James G. asks: I'm ready to find an editor for my completed novel. How do I go about it? How do I know what to look for? Are there questions I should ask? What if I'm not satisfied?
I'd love to say, "Just hire me and all your problems will be solved," but the truth of the matter is, finding the right editor for your manuscript is like finding the right doctor for your health. We all have different needs, different personalities, and different expectations.
Let me tell you a story.
A while back, I was shopping for an editor for my first indie-pubbed work. I did some online research, contacted writer friends for referrals and started with a list of ten options. Three of those were out of my price range. Down to seven. Three couldn't meet my time requirements. Four left. One felt a conflict of interest since she was currently working with a manuscript with a similar theme as mine and backed out of the project. With three left, I opted to go with the editor referred by one of my closest writer friends because I really respected her opinion. When I hired this editor, I explained that I prided myself on writing an uber-clean manuscript so I wasn't overly concerned with line edits (though she should definitely correct any sporadic typos or errors she found) and I wanted her to focus more on structure (did I leave any loose ends? Is the story credible? Could she see the character arc clearly?). She assured me she was up to the challenge.
A few weeks later, I got the manuscript back, and I was major league disappointed. She had amended words from correct to incorrect usage (I used "sloe-eyed"; she changed it to "slow-eyed." Really? I mean, REALLY?!) Instances where I'd intentionally repeated a phrase or statement for emphasis, she deleted with the comment, "repetitive." (Duh.) There was absolutely no feedback regarding my structural concerns. I sent an email, thanking the editor for her work, but asking (again!) about my structural concerns. No reply. A week later, I sent a follow-up email and wound up with a, "Oh, yeah. It's fine" reply. The experience not only left a bad taste in my mouth, it made me think that this editor was more interested in my payment than in my manuscript. I wound up sending the manuscript to someone else to fix the edit mistakes she'd created.
My unsatisfactory results with this editor ultimately led to my launching Excellence in Editing. No writer should pay for shoddy service! And an editor should deliver on what (s)he promises!
So...how do you know? Here are a few tips:
1. Get references and check them out. Ask for book titles, buy, and read! Remember, this is someone who will polish your work. If you see lots of errors or weaknesses in the stories previously edited, beware!
2. What experience does the editor have with your personal goal (contests, NY publishers, small press, or indie publishing)?
3. Ask for a sample! Some editors (like me) will edit a few sample pages for a flat fee. The good thing about a sample is, it gives each of you a chance to feel each other out.
4. Understand what you need and stress those needs to your prospective editor. Line edits are about punctuation, typos, grammar, and spelling. Structural edits are about the story.
5. Discuss payment and refund options.
6. Be sure the editor offers you at least one follow-up.
7. Have a contract! Editing is a business and shouldn't be handled fly-by-night.
Have any questions or concerns, contact me, whether you plan to hire me or not.
Showing posts with label Ask the Editor. Show all posts
Showing posts with label Ask the Editor. Show all posts
Saturday, March 23, 2013
Saturday, October 20, 2012
Ask the Editor: Do I Need a Critique Group?
Maggie A. sent me the following:
Hi Gina. Great blog! I've learned a lot here and printed out copies of stuff I can use later. I'm a newbie author, still working on my first novel, a historical romance that takes place in the time of Charlemagne. Some people have recommended I find a critique group to share my chapters with, but I recently heard a New York Times best-selling author say critique groups stagnate a writer's creativity by sticking to "the rules" too much. Do you agree with that statement? As an author, do you belong to a critique group? If yes, what are the benefits? If I wanted to look for a critique group, where would I start and what should I look for? What should I avoid?
Hi Maggie! Thanks for reading and for the great question. Currently, I have two critique partners and belong to one small critique group where I rely on the opinions and guidance of three very talented writers. I've actually run the gamut on critique groups over the years. Some have been extremely helpful, some have been nightmares.
Certainly, I believe you should have at least one critique partner--preferably someone who is at about the same level as you, writing-wise, but with different strengths. For example, if you're really good at plotting but your mechanics (grammar, punctuation) need major work, find a writer with excellent mechanical skills who has difficulty carrying an idea through to fruition. You'll both benefit from your relationship. Unfortunately, that's easier said than done. This is why a lot of writers join critique groups: the bigger the pool of writers, the easier it is to find someone with strengths that mirror your weaknesses. But that ease comes with a few costs.
