Category: A Little Red Ink

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A Little Red Ink Editing

Conferences: Paid Critique

Conferences: The Paid Critique

So you’re thinking about attending a writers conference, or perhaps you’ve already registered for one. Even if you’re a pro at this, a paid critique still may benefit you. You’ve got a new story, and every story is different.

Here’s why:

One-on-one attention from an industry professional.

401(K) 2012
A worthy investment. Photo cred: 401(K) 2012

 

For a small investment, you get to sit down with an agent, an editor, a seasoned author. Not only are you getting a fresh set of eyes on your work, you’re also getting their experience and expertise. And this is not a pitch, so there’s not quite as much at stake. It’s a lesson, a mentoring session.

Be a learner.

You thought I was going to say more than that, eh? Not so much. That gem speaks for itself. With the fresh set of eyes comes a fresh perspective. Be a learner.

Photo cred: Alice Birkin

Let’s look now at the different industry professionals who might be willing to meet with you.

Paid Critique: Agents

If you’re on the Great Agent Hunt, this is ideal. You’ll get to not only see what the agent thinks of your work but also get feedback. When you query them, most agents don’t take the time to offer tips or insight unless they genuinely feel that, with some revisions, your work would be a good fit for representation. So this is a rare treasure! Choose the agents you meet with carefully, though. Don’t waste an agent’s time (or yours!) if you write sci-fi and all their other clients are historical fiction. Do your research beforehand and pay for a critique from your dream agent.

Some agents truly are as cool as Sidney Bristow and James Bond. Photo cred: Alice Birkin
Some agents truly are as cool as Sidney Bristow and James Bond. Photo cred: Peggy Marco

To me, one of the best reasons to meet with an agent at a conference is to get a feel for their personality. In the agent-author relationship, it’s most important to find someone you could work with well. You may want a champion, a cheerleader, a career advisor. You may need a quiet professional relationship.

I remember at one of my first writers conferences, I met with an agent who�����������on paper—looked ideal for me. It turned out my work wasn’t a good fit for her, and I actually felt relieved. I could see, even before we sat down for the appointment, that our personalities wouldn’t gel. The meeting only confirmed it. We both handled ourselves professionally, and I can honestly say she’s a well-respected agent with impeccable taste. I just wouldn’t have enjoyed working with her. That’s important to me. Now? I count my agent a dear friend. (And she’s better than Sidney Bristow.)

Paid Critique: Editors

Again, do your research early and choose your appointments wisely. Get feedback from editors you hope will love your book. Listen to what they say about your writing. Ask questions about your story. But most of all, use the opportunity to ask them what they’re looking for. What makes a good story in their opinion? If they could give you any piece of advice, what would it be? They���re meeting with you because they want to be an encourager and a sharpener to you. If they didn’t want that, they wouldn’t offer paid critiques.

(Many don���t. They may still play this role in an appointment, though. If you’d like to see what editors want from their regular appointment slots at a conference, check out this excellent post by Karen Ball.)

So many authors, so many styles. Photo cred: Anton

Paid Critique: Authors

Meeting with authors who write in your genre is always a good idea. Get feedback—after all, they’re published. They know what works. Listen to their pointers on your writing with an open mind. Take notes. Think about what they’ve said that will work for you. They won’t try to change your voice, but you can gain valuable insight into both the industry and the writing process.

If you’re an indie author, this opportunity is golden. So very much goes into writing and launching and marketing a book well, and every author has their own story. Be brave and ask the hard questions. You may find the conversation invigorating and leave feeling better equipped for the challenge!

Wrapping up

Make the most of these opportunities. Many connections formed during these appointments can lead to valuable relationships. The publishing industry is always shifting and changing, and there’s always something to learn.

Have you ever had a paid critique? Tell me how it went.

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A Little Red Ink Editing

What is a critique?

What is a critique?

