• Structure: This determines how the plot is organized. Even if B occurred after A, the reader might learn about B before the events of A are unveiled.
• Characterization: This is how characters are represented such that we can make sense of their behavior as we journey with them through the story.
• Pace: Pacing is about the speed at which the story unfolds. Effective pace ensures readers feel neither rushed nor bored. That doesn’t mean the pace remains steady; a story can include sections of fast-paced action and slower cool-downs.
• Viewpoint: In each chapter or section, readers should understand who the narrator is—whose eyes they are seeing through, whose emotions they have access to, whose voice dominates the narrative. It also means understanding the restrictions in play such that head-hopping doesn’t pull the reader out of the story.
• Narrative style: Is the narrative viewpoint conveyed in the first, second or third person? The choice determines a narrative’s style.
• Tense: Is the story told in the present or the past tense? Each has its benefits and limitations.

Line editing
Line editing is the next step in the revision process and it is stylistic work. 

A strong sentence elevates story; a poorly crafted one can bury it. This level of editing revises for style, sense, and flow.

You might also hear line editing referred to as substantive editing or stylistic editing. Editors will be addressing the following:
​

• Authenticity of phrasing and word choice in relation to character voice
• Character-trait consistency and unveiling
• Clarity and consistency of viewpoint and narrative style
• Cliché and awkward metaphor
• Dialogue and how it conveys voice, mood, and intention
• Sentence pace and flow, with special attention to repetition and overwriting
• Tenses, and whether they’re effective and consistent
• Told versus shown prose

Copyediting
Copyediting is the technical side of sentence-level work. Editors will be addressing the following:
​

• Chapter sequencing
• Consistency of proper-noun spelling
• Dialogue tagging and punctuation
• Letter, word, line, and paragraph spacing
• Logic of timeline, environment, and character traits
• Spelling, grammar, syntax, punctuation, hyphenation, and capitalization
• Standard document formatting

Proofreading
Proofreading is the last stage of the editing process prior to publication. Every novel, whether it’s being delivered in print or digitally, requires a final quality-control check.
A proofreader looks for literal errors and layout problems that slipped through previous rounds of revision or were introduced at design stage.

Authors preparing for print can ask a proofreader to annotate page proofs. These are almost what a reader would see if they pulled the novel off the shelf. Others ask proofreaders to amend the raw text, either because they’re preparing for epublication or for audiobook narration.

Proofreaders are more than typo hunters. They check for consistency of spelling, punctuation and grammar, but also for layout problems such as (but not limited to) indentation, line spacing, inconsistent chapter drops, missing page numbers, and font and heading styles. The remit is extensive (download a free checklist).

The art of good proofreading lies in knowing when to change and when to leave well enough alone. A good proofreader should understand the impact of their revisions—not only in relation to the knock-on effect on other pages but also to the cost if a third-party designer/formatter is part of the team.

Which type of editing do you need?
Authors need to take their books through all the types of editing. That doesn’t mean hiring third party professionals for each stage. Writing groups, self-study courses, how-to books, and self-publishing organizations are all great sources of editorial support.

If you decide to work with a professional, invest in one who can help you where you’re weakest. You might be a great structural self-editor but prone to overwriting. Or you might have nailed line craft but need help with story development.

And pay attention to the order of play when it comes to revision. Fixing plot holes at proofreading stage might damage previous rounds of editing. That’s a waste of time and money that every writer wants to avoid!

In this episode of The Editing Podcast, Denise and Louise chat with editor Sophie Playle about developmental editing and critiques for fiction authors.

​Click to listen to Season 3, Episode 6

​Listen to find out more about ...

• An overview of what developmental editing includes
• Critiques as big-picture evaluation
• Who benefits from developmental editing and critiques
• Where developmental editing and critiques fit into the editing process
• Whether an author needs to hire a specialist editor for developmental editing
• Writing coaching versus developmental editing
• The difference between story and plot
• Story structure – planning versus revision
• Story structure – conscious deviation from traditional three-act structure
• Story structure – momentum
• Narrative style
• Subplots – when they work and
• How theme can hold a story together

More about Sophie

• Sophie Playle, Liminal Pages
• Sophie’s editing courses
• Email: sophie@liminalpages.com
• Twitter: @sophieplayle
• Facebook: facebook.com/liminalpages
• LinkedIn: linkedin.com/in/sophieplayle