For one thing, the more opinions you receive, the more you'll lose your voice by trying to please all those critiquers. Be strong enough to believe in yourself and what you're writing but not so rigid that you dismiss constructive advice. It will take a while for you to know when to go with your gut and when to heed someone else. So don't rush to make changes to your story every time someone disagrees with you. Let it simmer, mull it over, try different versions, but always keep the original intact somewhere.
A more important concern: the bigger the pool, the more varied the personalities. Large critique groups (more than seven members) often fall apart due to in-fighting. Writers are passionate people. We have to be passionate to put our emotions on the page. In large groups, however, this passion can spill over into ugly confrontations or worse, back-stabbing. Drama creates drama creates drama, etc. until there are vicious lines drawn that often affect the entire circle with devastating results. Many critique group members wind up leaving (or get thrown out) after a heated disagreement with group members or the group owner. So be careful who you trust.
This isn't meant to scare you off critique groups. Finding people you can rely on, whose opinion you value, is often a lot of hit-and-miss. Honestly, it depends upon the personality of the writer. You need nerves of steel, a strong backbone, and thick skin. But the rewards can be worth the war--if you find the right circle of writers to strengthen your skills and help launch you into the publishing world.
Good luck to you!
Hi Gina. Great blog! I've learned a lot here and printed out copies of stuff I can use later. I'm a newbie author, still working on my first novel, a historical romance that takes place in the time of Charlemagne. Some people have recommended I find a critique group to share my chapters with, but I recently heard a New York Times best-selling author say critique groups stagnate a writer's creativity by sticking to "the rules" too much. Do you agree with that statement? As an author, do you belong to a critique group? If yes, what are the benefits? If I wanted to look for a critique group, where would I start and what should I look for? What should I avoid?
Hi Maggie! Thanks for reading and for the great question. Currently, I have two critique partners and belong to one small critique group where I rely on the opinions and guidance of three very talented writers. I've actually run the gamut on critique groups over the years. Some have been extremely helpful, some have been nightmares.
Certainly, I believe you should have at least one critique partner--preferably someone who is at about the same level as you, writing-wise, but with different strengths. For example, if you're really good at plotting but your mechanics (grammar, punctuation) need major work, find a writer with excellent mechanical skills who has difficulty carrying an idea through to fruition. You'll both benefit from your relationship. Unfortunately, that's easier said than done. This is why a lot of writers join critique groups: the bigger the pool of writers, the easier it is to find someone with strengths that mirror your weaknesses. But that ease comes with a few costs.
For one thing, the more opinions you receive, the more you'll lose your voice by trying to please all those critiquers. Be strong enough to believe in yourself and what you're writing but not so rigid that you dismiss constructive advice. It will take a while for you to know when to go with your gut and when to heed someone else. So don't rush to make changes to your story every time someone disagrees with you. Let it simmer, mull it over, try different versions, but always keep the original intact somewhere.
A more important concern: the bigger the pool, the more varied the personalities. Large critique groups (more than seven members) often fall apart due to in-fighting. Writers are passionate people. We have to be passionate to put our emotions on the page. In large groups, however, this passion can spill over into ugly confrontations or worse, back-stabbing. Drama creates drama creates drama, etc. until there are vicious lines drawn that often affect the entire circle with devastating results. Many critique group members wind up leaving (or get thrown out) after a heated disagreement with group members or the group owner. So be careful who you trust.
This isn't meant to scare you off critique groups. Finding people you can rely on, whose opinion you value, is often a lot of hit-and-miss. Honestly, it depends upon the personality of the writer. You need nerves of steel, a strong backbone, and thick skin. But the rewards can be worth the war--if you find the right circle of writers to strengthen your skills and help launch you into the publishing world.
Good luck to you!
Tuesday, October 9, 2012
Ask the Editor: Dialogue Tags
Melissa D sent me the following: I'm confused about how to use punctuation with dialogue. When should I use a comma and when should I end with a period? What's the difference between single quotes and double quotes? And if the character is asking a question, does the question mark go inside or outside the quotation marks?
Another great question, and a source of much frustration for me when I see it done wrong in published work! Thanks, Melissa.
If the the dialogue is a question, the question mark goes inside the quotes: "Why are you doing this to me?" or "Why are you doing this to me?" she asked.
Let's try to separate those four.
#1. He asked. (He asked what? Incomplete thought=dialogue tag.)
#2. She slammed the door so hard the walls shook. (Complete sentence.)
#3. He said to no one in particular. (He said what? Incomplete thought=dialogue tag.)
#4. With one last scathing look at the house, Carrie stalked to the waiting cab. (Complete sentence.)
Hope this helps! If not, feel free to email me at ginaardito@gmail.com for additional clarification!