Well, it’s one of my favorites. A critique is very much like a macro edit, only the editor probably won’t comment in the margins of your manuscript. Rather than take the time to stop and comment throughout, the editor acts as a reader and sends you their notes at the end. (Hint: that’s why I like it.)

It’s still important to choose your freelance editor wisely, seeking out someone with a good track record and respect from others in the industry. But this is a step that, used wisely—especially if you’re someone who has spent the time to learn the craft well and doesn’t need help on the fundamentals of writing—can save you from paying for a full macro (or substantive) edit. You still probably need a line edit, a copy edit, or a proofread after this, though.

Let’s get a little more in-depth. What is a critique exactly?

A critique highlights your strengths.

While your editor reads, he or she is taking notes. Lines that made an impression, scenes that were meaningful, moments that characters won your affection. Any moment where they sat safely in the palm of your hand, caught up in the story and feeling exactly as you wanted them to—those will get some praise.

I might compliment your solid hook and satisfying resolution. Tell you how quickly I felt anchored to your story world. Anywhere from beginning to end, plot to pacing to POV and back—if you did it well, I’ll tell you so (and give an example or two).

While I’m reading and targeting items on my checklist, I’m noticing the problem areas as well.

A critique points out your weaknesses.

The first chapter didn’t grab my attention or empathy quickly enough. There was a three-page backstory info dump. Your main character isn’t very likable. Your antagonist is a bit cartoonish. The middle sags. This moment—which really needed to pack a punch—got weak-kneed and sat down.

Those are easy enough fixes. But there may be something more in depth.

What if I can’t keep up with all six POV characters? Or, perhaps, I can keep up with them, but one of them adds nothing to the plot—nothing complex, nothing that makes the POV worthwhile.

What if you have four minor characters who all do essentially the same thing? Can one or more of them be combined?

Perhaps a character’s motivation wasn’t compelling.

If you think this part of the edit might make you cry, don’t fear too, too much.

(Honestly? It might make you cry. I’ve gotten a few that have made me cry, because I’m not armadillo-skinned).

But there’s hope.

A critique makes suggestions.

When I do a critique for someone, I don’t merely point out their manuscript’s flaws and say, “Good luck with that.” I make suggestions. I brainstorm ideas. I come up with a compelling reason or two for something and list a few spots where that might be easy to work in.

A good editor will share ideas about how two minor characters could be combined.

She might suggest adding a scene or two. She might suggest cutting a scene or two.

Your editor could say, “Cut all the on-the-nose writing.” If there are details everyone knows happened, but they don’t move your plot forward? Snip, snip, snip.

[bctt tweet=”A critique is an editor’s professional opinion of your work. Ultimately, though, the choices are yours to make. #editing #critiquevsedit”]

A critique is subjective.

Ultimately, though, the choices are yours to make. A critique is an editor’s professional opinion of your work. If they know what works in your genre, trust them. But don’t let anyone make YOUR story THEIR story.

Sift through the advice.

Put the letter away for a few days and do nothing to your manuscript.

Definitely consider the major weaknesses. Work on those.

And then look at the brainstorming ideas again. A few of those ideas will be gems, maybe even be enough to help you fall in love with a story that was beginning to suck the life out of you. (Hey, it’s happened.) Figure out what you can do with them, and let them take your story to the next level.

And then go for it.

On your own.

A critique is the end of that bit of editing.

Unlike with a macro edit, where there may be a bit of back and forth on the editing (some go as many as three rounds), a critique is sort of a standalone. The editor reads your books, writes the critique up, and sends it to you.

That’s it.

What you do with it from there is all you.

To me, though, that’s fun. As an editor, I find it enjoyable work. As an author, I find it empowering. I know what to do to make my story better.

Question

Have you had a professional critique done? How did you feel about it?

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A Little Red Ink

What is a Proofread?

What is a proofread?

I’m sure you know by now the importance of wisdom as you choose a freelance editor. If you’ve missed the other posts defining the levels of editing, you can use the links below to catch up.

Macro (or substantive) edit

Line edit

Copy edit

Today, let’s talk about what a proofread entails.