Resources mentioned in the show

• How to Write a Query Letter – Everything You Need to Know’, Sophie Playle
• ‘How to Write a Synopsis – Everything You Need to Know’, Sophie Playle
• Write a Great Synopsis: Nicola Morgan
• Developmental Editing: A Handbook for Freelancers, Authors and Publishers: Scott Norton
• Poetics, Aristotle
• Masterclass: David Mamet Teaches Dramatic Writing

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

Story-level critiques focus on the big picture – plot, pace, characterization, voice. Line critiques evaluate a book at a micro level, focusing on sentence construction, word choice, and readability. Here’s an overview of what to expect.

Story first ...
Think of your book as a construction project.

First you lay the foundations and build the walls – writing and redrafting to ensure the structure of your storytelling is sound. It’s where you and your editor (if you have one) focus on the big-picture stuff such as:

• Plot
• Pace
• Characterization
• Voice
• Tense choices
• Viewpoint decisions

At this macro stage, you might end up adding, deleting or shifting sections of your prose.

Some authors do their own structural editing because they’re good at it and have studied story craft via writing courses, groups or books. Others seek professional help, either because they’re at an earlier stage of their authorial journey or because they feel they’re too close to the book to see the problems.

One thing’s for sure – there’s no right or wrong way. Every writer has to make their own choices.

If a full, done-for-you developmental (or structural) edit isn’t the path you take, you might still decide to work with a specialist editor who analyses your book and provides a detailed report on its strengths and weaknesses at story level, and offers suggestions about how to improve your writing.
​
That’s where story-level critiques come into play. You might also hear them called manuscript evaluations and manuscript assessments.

​Line level second ...
Once the foundations and walls are in place, it’s plastering time – smoothing at sentence level to ensure that a reader’s journey through the pages is satisfying. In a sense, it’s still structural work but at a micro level. This is where you (and your editor if you have one) focus on nuances such as:

• Viewpoint
• Spelling, grammar, syntax and punctuation
• Dialogue
• Narrative readability
• Character description
• Thoughts
• Action beats
• Shown and told prose
• Tenses
• Formatting

Again, some authors do their own line editing because they’re good at it and have studied line craft via writing courses, groups or books. Others seek help.
If a full, done-for-you line- and copyedit isn’t an option, a line critique could be just the ticket.

A line critique, like its story-level sister, is an assessment or evaluation of your story but at sentence level. Your report will include examples from your novel that show what’s holding you back.

​You’ll also be offered suggestions on how you can fix any problems identified. Then you can implement what you learn throughout the rest of your book.

Critiques are about learning, not criticizing
Some authors are nervous about critiques. Pro editors get it – it can be tough to put your book in the hands of another and ask them to tell you what’s working and what’s not, especially when you’ve put in so much hard work.

The thing to remember is that a critique (whether at sentence or story level) is not about criticism. It’s about identifying strengths and weaknesses, and offering solutions so that you can move forward to the next stage of your publishing journey with confidence.

And critiques are a long-term investment. They enable you to improve your self-editing skills. That’ll save you time and money further down the line because anyone else you commission will have less to do.

The line critique: the process and the report
What follows is an overview of the way I handle line critiques. Every editor has their own process, but the basic principles will be similar.

1. The service: Mini line critique
Authors email a Word file comprising, say, 5K words of their novel. It’s in a writer’s best interest to include a section that includes both narrative and dialogue. That way we can assess whether both are working effectively.

Furthermore, if there are multiple viewpoint characters in the novel, and different viewpoint styles and tenses have been used, a sample that represents these choices will enable us to provide a report that evaluates the success of those decisions.

2. First readthrough
The first stage of the process is a complete readthrough of the 5K words. It’s not about micro-level reporting, not yet. Rather, we’re getting a sense of the author’s writing style, the characters’ voices, and the flow of the narrative.

 3. Second pass: Identification tagging
We go back to the beginning and start the analytical process, identifying the strengths and weaknesses of the author’s line craft.
 
We work through the sample, tagging sections of the text with Word’s commenting tool. The author won’t see these tags – they’re just a tool that allow us to locate the sections we’ll pull from the text and into the report for demonstration.
​
The text in the image below has been blurred in order to respect confidentiality, but you can see the tagging process in the margins of just one page of one of my reports.