Another great question, and a source of much frustration for me when I see it done wrong in published work! Thanks, Melissa.
In the U.S., we always use double quotation marks for dialogue. Single quotation marks are only used inside double quotation marks.
“I want to watch ‘Dancing With the Stars,’” Robbie shouted.
Punctuation goes inside the quotes.
“Too bad, Robbie,” Nicole replied. “‘Whose Line Is It Anyway?’ is on tonight.”
Clear as mud? Okay, let’s try another.
The witness hesitated.
“Don’t be embarrassed,” the attorney told her. “Simply repeat what the defendant said to you for the court record.”
After a long moment, the witness sighed and leaned forward to speak directly into the microphone. “He said, ‘I’ll kill you first!’” she whispered in a tone roughened with raw emotion.
“And how did you respond?”
“I asked him why.” Her voice, though softer than a child’s coo, carried volumes across the silent courtroom. “‘Why are you doing this to me?’ I’d never given him a reason to distrust me.”
Notice, too, that my dialogue tags are not capitalized—except in the last exchange. Why? Because the last exchange is not a dialogue tag. “Her voice…carried…” is an action. “He said,” “she cried,” “he exclaimed,” “she whispered,” “he asked,” etc. are all dialogue tags. “He rose from the table.” is an action. “She glanced up.” Action. “Mom hung up the phone.” Action. If “Mom exclaimed, and then hung up the phone,” it’s a dialogue tag. Dialogue tags complete the dialogue and are included as part of the dialogue. Even dialogue that ends with a question mark or exclamation point is part of the dialogue. Actions are separate thoughts and require a new sentence. If you took away the dialogue and the rest of the passage is still a complete sentence, requiring no further clarification, it's not a dialogue tag.
“Where are you going?” he asked.
“What do you care?” She slammed the door so hard the walls shook.
“What a witch!” he said to no one in particular.
“Jerk!” With one last scathing look at the house, Carrie stalked to the waiting cab.
Sunday, September 2, 2012
Ask the Editor: How to Write Numbers
Suzanne C. asked: "What is the rule for using numbers in a fiction manuscript? Should I write them out or is it okay to use the integers?"
I hate to tell you this, Suzanne, but it depends on the number.
When adding numbers to your manuscript, always write out any number under a hundred, any non-specific number, or any number spoken in dialogue:
“We met three years ago.”
"Adelaide was twenty-two.”
"Tom hosted a party for their fiftieth anniversary.”
"Thousands of bees flew from the hive."
or
"She turned to page 387."
Time with less than round minutes, telephone numbers, addresses and zip codes, dates, and years can use numerals.
"I woke around ten o’clock."
"Lisa got to work at 6:34 a.m."
"The battle took place on December 3, 1796."
"George parked in front of 11 Elm Street."
Hope this helps and thanks for the question!
I hate to tell you this, Suzanne, but it depends on the number.
When adding numbers to your manuscript, always write out any number under a hundred, any non-specific number, or any number spoken in dialogue:
“We met three years ago.”
"Adelaide was twenty-two.”
"Tom hosted a party for their fiftieth anniversary.”
"Thousands of bees flew from the hive."
or
"She turned to page 387."
Time with less than round minutes, telephone numbers, addresses and zip codes, dates, and years can use numerals.
"I woke around ten o’clock."
"Lisa got to work at 6:34 a.m."
"The battle took place on December 3, 1796."
"George parked in front of 11 Elm Street."
Hope this helps and thanks for the question!
Saturday, August 18, 2012
Ask the Editor: Multiple POV
Caren H. wrote: Do I have to start a new chapter every time I change point of view? How many POVs can you have before it's considered "head-bouncing"?
Great question, Caren! Thanks for asking.
First, let's define POV:
In any work of fiction, you as the writer have the option to tell the story from one of three points of view. There’s first person (I, me), second person (you—rare, but I’ve seen it done really well!), and the most common, third person (he/she, him/her). There is a fourth POV, omniscient, wherein the author is the viewpoint person. But omniscient wreaks havoc with Show vs. Tell (a lesson for another time).
Third person POV is the most prevalent because it allows an author to tell more than one side to a story. But…it has a major drawback: the possibility to waffle between characters’ heads from one sentence to the next, aka head-hopping.
When you’re in one character’s POV (or shoes, if you will), you can only describe what that particular character sees, feels, tastes, hears, etc. So if I’m in Joe’s POV in a particular scene, I can’t tell my reader Daphne is hungry (unless he hears her stomach growl), afraid (unless he sees her pale features and wide eyes) or hot to jump his bones (unless she actually does jump his bones.) If your viewpoint character doesn’t personally experience something, you cannot tell (or show) the info to your reader through his POV!