The proofread is the final step…

before going to print (or uploading to online retailers).

Your book should’ve already had both a macro and copy edit, and—ideally—it will have even been formatted before this. The proofreader’s job is to catch remaining typos and word repetition, spot inconsistencies in formatting, make note of spacing issues, and basically get your book into perfect condition for print.

If you’re working with a publishing house, they will have certain in-house standards. You may or may not be involved in this step of the process.

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Ways to proofread.

Some proofreaders prefer to print out the manuscript and do this by hand. Believe me, it makes a difference. Even you would spot different things if you did this step on your own. Our eyes just see things differently in print than they do on a computer screen.

[bctt tweet=”#ProofreadingTip: Print a formatted copy or PDF of your manuscript. Our eyes just see things differently in print than they do on a computer screen. #amwriting #amediting”]

NOTE: If you hire a proofreader to do this, they will likely include a printing fee. There may be a standard fee, or they may charge by the page. Don’t be afraid to ask 1) whether they use clean paper or print on the back of scrap paper (It could save you money); 2) whether you can print a copy and send it to them.

Some—in order to make certain they miss nothing—will proofread backwards. Then, rather than getting caught up in the story, they see each sentence as an individual sentence. This is what I do when I proofread (if I must) for my macro and copy editing clients.

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Find someone new.

I don’t proofread for my editing clients if possible. It’s not wise to have the same editor do the macro edit, copy edit, and proofread. If possible, get someone else. Hey, ask your current editor for a recommendation. Many of us have people we’d trust with our own work.

editor sisters

My sister and I (both editing under the A Little Red Ink banner) routinely do proofreading for one another’s clients. That makes it super easy when questions come up.

“Is this word supposed to be capitalized in this story world?”

“I see this odd paragraphing—is that intentional?”

Erynn and I send our clients’ style sheets to each other, and we remain available to answer questions.

The key is making sure the editor hasn’t already been staring at the manuscript for the last 30 or 40 hours. They’ll miss things. A fresh set of eyes is crucial. If you are going to have the same editor proofread, give them time in between rounds. That requires planning on your part, sticking to deadlines. But it’s worthwhile if you’re determined to stick with one person.

[bctt tweet=”A fresh set of eyes is crucial. If you must have the same editor proofread, give them time in between rounds. #editvsproofread #alittleredink”]

Wrap-up

If you write in Traditional Publishing Land, this step isn’t your responsibility. However, if you’re braving the Indie Ocean, it’s a must. I know every penny counts. This one’s worth your investment.

Still, it’s possible to avoid a fee if you’ve got some killer beta readers who are willing to read through a formatted copy and let you know if they spot any typos. It’s a great trade. Scratch another author’s back with this deal, and then ask them to scratch yours. You’ll both be better off.

Question

Have you ever read a book and spotted typos? Were you quick to pick up other books by the same author?

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A Little Red Ink Editing

What Is a Line Edit?

What is a line edit? It’s not a mere cleaning up of the manuscript. A true line edit can take your manuscript to another level.

Let’s say you’ve had the macro edit done, so you know the timeline works, the character arcs show evolution, and the conflict builds to a necessary (but better than readers expect) resolution. And the copy edit cleaned up your pacing, the obvious mistakes, the pet words, the weasel words, and the buried dialogue.

Your baby could be ready for a proofread and submission (or you might be ready to have it formatted for the Indie Ocean).

But there’s another option.

Hire a line editor.

A line edit can take your manuscript from ready to absolutely ready to stand out.

[bctt tweet=”A true line edit can take your manuscript from ready to absolutely ready to stand out. #editingtip #writingtip #A3″]

Here are a few of the things it can address:

Develop your voice.

Some stories sound like they’re whittled out of Appalachian hemlock. Or like Sam Elliot is the narrator—all man and lean muscle, dust and leather. Some books deserve to be read by a winsome British grandfather, a little cheeky, a lot endearing. Others sound raw. Emotion. Grit. Honesty.