4. Writing the report
Now that we’ve tagged the sample, we can create a report. Line critiques are usually between 20 and 30 pages long, depending on the length of the text samples the editor is pulling in and offering recasts for. 

Each report is divided into sections that address the strengths and weaknesses of the following:

NARRATIVE

• Clarity of narrative viewpoint
• Tense choice
• Showing and telling
• Character description
• Filter words
• Action beats
• Sentence length, flow and rhythm
• Adverbs and adverbial phrases
• Tentative language in relation to a told narrative

DIALOGUE AND THOUGHTS

• Voice, mood and intention
• Dialogue layout
• Dialogue punctuation
• Effectiveness of dialogue tags
• How thoughts are styled

TECHNICAL ELEMENTS

• Spelling
• Punctuation
• Grammar
• Syntax

FORMATTING

• Pre-proof layout recommendations
• Using Word’s styles tool

The tags in the sample allow editors to search for and locate the text we want to use as examples of good practice and to highlight areas with improvement potential.

​Here’s an example of one of those sections (I’ve disguised the identifying traits of the original in order to respect the author’s confidentiality):

5. Wrapping up and emailing the report
When the report is complete, we save it as a PDF and email it to the author. PDF is the tool of choice for many editors because it can’t be edited. If the client wishes to refer back to it during future writing projects, they can do so safe in the knowledge that nothing’s been accidentally removed.

Summing up
If you want to hone your line craft and polish your book at sentence level, but a full line- and copyedit is beyond your budget, consider a more affordable alternative: the line critique.

Think of a critique as another form of authorial development, of book-craft study. And what you learn from your critique won’t be something you can apply just to the current book. It’s a tool you can use with every story you write thereafter.
​
And here’s a free booklet that outlines the various levels of editing. Just click on the cover to get your copy (and, no, you don’t have to give me your email address!).

In this episode, Louise and Denise discuss writing and editing for the web with guest Erin Brenner

​Click to listen to Season 2, Episode 9

Listen to find out more about:

• Why working with web content is different from writing for the page
• In which programs should we create content for the web?
• Pre-upload checks on the writing
• Pre-upload checks on metadata links, and alt-text
• Quality control: self-editing versus third-party professional help
• How many editing passes?
• Fact-checking and authenticity
• The order of play for editing web content
• Style sheets and web content
• Language choice and style for web content

Editing bites

• Erin Brenner’s Web Style Checklist
• They Ask, You Answer by Marcus Sheridan

Other resources

• Erin Brenner, Right Touch Editing
• ‘Customer service: A cautionary tale of red flags and safety nets’ by Vanessa Plaister on the CIEP blog
• The AP Stylebook (Associated Press)

Music credit
‘‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

In this episode of The Editing Podcast, Denise and Louise talk about about page proofs and the proofreading process.

Click to listen to Episode 8

Summary of Episode 8

• Tangled terminology and how proofreading means different things to different writers and editors
• Designed page proofs versus raw-text files
• Defining page proofs
• Where proofreading and page proofs fit into mainstream publishing industry’s production process
• What to look out for at proofreading stage
• Knock-on effects that could damage designed page proofs
• The benefits of professional interior formatting

Editing bites

• The Penguin Guide to Punctuation (book by RL Trask)
• Quick and Dirty Tips (online hub hosted by Grammar Girl, aka Mignon Fogarty)

Related resources
Click on the image below to download my free proofreading checklist.

And check out these blog articles about proofreading too:

• Order! Order! Thoughts on proofreading method
• Proofreading designed page proofs: knock-on effects

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License: http://creativecommons.org/licenses/by/3.0/

If you're thinking about self-publishing a book, there 's something you need to know about prepping your prose before you go public: Proofreading is the last thing you need.

Begin on the starting blocks
When I say proofreading is the last thing you need, I mean it literally. Proofreading is the final stage in the editorial process prior to publication.

The self-publisher who moves straight from writing to proofreading is trying to win the race by starting on the finish line.

And unless you’re an extraordinary self-editor, you’ll be disappointed because it’s likely your book won’t be ready for market.
 