Joe can’t (or shouldn’t) describe the color of his own eyes, hairstyle, build, or facial expression. So a sentence like, “Joe brushed his sandy brown hair from his cobalt eyes and set his firm jaw.” should be avoided as much as possible. Does this type of sentence happen? Sure. And it’ll slip past an editor, too. But the more you write and become cognizant of the pitfalls, the more these errors will leap out at you when you’re reading someone else’s work—or your own.
This is why a lot of writers have their characters describe their features while staring at their reflection in a mirror or other shiny object. (Please don’t do this. It’s weak and easy. Your reader deserves better.) And please don’t tell me you should be able to head-hop because “Nora Roberts does it.” When you’re churning out as many bestsellers as Nora every year, then hop into a different head in every sentence if you’d like. ‘Til then, you might want to stick to one person’s mind at a time.
So, we're clear on POV? Good, let's back to Caren's question.
How long do you have to stay in one character’s head? Generally, I like to remain rooted for a full scene, but there are exceptions. Love scenes, for instance, are a perfect place to show two different points of view. But like lovemaking itself, the act requires some delicacy, balance, and good timing.
Email questions to Gina at ginaardito@gmail.com!
Great question, Caren! Thanks for asking.
First, let's define POV:
In any work of fiction, you as the writer have the option to tell the story from one of three points of view. There’s first person (I, me), second person (you—rare, but I’ve seen it done really well!), and the most common, third person (he/she, him/her). There is a fourth POV, omniscient, wherein the author is the viewpoint person. But omniscient wreaks havoc with Show vs. Tell (a lesson for another time).
Third person POV is the most prevalent because it allows an author to tell more than one side to a story. But…it has a major drawback: the possibility to waffle between characters’ heads from one sentence to the next, aka head-hopping.
When you’re in one character’s POV (or shoes, if you will), you can only describe what that particular character sees, feels, tastes, hears, etc. So if I’m in Joe’s POV in a particular scene, I can’t tell my reader Daphne is hungry (unless he hears her stomach growl), afraid (unless he sees her pale features and wide eyes) or hot to jump his bones (unless she actually does jump his bones.) If your viewpoint character doesn’t personally experience something, you cannot tell (or show) the info to your reader through his POV!
Joe can’t (or shouldn’t) describe the color of his own eyes, hairstyle, build, or facial expression. So a sentence like, “Joe brushed his sandy brown hair from his cobalt eyes and set his firm jaw.” should be avoided as much as possible. Does this type of sentence happen? Sure. And it’ll slip past an editor, too. But the more you write and become cognizant of the pitfalls, the more these errors will leap out at you when you’re reading someone else’s work—or your own.
This is why a lot of writers have their characters describe their features while staring at their reflection in a mirror or other shiny object. (Please don’t do this. It’s weak and easy. Your reader deserves better.) And please don’t tell me you should be able to head-hop because “Nora Roberts does it.” When you’re churning out as many bestsellers as Nora every year, then hop into a different head in every sentence if you’d like. ‘Til then, you might want to stick to one person’s mind at a time.
So, we're clear on POV? Good, let's back to Caren's question.
How long do you have to stay in one character’s head? Generally, I like to remain rooted for a full scene, but there are exceptions. Love scenes, for instance, are a perfect place to show two different points of view. But like lovemaking itself, the act requires some delicacy, balance, and good timing.
Does every POV switch require a page or chapter break? Not necessarily. Many publishing houses prefer at least a scene break, but if the scene is seamless, you can generally get away without it. By “seamless” I mean that there’s been no change in time or location. There are ways to transition from one POV to the other without actually skipping lines or ending a chapter. I like to use a touch. Almost like playing tag, if my POV character touches another character, I use that device to seamlessly switch POV. Dialogue can help transfer you from one POV to another. For instance, if your POV character, Joe, says, “What do you think, Daphne?” you can describe Daphne’s thought process and seamlessly move into her POV. Just don’t slip back into Joe’s POV the moment Daphne stops talking! Once you’ve switched from one POV to another, spend some time in the new surroundings.
POV purists will insist you need at least a page break for either of these instances, but I’ve yet to have an editor force me to make the change. So if your critique partners bust your butt about it, you can choose to add the page break or to leave the scene whole until an editor or agent won’t acquire the manuscript unless you make the change.
Email questions to Gina at ginaardito@gmail.com!
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