Louise Harnby | Fiction Editor & Proofreader
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The Editing Blog: for Editors, Proofreaders and Writers

FOR EDITORS, PROOFREADERS AND WRITERS

What is subediting? With Louise Bolotin

11/5/2022

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Summary of Episode 90

Want to add subediting to your editorial skillset? Louise Bolotin has been subbing for 17 years and knows the job inside out. In this episode, she shares her knowledge and experience. Listen to find out more about:
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  • What the different types of editors do in media publishing
  • The differences between subediting and copyediting
  • Editorial timescales for subeditors
  • Who controls the content
  • When things go wrong - legal responsibilities and insurance
  • Subediting lingo
  • A subeditor’s typical day
  • Transferring from copyediting to subediting - training and CPD
  • Core resources for the budding subber
  • How editing has changed over the years, especially for freelancers


Resources mentioned in the show

  • McNae's Essential Law for Journalists, 25th edition
  • National Council for the Training of Journalists
  • Subediting: London School of Journalism course
  • Practical English Usage, 4th edition (Michael Swan)


​Join our Patreon community

If you'd like to support The Editing Podcast, thank you! That means the world to us.
SUPPORT THE EDITING PODCAST


Music credit

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Fiction Editor & Proofreader
  • Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors
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Editing academic book proposals

26/4/2022

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​Summary of Episode 89

Want to know more about editing academic book proposals? Laura Portwood-Stacer discusses what it involves and how to develop your skills. Listen to find out more about:
  • What is an academic book proposal?
  • How and why editors can get involved
  • The types of work and the kinds of editing editors carry out
  • How academic book proposals differ from other types of book proposals
  • Who evaluates academic book proposals and what they're looking for
  • The key elements of an academic book proposal
  • Which elements authors typically need most help with
  • The contextual information editors need to gather from an author
  • How editors can learn about this type of work: The Book Proposal Book

Learn how to edit book proposals

  • Contact Laura: manuscriptworks.com and lauraportwoodstacer.com
  • Read The Book Proposal Book: manuscriptworks.com/book
  • Train as an academic developmental editor: courses.manuscriptworks.com
  • 10% discount coupon for course: EDITINGPODCAST


​Join our Patreon community

If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from: 
​
  • EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
  • EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
SUPPORT THE EDITING PODCAST


​Music credit

​‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Fiction Editor & Proofreader
  • Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors
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Academic developmental editing

29/3/2022

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Want to know more about academic developmental editing? Laura Portwood-Stacer discusses what it involves and how to develop your skills.
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​Summary of Episode 87

In this episode, Louise and Denise chat with Laura Portwood-Stacer about:

  • What academic developmental editing is
  • Required skills and background
  • Why academic authors seek help from developmental editors
  • What do academic developmental editors do?
  • Why it's different from other types of non-fiction editing
  • The benefits to editors of offering an academic developmental editing service
  • How academic developmental editors find clients
  • Training and resources for academic developmental editors


​Useful links and resources

  • Contact Laura
  • Read The Book Proposal Book
  • Train as an academic developmental editor


​Join our Patreon community

If you'd like to support The Editing Podcast, thank you! That means the world to us. There are two tiers to choose from: 
​
  • EditPod Tea Pot: Buy us a cuppa and help keep the podcast ad-free and independent.
  • EditPod Tea Party: All of the above, plus you get exclusive access to quarterly live Q&As that help you keep your business on track.
SUPPORT THE EDITING PODCAST


Music credit

​‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Fiction Editor & Proofreader
  • Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors
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6 tips for aspiring indie authors

10/11/2021

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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.
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1. Understand the different types of editing

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.
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2. Top tools and methods for writers on a budget

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.
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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.
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​3. Manage your first draft appropriately

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!


​4. Understand the difference between style, convention and peevery

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:


5. Recognize the pros and cons of being your own publisher

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.


6. Take control of cramped and communal work spaces

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!