Retain control but mimic the mainstream
The beauty of self-publishing is the control you have over the process – you get to write the book you want on your terms. This means:

• You don’t have to fit into a press’s mould
• You can choose your distribution platforms
• You get to decide on cover design and your interior layout
• You can divvy up your budget into production, marketing and distribution chunks as you see fit

 
Still, the mainstream publishing industry knows a thing or two about producing books, and so they should – they’ve been doing it for long enough. And in their production world, proofreading comes last.
 
This isn’t because it’s less important than the previous stages of editing, or easier, or quicker, but because it’s the final quality-control check to pick up what the interior designer, copy-editor, line editor and even a developmental editor missed – anything from an inconsistent character’s name to a misplaced apostrophe, a missing page number to a misspelled word, a rogue paragraph indent to an incorrectly formatted reference.
 
This staged approach to editorial production, carried out by fresh, specialist sets of eyes, increases the likelihood that when the book hits the shelves – even the digital ones – most of the errors will have been fixed.
 
If you mimic the mainstream publishing industry when you self-publish, you reach for the same bar.

The different stages of editing
When it comes to the different stages of editing, things are complicated by the fact that there are no universally applied terms used within the publishing industry or by the thousands of independent editors and proofreaders. However, what the industry doesn't disagree on is the order.

​Here's a framework to help you visualize the process:

Be realistic: artistry versus wizardry
Some new writers think that hiring a round of proofreading will be enough to make their book ready for market. It comes as a shock, not least to the wallet, when they realize what mimicking the mainstream publishing industry will entail.
 
However, I promise you this – a proofreader will not be able to fix 14,000 spelling, punctuation and grammar errors, strengthen the narrative arc, and omit all the wordiness – all in one pass – and hand the file back to the writer with a guarantee of perfection attached to the invoice.

• First, some of those jobs – like problems with your story arc –  are well beyond the proofreader’s remit (and skill set if that person is a specialist proofreader).​
• Second, editors and proofreaders are artists, not wizards. One pass at any level of editing won’t be enough to locate and solve every problem.

 
8 tips for self-publishers on a budget
Here are some ideas that will help you make the tough decisions. Click on the image to save and download your own copy of the infographic.

​Last but not least … the proofreader
One pass is not enough. Proofreading is an essential part of the self-publishing process, but it’s only one part. Staged editing isn’t cheap – ask any mainstream press – but it’s the surest way to professional self-publishing that turns discerning readers into fans.

​And fans won’t just buy this book; they’ll buy every book you’ll ever write.
 
Related reading

• How do mainstream publishers produce books? And should you mimic them?
• Should a writer hire a freelance editor before submitting to an agent? 
• Slipping into character – understanding the impact of narrative point of view 
• Design essentials: Creating a stand-out book cover. Advice for authors
• 11 things that helped me succeed as a self-published author (Jeff Carson)
• What's a style sheet and how do I create one? Help for indie authors
• How do I find a proofreader, copyeditor or developmental editor?

Many independent authors want to see a sample of an editor or proofreader's work prior to signing a contract for editorial services. This post discusses sample edits, why they're useful, and what they cost.

Sample edits give the author the opportunity to compare the work of several different professionals and to assess the editing or proofreading against the price being quoted.
​

• For proofreading, the intervention should be primarily that of attending to any remaining snafus that were missed during previous rounds of deeper editing – micro issues such as spelling, punctuation, grammar errors and inconsistencies. Samples help the author to compare technical competence and ask, 'Who’s the best?'
  
  
• For line editing and copyediting, the intervention will be much deeper, involving not only micro corrections but also suggested recasts that smooth out and tighten up writing that’s disfigured by repetition, wordiness and awkward syntax. Here, we’re still working at the sentence level, but there’s a much higher degree of subjectivity involved.

The editor needs to be sensitive to the author’s style, the characters’ voices and the mood of the scene such that the soul of the writing remains intact.

​Samples help the author to compare editors’ technical competence and their emotional responsiveness to the text. In this case, the question is not so much 'Who’s the best?' but 'Who’s the best fit?'

What’s in it for the editor or proofreader?
Samples are beneficial for the editorial pro, too. Here are some of my reasons for doing sample edits:

Tangled terminology
Definitions of the different levels of editing vary widely from client to client and editor to editor. What X calls proofreading, Y would call copyediting.