Perhaps you’ve got a great story, but it’s not the kind of book that a reader can crack open and say, “This. I love this author. I can tell it’s her within a few paragraphs.” You can get there with a line edit. What does the story ache for? Imagine for a moment. If your dream reader were available for the audio book—who would it be? Why? What does your story lend to that?

[bctt tweet=””This. I can always tell it’s this author in a few paragraphs. Her voice is so unique.” What a line edit can do for your writing. #editingtip #writingtip #A3″]

Do you have two unique character POVs?  Then they should sound distinct. A line edit will hone your characters’ voices too. Use appropriate dialect and lingo, not just for the jobs and activities the characters do but for their thoughts. The metaphors and similes ought to reflect the mind of the character. How would a baseball player describe his last chance to win a girl’s heart?

Zan

Add musicality and rhythm.

I love for the language of a book to arrest me. To hold my attention and stay with me like a favorite song—one I spend time, on purpose, memorizing because the lyrics sing to my heart. To me, there are three aspects of this: tempo, rhythm, and lyrics. A good line edit will address all three.

Tempo. Pacing should be a fluid thing. Some moments are legato, slow, flowing, steady. But what happens when the scene picks up? How about allegro? When the main character’s mind is flying, her thoughts are rushing, rambling from one thought to the next and she’s facing danger on one side, doubts on another—can you make your words race? Are you daring enough to use a stream of consciousness?

Rhythm. Pay attention to the way different characters speak and think. Could be short. Might be choppy. Overall, the effect is key. What will you risk for that?

Use your paragraphing to dictate whether the reading should be fluid or distinct. Use punctuation to magnify a pause if you need it.

A good usage of staccato makes my own heart pound as I read. I love when authors use the white space to their advantage. If a character is living through a heart-pounding, breath-stealing moment, show it (literally).

Pacing

Lyrics. This one’s simple. A line edit should help you choose words as carefully as a songwriter. Tell the story in as few as possible. I’m one of those people who scores a brand new CD and carves out an hour to listen to it with the dust jacket in my hands as I read along, soak in the lyrics. Write a book that keeps me there.

Add layers and enrich themes.

painting
Image by pedrojperez

Just like in a painting, colors can add mood to the scene. But it’s the layering, the shading and the tinting that give a painting depth and richness. They can add to the perspective almost as much as the horizon line. And the nuances you add to your entire story can enrich your theme.

[bctt tweet=”A line edit can adjust subplots, symbolism, and subtext to add layers to your story. You don’t want it just to be a neat tale. You want it to be a work of art.”]

Wrapping it up.

I’ve got to add again: Not all editors do a true line edit. Ask around.

To me? A line edit is worth the extra time and investment. I’d rather my own work sing. That’s probably why this is my favorite type of editing to do for others.

Is it possible to get trapped in this phase, tinkering and tweaking ad nauseum? Absolutely. This is where some authors have been known to waste a year or two and never truly make their work better. My honest recommendation is to do one round of edits with this as your sole goal, just before you send your manuscript to the agent or publisher or proofreader (which I’ll talk about next time).

Let me hear back from you. Have you read a book worth underlining and highlighting? What was it about the writing that won you?

 

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A Little Red Ink Editing

What Is a Copy Edit?

What is a copy edit?

When you’re ready to choose a freelance editor, knowing the level of edit you’re after is important. We talked about the macro edit last week, and today, we’re skipping over line edit and heading right for copy edit.

Why? you ask.

Well, there’s a difference between a copy edit and a line edit, but not all freelance editors offer both. The line edit is a step above a copy edit, and you may not need or want one of these. (Though they’re my favorite type of edit.)

Today, since a copy edit is the next necessary step in the editing process, let’s go there. I’ll address the line edit next time.

Macro (or substantive) edit

(Line edit)

Copy edit

Proofread

Critique

The copy edit zooms in on the details.

Image by Randy Heinitz

 

It’s more detail-oriented than the macro. The second door.