​Summing up

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.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Fiction Editor & Proofreader
  • Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors
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Romance editing with Sarah Calfee

3/9/2021

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Learn about romance editing with editor Sarah Calfee in this episode of The Editing Podcast!
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Summary of Episode 76

  • 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


​Music credit

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Fiction Editor & Proofreader
  • Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors
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Becoming a non-fiction editor: 4 things you need to know

30/8/2021

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

  • 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)


​Music credit

‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Fiction Editor & Proofreader
  • Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors
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Becoming a fiction editor: 4 things you need to know

18/8/2021

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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!
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​Listen to find out more about

  • 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)


Music credit

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


More fiction-skills resources

​Check out these additional resources that will help you develop your fiction-editing business.
  • ​Conscious language resources (free booklet for editors)
  • ​​Fiction editing learning centre
  • How to Start a Fiction Editing Business (free webinar for editors)
  • Blog post: How to spell in a novel – wherever your characters are from
  • Blog post: 3 ways to reduce word count and write a leaner thriller
  • Book: Editing Fiction at Sentence Level
  • Book: ​Making Sense of 'Show, Don't Tell'
  • Business Skills Collection (6 ebooks)
  • Switching to Fiction (course for editors)
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Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

  • Get in touch: Louise Harnby | Fiction Editor & Proofreader
  • Connect: Twitter at @LouiseHarnby, Facebook and LinkedIn
  • Learn: Books and courses
  • Discover: Resources for authors and editors
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Editing short-form content

21/12/2020

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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.
Editing short-form content
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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​
​
Music Credit
'Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
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Sensitivity reading: Tips from editor Crystal Shelley

7/12/2020

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In this episode of The Editing Podcast, Louise Harnby and Denise Cowle talk to editor Crystal Shelley about sensitivity reading.
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​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/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
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Fiction copyediting for indie authors: Are you fit for purpose?

29/6/2020

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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.
Copyediting for indie authors
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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:
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  • 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
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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.

Case study

GOOD EDITOR; BAD FIT
The author
Jo Pennedanovel is navigating the independent publishing world for the first time. She’s never gone it alone so she’s working from scratch – writing, finding editorial support and a cover designer, building a promotion strategy, and learning about sales and distribution platforms.

The brief 
Jo knows that more than a proofread is required, but she’s happy with the big-picture aspects of her novel. She needs something in the middle: ‘copyediting’, she’s heard it called. So that’s what she looks for.

Jo goes online and searches for a copyeditor, finds someone who has over a decade’s worth of experience of copyediting fiction for some of the big-name publishing houses.

​If that editor’s good enough for them, they’re good enough for Jo! Jo hires the copyeditor for her book.

The outcome
Jo’s a professional and takes her writing seriously. She knows there will be outstanding glitches that were missed at copyediting stage, so she hires another editor to proofread her book. All well and good so far.

The editor fixes the outstanding proofreading glitches but notices the following:
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  • There are over 300 viewpoint drops – most are small but still glaring to him because, well, he’s studied line craft.
  • The prose is sometimes laboured and repetitive – not because Jo’s a poor writer but because she’s immersed in the storytelling rather than the minutiae.
  • A plethora of speech tags tell of mood that’s already been adequately conveyed in the excellent dialogue.

The fix
The proofreader could ignore all the line-craft issues. After all, he’s not been commissioned to do this work and it will cut into his hourly rate. And anyway, shouldn’t the previous editor have fixed this stuff?

Still, he’s committed to editorial excellence, wants a cracking book in his portfolio, and would like to work with that author again, so he decides that ignoring these problems isn’t an option.