What Y calls copyediting might be called line editing by Z. And where definitions differ, so do expectations. Working on a sample enables me to assess what’s required – regardless of the word(s) being used to describe that service.

Time: How long does it take?
Doing a sample edit shows me how long it takes to work through, say, a thousand words. That means I can estimate how many hours the project will take to complete and whether/when there’s an appropriate slot in my schedule.

A 100K-word novel that needs copyediting for spelling, punctuation and grammar errors and inconsistencies, and only a little tweaking for clarity may take 35 hours (one to two weeks in my schedule); a novel of the same length that requires a deeper line edit may take 100 hours (four to six working weeks in my schedule).

Appropriate pricing
Once I know roughly how long the project will take to complete, I can price it accordingly.

Am I a good fit?
I usually find that the process of immersing myself in the author’s words comes easily. In the case of a deeper line-editing sample, the work will certainly be time-consuming but I can feel my way through – mimicking the author so that my edits (or suggested recasts) improve and complement the original writing rather than rubbing up against it.

This isn’t always the case, though. Sometimes I’m just not a good fit – it’s not obvious how I can put the ooh! into the writing. It’s not that the amendments I’m making are technically incorrect but rather that I’m not able to find that emotional responsiveness that the client needs.

When that happens, it’s time to thank the author for the opportunity to do the sample and provide a quotation, but recommend they work with someone else.

Why I charge a fee for samples
​I usually charge a set fee of £50 for a sample of 1,000 words. Some of my colleagues offer free sample edits, so why do I charge?

My professional time has a cost to it
Every minute that I spend doing free editorial work is a minute I could be spending on paid-for work for clients or maintaining my business’s visibility (which is what leads clients to me in the first place).

Scheduling problems
Because I’m visible, I have little spare time in my schedule to fit in additional work, and certainly not free work.

It’s not as off-putting as you might think
I was curious as to whether potential clients would object to my charging for samples. In fact, since I introduced the policy last year, most enquirers have reacted to my fee positively – ‘Of course, not a problem’ is the standard response. This allows me to treat sampling like any other job I’m commissioned for.

Filtering
There have been cases, though they’re rare, where a client has asked 20 or 30 editors from my professional editorial society for a sample edit, and the chapters offered are all different. It appears that the enquirer is looking for a backdoor to a free complete book edit, farming out bits and pieces here and there. Charging for samples enables me to filter out the cheats.

The benefits of the gratis option
Charging for sample edits may not be the best course of action for all editorial freelancers.

While I’ve encountered little objection to date, there are some perfectly legitimate clients who expect a small sample to be edited for free on the understanding that an hour or two of gratis work is acceptable given the reasonable odds of securing the full project.

Here are some reasons why you might decide that free sample edits are the best option:

New entrant/low visibility
If you’re a new entrant to the field and are still building your discoverability, you might well decide that you want to take every opportunity possible to secure paying work.

And if that means doing a few small freebies here and there, that’s a price you’re willing to pay. In this case, you’d be justified in regarding free samples as part of your marketing strategy. I think this is a valid argument. In my start-up phase, I didn’t charge for samples for this very reason.

Scheduling
If you’re still building your business, you may have space in your schedule that more experienced and visible colleagues don’t have. In that case, the opportunity cost of doing a free sample will not be as high.

Continued professional development (CPD)
You could view the opportunity to do free samples as a way of developing your experience. You can apply what you’ve learned in training to live test cases.

By tracking whether these sample edits convert into commissions, you’ll be able to glean whether what you’re doing is appealing (or not) to potential clients. If you’re a new entrant to the field, sampling can be an invaluable teaching tool that gently introduces you to texts that need very different levels of attention.

The safe space
When I started up my business, the one thing that worried me was the element of surprise. What if the proofread I’d been commissioned for turned out to be a complete nightmare? What if in only reading the text, rather than actually working on it, I’d vastly underestimated the speed at which I could work and therefore undercharged?

Doing samples is a great way for the new starter to get a good sense of what they’re taking on, but in a safe space with no obligations. And because no money’s changed hands, there’s no chance of complaint because of misunderstandings over what’s on offer (from either the editor or the client).