You’ve got your solid hook and satisfying resolution. Your story world and characters are believable and worth cheering for. It’s time to sand out those rough edges. The editor will be targeting several things.

Obvious typos and misspellings

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Image by Altankomen

Your character mentions pouring over classified documents, rather than poring over them. She’s unsure weather or not she’s found a solid peace of evidence.

This isn’t the final proofread, but a good editor can’t (and shouldn’t) pass these mistakes and not mark them at this stage. (NOTE: They do get overlooked in the macro phase, because you might be revising them anyway).

Weasel words

Just. That. So. Very. Look.

Wherever you can, seek and destroy.

Sentence and paragraph structure

Do you follow the same basic patterns? If all of your sentences start with the character’s name or a personal pronoun, your editor will suggest spicing it up.

In your dialogue, does each speaker begin a new paragraph? Do you bury dialogue at the end of a long section of prose?

Dialogue—a little more in depth

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Image by Kite

Does your dialogue sound natural? Do the characters use contractions? Era-appropriate lingo?

Speakers leave off words every now and again?

How about your tough military guys? Do they sound like poetic ladies, or vice-versa?

Does everyone sound like you?

Is there a balance among action beats, tags, and letting the words speak for themselves?

Pet words and phrases

Every writer has these.

Don’t be offended when an editor or friend brings one or two to your attention. Brainstorm. Get in the head of your character. Find a better—more character-voice-worthy—way to say the same thing.

Clichés

Same dealio.

Redundancies

Maybe you’ve given the same bit of information twice. Perhaps you’ve used the same phrasing more than once. It’s possible that a word has been used seven times on one page (“look,” for example). Cut them. You want to strike the balance between sounding like you used a thesaurus until the binding was broken and you only have a seven-hundred word vocabulary.

You laugh, but sometimes—in order to get the story on the page—it happens. And then, in self-editing mode, you might miss some things. An extra set of eyes is a valuable investment.

Basic industry standard formatting

Times New Roman, 12 pt. One-inch margins, double-spaced paragraphs. The formatter will handle the rest, but the copy should look nice and clean.

Wrap-up

While a professional editor will address all of these things during the copy edit, some will mark the bare bones. Others will give you a little lesson or explanation in the margin the first time and then simply point out the rest and trust you to remember the reason. Some will compliment you on the phrasing and story elements they love.

Every editor has their own style.

But remember this: You have your own style, too. It’s important that your editor—while pointing out the essential fixes—doesn’t try to change your voice. They should only strive to make your writing the best it can be.

It’s still yours.

But it is worth investing in, since your name will be on the cover.

Question

What are some of your weasel words and pet words?

 

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A Little Red Ink Editing

What Is a Macro Edit?

What is a macro edit?

When you’re ready to choose a freelance editor, knowing the level of edit you’re after is important. Over the next few posts, let’s take a look at what the differences are in each level of editing.

Macro (or substantive) edit

Line edit

Copy edit

Proofread

Critique

First up is the macro edit.

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Image by Bloodwise

Often called a substantive edit, this is concerned with the big picture.

After you’ve finished your manuscript, this is the first edit you’ll need. Let me offer a caveat here: By finished, I don’t mean you’ve typed “The End” on your first draft. I mean your beta readers or critique group has given you input, and you’ve taken that into consideration, revised your work, and polished the manuscript up. You can save yourself a lot of money and heartache if you do this hard work yourself.

Even if you’ve got a stellar crit group or crit partner, a professional editor could still find several big-picture issues that need to be addressed. So…what is a macro edit? What is the editor looking for?

A Killer Hook

You know this bit, I’m sure. Personally, as a reader, I’m a tough sell. Convince me that your book deserves 15-20 hours of my time, anchor me in your story world, and get me to invest in your character’s plight, or I’ll put it down.

As an editor, I obviously won’t put it down. But I’m going to focus a Herculean effort on it.

A macro edit zeroes in on the firsts—first lines, first pages, first chapters.