He could do one of the following:
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  • Flag up the issues in a report but elect not to solve each individual problem.
  • Go the whole hog, offer suggested recasts so Jo can fix the problems easily, and write off the extra time as a marketing expense. Maybe he can persuade Jo to hire him for the copyediting stage next time.
  • Halt the proofread, go back to Jo, explain the problem and try to renegotiate the project brief.
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.
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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.
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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?
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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.
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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.
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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.
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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:

Author checklist

FINDING A GOOD-FIT EDITOR
  • Learn about the various levels of editing (there's a booklet below that will help you with that).
  • Be aware that publishing language is messy. Focus on the what rather than the what-it’s-called. One person’s ‘copyedit’ might look very different from another’s. One person’s ‘line edit’ might be another’s ‘stylistic edit’.
  • Check more than the editor’s career history. Where they worked is interesting; what they did is critical. Yes, they’ve copyedited a hundred novels for Hodder & Stoughton but what did that ‘copyediting’ include? Is that what you require, or might you need something deeper, more stylistic?
  • Get more than one sample edit if not-knowing-what-you-don’t-know is in play. That will give you a glimpse of how each editor would tackle your novel; how deep they’d go, and what the problems might be.
  • Consider their training. Have they learned about, or are they teaching sentence-level fiction editing? It’s only part of the story, but it’s yet another light you can shine to see what lies beneath the glossy portfolio.
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CLICK IMAGE TO ACCESS BOOKLET AND FREE WEBINAR
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.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
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How to save money and time with book coaching: The Editing Podcast, S4E4

11/5/2020

1 Comment

 
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.
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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
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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.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
1 Comment

What are the different types of novel editing?

16/3/2020

2 Comments

 
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.
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Feel free to enjoy this blog, and watch the complementary webinar or download the free ebook too.
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​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.
3 things you should know about developmental editing
  1. There are different types of developmental edits—full-novel edits in which the editor revises (or suggests revisions) that will improve story; critiques or manuscript evaluations that report on the strengths and weaknesses of story; and sensitivity reads that offer specialist reports on the potential misrepresentation and devaluation of marginalized others.
  2. Different editors handle developmental edits in different ways. One might include an assessment of genre and marketability; another might not. Some editors revise the raw text; others restrict the edit to margin markup. Check what you’re being offered against what you want.
  3. Developmental editing isn’t about checking spelling, grammar, and punctuation.
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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:
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  • 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
3 things you should know about line editing
  1. There are different types of sentence-level edits—full-novel line edits in which the editor revises (or suggests revisions) that will improve the line work; line critiques that report on the strengths and weaknesses of the line craft; and mini line edits in which the editor revises an agreed section of the novel such that the author can hone their line craft and mimic the edit throughout the rest of the novel.
  2. Different editors define their sentence-level services differently. Some include technical checking (copyediting) with the stylistic work, while some do the stylistic and technical work in separate passes. Check what you’re being offered against what you want.
  3. Line-editing stage is not the ideal place to be fixing problems with plot, theme, pace and viewpoint. Fixes are likely to inelegant and invasive.
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Copyediting
Copyediting is the technical side of sentence-level work. Editors will be addressing the following:
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  • 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
3 things you should know about copyediting
  1. Some editors offer line editing and copyediting together in a single pass. That combined service might be indicated by what it’s called, e.g. ‘line-/copyediting’. However, it might be called just ‘copyediting’ even though it includes stylistic work. Again, check what you’re being offered against what you want.
  2. Novel copyediting is best done in a single pass. When an editor works on separate chunks of text, inconsistencies are likely to slip through.
  3. One pass of a sentence-level edit is not enough to ready a novel for publication. Final quality control is necessary.
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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.
3 things you should know about proofreading
  1. A proofread is rarely enough, no matter how experienced the writer. It’s the last line of defense, not the only line of defense.
  2. Be sure to clarify with an editor what you want and which mediums the editor works with. Proofreading designed page proofs requires an additional level of checking that a raw-text review doesn’t. And some editors work only on raw text, some only on PDF, and some only on hard copy.
  3. Proofreading is about quality control. The proofreader should be polishing the manuscript, not filling in plot holes or trimming purple prose.