It's not worth charging
Our international editing community is diverse, and we do a lot of different things for many different client types. Sometimes charging is more effort than it's worth. Here's Erin Brenner:

'I do free samples of up to 1,000 words. This allows me to show my value and ease any concerns about the edit. However, I work for corporate clients with ongoing work and multiple stakeholders. Charging for a sample edit would also mean getting the accounting department involved, which is more effort than its worth for both sides.'
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Make your own choice
I charge for sample edits (most of the time); others offer freebies. Some of my colleagues don’t offer sample edits at all, free or paid-for. There’s no right or wrong choice. How you decide to handle the issue should be based on what’s right for you, not on what others are doing.

Consider your availability, your stage of editorial business ownership, whether free sampling could be a marketing or CPD tool, and how comfortable you are with the possibility that some legitimate clients could be discouraged by charges.

​Think about doing a test over the course of a year – commit four months each to offering free samples, paid-for samples and no samples, and track your conversions. The results may surprise you!

Here's something to help you decide whether free, fee or test is the best approach to handling sample edits. Hope you find it useful!

And if you want a flavour of what other editors are doing, take a look at the lively discussions on LinkedIn and Facebook that emerged when I posted links to this article.

Unsure how mainstream publishers manage the editorial process? This post provides an overview and shows you why books take so long to get to market and what some of the costs are (to the publisher and even to the author!).

A note on scheduling … and marketing
In the mainstream publishing industry, books are commissioned and scheduled for publication often up to a year and a half in advance, sometimes longer!

That time frame isn’t down to the publisher being busy with other stuff; rather, it’s about giving the relevant team members the necessary time to take the book through a rigorous editing process and carry out a staged prepublication marketing campaign.

TOP TIP: When self-publishing, instead of promoting your book at the eleventh hour, plan and implement your marketing campaign well ahead of launch. That way, you can create a fan base and generate excitement about your novel before it goes to market, even pulling in some pre-order sales.

How do mainstream publishers produce books?
Every press’s editorial production chain is slightly different but the broad principles apply.

​3. ​Design #1
When the key members have agreed that the correction stage is complete, the raw-text files are handed over to a typesetter (if the book is to be printed). This is where the first proofs are created.

The typesetter formats the book so that the layout conforms to the agreed house style and is designed so that maximum use of the page space is made. Printing is very expensive so minimizing wasted white space is a key factor in the process. The typesetter needs to balance costs against aesthetics.

4. Proofreading
The production manager sends the first proofs (perhaps a chunk of paper but increasingly a PDF) to the author and the proofreader (usually a freelancer).

Both will check them carefully. The proofreader may be asked to proofread blind or against the original raw-text files worked on by the copyeditor (the latter is much slower). The proofreader’s job is not to make extensive changes, but rather to draw attention to any final spelling, punctuation, grammar, consistency or logic problems missed at earlier rounds of editing or introduced during the typesetting stage.

Every change the proofreader makes or suggests needs to be handled carefully in case it has a knock-on effect on the design, the page count and, consequently, the printing costs.
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It’s demanding work that requires experience and judgement about when to change and when to leave well enough alone. Some publishers even pass some of these costs back to the author – eek!

5. Final revision: Design #2
Now the proofreader’s corrected file and the author’s version go back to the production manager, who has to collate all the final amendments and instruct the typesetter to make the necessary corrections.

The typesetter creates a revised file and returns it to the production manager for sign-off. 

6. File creation and distribution (print, digital or both)
The final countdown! The production manager works with the typesetter and printer to create the final print book that will be delivered to the relevant distribution channels.

​In the case of e-books, the production manager will commission a digital formatter to create e-Pub files that are compatible with the market’s major e-readers and other digital devices. 

The elusive publishing deal and the editorial process
As you can see, there are a lot of stages and a lot of people involved. And that’s why it takes so long and why it’s so expensive to publish.

It also explains, in part, why writers can find it so hard to get a mainstream publishing deal; if the book bombs, there’s no return on all that investment. 

For publishers, novels that need a lot of work, or that don’t fit neatly into an obvious and currently popular genre, are difficult to sell (the high-street bookshops don’t know where to place them to grab readers’ attention).

Should you mimic the mainstream publishing industry's editorial process?
Mimicry will bring you quality – there’s no doubt about that. It’ll also require a major investment in time and money.

We all have to make difficult choices about what we do to make the things we create the best they can be. But there are limitations. I’m passionate about the independent author’s right to write, and I know that your pockets aren’t bottomless.