Compelling story arcs

A macro edit eyes the story arcs of your entire cast. Crafting awful, believable circumstances for your main character isn’t so tough, but what is the antagonist after? What do the minor characters want? (Hint: knowing the answers to these and threading them throughout the story is the way to set up a series. Make people wish they knew the other characters’ stories.)

Characters acting…out of character

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Image by Jan Faborsky

As the story arc climbs, and as readers get to know your cast, the characters need to behave believably. If a girl always, always keeps her face covered with a scarf, she’s not going to suddenly walk into a crowd in a sundress, smiling at everyone she meets. If she does show her face, it’d better be worth it. She’s doing something out of the ordinary for her—and she shouldn’t feel comfortable with it.

Another macro object: If a character is going to be a changed person by the end of the story, readers need to see either a microevolution or a major life-changing event. The macro edit will look for these things and point out spots where those could be enriched.

Plot holes

Since it’s every writer’s goal to avoid these little buggers, the macro edit is the hired mercenary. Seek. Target. Destroy. Some editors will mark them. “How did we get here? I thought we were…” Or “They’re discussing something that happened…before they make the discovery that it happened on page 218.”

Don’t convince your readers that the thing they’re most rooting for is on the horizon…and then leave it out. If you make promises to your readers, keep them. The macro edit will focus on that as well.

Pacing

Maybe your setup takes too long; maybe your middle sags. Perhaps the action scenes take a full ten minutes longer to read than they would to see played out. Maybe the readers need a breather or a little humor to break the tension. An editor will be sure to point spots like this out on the macro.

Dropped threads

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Image by Devin Young

Sometimes—with the best of intentions—you’ll include details of a story thread (a minor theme), and it’ll get lost along the way. During the substantive edit, an editor will notice those, possibly suggesting they get cut, and possibly pointing out a few areas they can be worked back in.

A satisfying conclusion

Most of all, the editor will make sure your story comes to a satisfying conclusion—leaving readers right where you want them. Do you want to end with possibility but uncertainty? Let your editor know. Are you setting up a sequel? Is there enough resolution to hold the reader until it’s available (while still leaving them longing for more)?

The End…of my post

Of course, each editor is different and will handle the points in his or her own style. This is why a sample edit or a personal recommendation is a great idea.

And remember, when you get the macro edit back, the work isn’t done. Think of it like a bull’s-eye. The macro edit is the outer ring. The follow-up edits (copy edit and proofread) will get you closer to center.

Until you truly hit the target.

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A Little Red Ink Editing

Choosing a Freelance Editor

Choosing a freelance editor can be daunting. So many choices, so many possibilities. And if we’re honest? Many people claiming to be editors wouldn’t be good for you OR your book. Anyone who spots typos easily can say they’re an editor.

So how do you find one to work with who will come alongside you, champion you and your writing, and help you make it your best?

Get comfortable asking questions. Here are four that will save you a lot of headache and heartache:

  • Ask for recommendations.
  • Ask for references.
  • Ask for a sample.
  • Ask for a contract.

First, ask for recommendations.

Do you have writer friends who rave about their fabulous editors? Who trust their editor completely? Ask them why. What is the working relationship like? How long has the editor been editing? Is there a fast turnaround? Are there mistakes in the completed manuscripts? What are the editors’ greatest strengths?  Weaknesses? Who are the editor’s other clients? What are his or her credentials? Does he have professional licenses and degrees? Street cred? Does that matter to you? (It should.)

Don’t be afraid to ask other authors who write in your genre. Authors should find an editor who is comfortable editing what they write. First, there’s a unique skill set and nuances within each genre that can make a major difference. Second, don’t you want someone who’s passionate about what you write? Third, experience counts.

At some levels of editing, genre might not matter. But if you’re looking for a macro (big-picture, plotline, themes, character arcs) edit, genre experience is key. The difference between Science Fiction and bonnet fiction is usually vast. There’s Kerry Nietz, but he’s a worthy exception. At the very least, be sure that you’re working with a fiction editor if you write fiction and non-fiction if that’s your thing.