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!
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
2 Comments

Sophie Playle on developmental editing and critiques: ​The Editing Podcast

18/12/2019

0 Comments

 
In this episode of The Editing Podcast, Denise and Louise chat with editor Sophie Playle about developmental editing and critiques for fiction authors.
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​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.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
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What is a fiction line critique?

28/10/2019

7 Comments

 
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.
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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.
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That’s where story-level critiques come into play. You might also hear them called manuscript evaluations and manuscript assessments.
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​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.
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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.
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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.
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TAGGING IN A MINI FICTION LINE CRITIQUE
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):
CLARITY OF NARRATIVE VIEWPOINT
What worked
You held narrative viewpoint well and I commend your decision to separate the two viewpoint characters with chapters. This ensured the narrative voices remained distinct.
 
Using a present-tense second-person POV for your transgressor and a past-tense first-person POV for your protagonist worked extremely well. Have you read Complicity by Iain Banks? He does the same thing! It’s effective because it makes us wonder whether that first-person narrative is reliable, though you don’t give the game away until the denouement, which I loved.
 
The second-person POV also lent a rather creepy voyeurism to the transgressor chapters, and though these were demanding to read, you did give your readers plenty of breathing space with the contrasting protagonist chapters. Nicely done!
 
What could be improved
Your protagonist narrative was laboured at times because of the abundance of ‘I’. Overusing this pronoun can lead to an overly told narrative in which the reader is forced to experience everything via the character’s experience of it. This can be distancing. I’m not suggesting you remove every instance of ‘I’ plus the verb – not at all. Instead, consider toning it down and removing some of the filter words so that the reader can experience some of the doing with the character rather than through the character. Here are two examples and suggested fixes:

  • ORIGINAL (p. 14): I looked up and saw a shooting star zipping through the night sky.
  • SUGGESTED EDIT: I looked up. A shooting star zipped through the night sky.
 
Notice how I’ve suggested removing ‘I saw’, which feels redundant given that we already know that Marcus is looking up, and only tells us of more seeing being done. Instead, you can focus the reader’s attention on the immediacy of what’s seen once the looking up’s happened: the movement of the shooting star. That allows you to show readers what Marcus sees rather than telling them.

  • ORIGINAL (p. 24): I scuttled towards the garage and hid behind a large oak tree. I heard the sound of Phil’s boots on the gravel underfoot and smelled the sharp aroma of his awful aftershave. I realized he was close, about two feet away from me.
  • SUGGESTED EDIT: I scuttled towards the garage and hid behind a large oak. Gravel crunched. Rank aftershave tickled my nose. Phil was close, a couple of feet at most.
 
Notice how in the original there’s a lot of telling of what ‘I’ did. I like your use of a strong verb to introduce tension – ‘scuttled’ – but that tension dissipates with the more distant told narrative that follows. There’s telling of sound, smell, and realization. I’ve suggested you tighten up the paragraph by retaining the original anchor in which Marcus hides; perhaps follow that with a shown narrative that, again, allows the reader to experience the sounds and smells at the same time as Marcus rather than through his ears, nose and brain’s doing hearing, smelling and realizing.
 
Recommendation
Bear in mind that a first-person narrative, by definition, puts the reader in the character’s head. If you keep that in mind, you’ll save yourself a lot of work because you’ll need fewer words on the page.
 
Have a read through all the protagonist chapters and consider where you can tighten up the prose in order to limit some of the telling of doing being done. You can still anchor the first-person viewpoint with ‘I’ in places, of course, but you might recast some of writing that follows with shown action. 