I hope this has shed some light on the mainstream publishing process! Until next time …

Developmental editing, line editing, copyediting, proofreading ... what on earth is the difference and what's best for you when self-publishing?

This post featured in Joel Friedlander's Carnival of the Indies #79
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A potted guide to the different levels of editing ...
If you’re a beginner writer and you’re planning to self-publish, you’ll be thinking about getting your book fit for market. Some of you might not realize that there are different levels of editing. And even if you do, you might be fuzzy about what distinguishes each service or what it’s usually called.

No shame in that, believe me – even among professional publishers and independent editors the terminology differs. Consensus be damned! The irony that this lack of clarity and consistency exists in a profession that prides itself on, well, clarity and consistency isn’t lost on me or my colleagues!

​In an effort to untangle the issue, I’m offering you a PDF that provides an overview.

The basics
Think of the editorial process like a play with several acts: writing, drafting, sourcing feedback from beta readers, self-editing, developmental editing or manuscript evaluation, line editing, copyediting, proofreading, publishing. The elements in bold are what we’re focusing on today.
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In a nutshell
Basically, there are two levels of work going on – the macro and the micro.

• MACRO – this is where developmental editing (also sometimes called content editing, substantive editing or structural editing) and manuscript evaluations (sometimes known as manuscript reviews or editorial critiques) are to be found. It’s big-picture work that looks at the novel as a whole.
  
  Editors who specialize in this level of service focus on how your book works – stuff like structure, plot, flow, point of view, characterization and pace.
  
  
• MICRO – this is where line editing, copyediting and proofreading are to be found. It’s sentence-level work that looks at the text on a line-by-line and word-by-word basis.
  
  Editors who specialize in these levels of service ensure your readers don’t trip up. Standard grammar, spelling and punctuation are focal points, but at copyediting and line-editing levels, clarity and readability are in play, too. Basic proofreading is usually the final prepublication check to catch any snafus that have been missed during the previous rounds of extensive professional revision.

What terms should you use when sourcing editorial help?
There’s a question! My advice is that you explain what you want rather than worrying too much about what it’s called. This is because different editors define their services in different ways. So what should you do?

• Take a look at the PDF below to get a broad sense of which type of editing might be most relevant for you.
• Cross-reference that information with what you find on editors’ websites. If after that you’re still not sure what you need, prepare a couple of sample chapters that you can send with a request to quote. That way, your editors can advise you on what they think needs doing and whether they have the requisite skills.
• Think, too, about the rounds of professional editing your book’s already been through (or not). If you haven’t yet commissioned prior assistance, you’re unlikely to be ready for a final prepublication proofread. I’m not saying this to be difficult – I’m just telling you what I’ve learned in 27 years of working in this industry!
• Consider asking editors to carry out short sample edits. Some of us charge a nominal fee while others do it for free. Even if an editor asks you to pay a nominal fee, consider it an investment. Samples will give you valuable information – not so much about who’s the best but, rather, who’s the best fit. You might just love the way one editor clicks with your writing even though several others have also offered excellent work.
  
  

Key points to remember

• Focus on what needs doing rather than what it’s called. You’ll save yourself a world of pain!
• Choose someone who makes you feel excited about being edited.
• Choose someone who’s comfortable with the genre you’re writing in. Take a look at editors' and proofreaders’ portfolios to see whether they have experience of working with books like yours.
• Once you’ve chosen your editor, brief them as well as you can. If you want your crime writing sharp and lean, and you feel you might have overdone the purple prose, tell them so they know that tightening up will be well received. If your fantasy novel is packed with made-up words, prepare your editor so they don’t bore you with unwelcome queries!
• Being edited makes some writers feel nervous or embarrassed. My telling you not to worry probably won’t help a jot, but remember this: we’re on your side – always! We’re your advocates and every change we make, or suggest, is done for you and serves your interests. We’re not there to criticize your writing but to elevate it.
• Be realistic. If you only hire one round of professional editing, at whatever level, please don’t expect perfection. It’s simply not possible.

So, that’s it for now. I hope you’ve found this discussion of the different levels of editing useful. If there are particular questions that you want clarification on, drop me a line and I’ll do my best to answer them.

As promised, here’s your guide! Just click on the image to download it to your device.