Silence in the Library
If you appreciate this, I might be the editor for you.

Look in the acknowledgements of your favorite books. Or use an author-editor “matchmaking” service like the Christian Editor Connection or the Editorial Freelancers Association. Those will help you get connected with serious editors who will bid on your work, and you’ll have the power to choose who’s the best fit. For free.

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Once you’ve contacted the editors, ask them for references.

Many editors will have an endorsements page on their site.

A service like Kathy Ide’s Christian Editor Connection has vetted the editors in its database. Editors must pass tests for the various levels of editing and even some genre-specific tests.

Indie and hybrid authors, Susan Kaye Quinn’s Indie Author Survival Guide has a list of freelance editors, in addition to cover designers, formatters, and more. She’s even marked the ones she’s used and personally recommends.

And if you find an editor you think you’d like to work with but your schedules don’t line up, ask them for a recommendation. We editors network ourselves, and there are a few editors I’d be happy to recommend (and trust with my own work).

You can also ask for a sample.

Samples will give you an idea of the editor’s styles and strengths. Some editors (like me) will do a free three-page sample for any project over 25 pages. Some will ask you to pay up front, but why not pay for an hour’s worth of work and learn their editing style? Or pay for an edit on a piece of flash fiction. It’s short, but you’ll learn how the editor works, whether they add a little sugar with their constructive criticism, and whether they’ll definitely focus on the areas you think are the weakest.

The important thing is this: Editing is a professional relationship. As such, you need to be able to work well together, and the editor needs to sharpen you. They need to—not only tell you what isn’t working—but be able to suggest how to fix it. A sample edit shows whether the editor will truly improve your work.

Listen. Writing is art. You’ve heard of the fiction “rules.” There are many tried and true industry standards that do make writing stronger; there are also ways to bend and push those boundaries to powerful effect.

Lastly, ask the editor for a contract. Bare minimum, get a quote and clear expectations in writing.

contract signature

Having things in writing will keep the relationship professional. Expectations for the timeline and the level of editing are clear. If you’re hiring someone to finish the work by August 30th, and they take until October with no communication or explanation, you’ll have proof that you were wronged. There are people out there masquerading as editors who will take your money and never send you anything. (This is another reason a word-of-mouth recommendation is a wonderful thing). You have a right to protect your work.

A contract can protect the editor, too. If you agree to send someone a manuscript for a macro edit, and then you make major revisions and send it back for another, they’ll get paid for that work as well. Clear expectations, on both sides, are a must.

The bottom line is this: Do your research, and find an editor who does both what you’re looking for and what you need. You just might find a champion.

Is there anything you’d add?

A big shout out to Mikeedesign, Pascal, Kathy Ide, and Juli for the images.

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A Little Red Ink Editing

Why Hire an Editor?

Why hire an editor if you’ve got a great critique group and you’re a grammar stud?

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Answer: A fresh set of eyes. But there’s more.

A good editor is worth his weight in Sumatra. But a great editor? When you find someone you can trust with your baby, whose goal is honestly to help YOU make it the best it can be? It’s tough to put a price tag on that kind of worthy investment. It could pay you back.

And then some.

Over the next few months, we’ll hash out specifics on where to find a qualified editor (and how to whittle down the choices), the different levels of editing (substantive, line editing, copy editing, proofreading), and what’s important in navigating the editor/author relationship. But for today, let’s stick to why you need a freelance editor.

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Whether you want to pitch your work to an agent or acquisitions editor in TradPub Land, or you want to brave the Indie Ocean and see this writing thing through on your own, hiring a qualified freelance editor is a business-savvy move.

[bctt tweet=”Hiring a qualified freelance editor is a business-savvy move. Let’s talk reasons. #amwriting #amediting #A3″]

A good editor will give you professional, objective feedback.