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.
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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!).
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Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
7 Comments

Writing and editing for the web: The Editing Podcast

28/8/2019

3 Comments

 
Learn these top tips for writing and editing for the web with our Editing Podcast guest Erin Brenner.
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Summary of Episode 27

  • 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. http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
3 Comments

Page proofs and the proofreading process: The Editing Podcast

11/3/2019

0 Comments

 
In this episode of The Editing Podcast, Denise and Louise talk about about page proofs and the proofreading process.
The Editing Podcast
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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.
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/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
0 Comments

Self-publishing? Why the last thing you need is a proofreader

5/3/2018

4 Comments

 
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.
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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:

1. SHAPING

​This is the big-picture work that focuses on stuff like structure, plot, pace, narrative point of view and characterization. Terminology varies but look out for the following: developmental editing, content editing, substantive editing, story editing or structural editing.

2. SMOOTHING

​This is sentence-level work that focuses on flow, form, readability and engagement. You might hear it called line editing or stylistic editing.

3. CORRECTING

This is sentence-level work that focuses on correct and consistent spelling, grammar, punctuation and layout. It might include fact-checking, too. It’s usually referred to as copyediting.

4. VERIFYING

This is the quality-control stage that picks up anything missed beforehand. This is where proofreading comes into play. If working on designed page proofs, the proofreader will also be checking that the layout matches the brief.

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.
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​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?
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
4 Comments

What's a sample edit? Who does it help? And is it free?

22/1/2018

16 Comments

 
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: Free, fee or test?
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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.
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  • 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.'
​
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.
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Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
16 Comments

How do mainstream publishers produce books? And should you mimic them? Help for self-publishers

15/5/2017

2 Comments

 
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!).
Publishing editorial process
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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.
1. Developmental work
This is the first stage in the editorial process.

The editor (often the commissioning editor) will review the manuscript to check whether there are problems with the overall structure of the novel. Other key players may also be involved. Here, we're talking about issues such as (but not limited to) the following:
  • Does the plot make sense and are all the loose ends tied up by the end of the novel?
  • Does the narrative flow work?
  • Are the characters engaging and individually formed in a way that draws the reader in and holds the story together?
This big-picture work is the SHAPING or STRUCTURING stage. There may be a lot of back and forth between the editor and author if there are extensive changes required before the book’s ready for the next stage.

​KEY MEMBERS: Author, editor, peer reviewers

2. Copyediting and line editing
When everyone’s in agreement that the shaping stage is complete, the editor hands over the project to the production manager. 

The production manager is responsible for seeing the book through to publication. A copyeditor (usually a freelancer) will work through the book line by line, word by word, to carefully smooth the text at sentence level, attend to inconsistencies and errors, and query any problems directly with the author.
This sentence-level work is the QUERY and CORRECTION stage. Depending on the extent of the problems, this process could take several months and require the copyeditor to work on parts of the text several times.
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KEY MEMBERS: Author, editor, production manager, copyeditor
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​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.
This is the FIRST PROOF stage. The first proofs are essentially a first draft of what the finished product will look like when it’s picked off the shelves in a bookshop. The completed first proofs are delivered back to the production manager.
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KEY MEMBERS: Author, production manager, typesetter

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.
​
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!
This is the QUALITY CONTROL or CHECKING stage. The proofreader does not amend the raw text but annotates the paper or digital pages, often using proof-correction markup language (a kind of shorthand that looks like hieroglyphics to the untrained eye!).

KEY MEMBERS: Author, production manager, proofreader, typesetter

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. 
This the SECOND PROOF stage. We’re nearly there!
​
KEY MEMBERS: Author, production manager, typesetter

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. 
This is the PUBLISHING stage. The book is delivered to market!

KEY MEMBERS: Production manager, digital formatter, typesetter, printer

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 …
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
2 Comments

​The different levels of editing. Proofreading and beyond

27/3/2017

13 Comments

 
Developmental editing, line editing, copyediting, proofreading ... what on earth is the difference and what's best for you when self-publishing?
The different levels of editing: proofreading and beyond
This post featured in Joel Friedlander's Carnival of the Indies #79
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The different levels of editing
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.
The different levels of editing. A potted guide
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.

She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast.

Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
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