A fiction editor knows what to look for in a story, in a plot, in pacing, in character arc. A non-fiction editor has an edge when it comes to structuring your book with compelling advice or arguments, including anecdotal evidence and research (and they’ll know how to document it). Both have learned the craft by either studying it for themselves (fellow-writers) or through professional courses of study.

All good editors—no matter the material—will be objective. They’ll tell you where your pacing drags, where your protagonist acts out of character, where your argument falls flat, and where you’ve broken a promise to the reader. They won’t be cruel, but they’re not family. They’ll be honest without worrying about facing you at the Thanksgiving table.

A good editor will notice things you miss.

Some editors, like me, are also writers. (And even we hire editors before we publish, if we’re wise.) When we spend hour upon hour staring at All the Words, our minds begin to fill in words that ought to be there but aren’t. During your self-editing/revision process, it’s easy to move things around and forget to tweak every detail. Especially in fiction, the story is a tapestry, tightly weaved. Every single thread matters, and if you pull one, it tugs others, causing a wrinkle in the story surface. An editor’s job is to offer a fresh set of eyes, catch the wrinkles, and smooth those details out.

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A good editor will spot things you overdo.

Maybe you have a pet word or phrase. Perhaps you overuse a sentence structure. You might over-explain when you ought to give your readers more credit. You might have several characters who sound exactly alike when they speak. Or—in the larger scheme of things—you could be so careful to consider your surprise ending as you write that you inadvertently give too many clues.

Subtlety is a beautiful thing.

I often make guesses about where a story will go in the margin. Sometimes, writers have laughed because they’ve done such a fabulous job of setting up the red herrings, I was completely blindsided; a few have decided to rewrite, because they realized their plot was too predictable. With nearly every client, I hear, “I don’t know why I didn’t see that!” And often, those clients learn from the first edit. When they come back with another manuscript, they’re not making the same mistakes anymore. Their craft is improving from the editing process.

[bctt tweet=”A good editor will help you hone your writing while keeping your voice intact. #amwriting #amediting #A3″]

A good editor will help you hone your writing while keeping your voice intact.

If an editor rewrites your words or changes your story to the point that it doesn’t sound like you anymore, step back. Evaluate whether they’re showing you how a few simple tweaks can tighten your writing, or whether they’re changing your voice. Either way, they shouldn’t do this all over your manuscript. They should help you see the possibilities, make suggestions, and let you decide. You are, after all, the author.

Day 100, 365, KEEP OFF THE GRASS

There are rules, and then there is poetic license. Personally, I believe in knowing the rules well enough to break them with flair. I also believe that—in dialogue and deep POV—a character’s voice ought to shine through more than the author’s. And a character may not use perfect grammar. There is freedom in writing well enough to bend the rules effectively.

There are great editors out there. The goal ought to be to find an editor who works well with YOU, sharpens YOU, encourages YOU, learns YOUR voice, believes in YOUR story, and will help you make it the best it can be. Finding one can be an ordeal, but when you’ve found them, the editing process can actually be fun.

[bctt tweet=”I believe in knowing the rules well enough to break them with flair. Character voice–author voice–matters. #amediting #amwriting”]

Hit me in the comments with this: What’s important to YOU in an editor?

Thanks to Jennifer Bradford, Matt Hampel, Nic McPhee, and Andreas-Photography for the most excellent images. They win the Internet.

Categories
A Little Red Ink

Dialogue Tips

dialogue film crew

When you write dialogue, think like a screenwriter. Every minute of screen time, every word counts. Don’t add fluff. 

You don’t want readers to skim your conversations because nothing’s happening. If it doesn’t move the plot forward, cut it, cut it, cut it.

Here’s something else that doesn’t belong in your conversations: director commentary. 

Sure, people buy DVDs with bonus footage, but I don’t know many people who actually watch the version with the director chatting the whole time—explaining, telling what he wanted from the scene, making himself sound generally witty. (Peter Jackson doesn’t count. Of course you watch those.)

Seriously, though. Audiences want the end product. They want to be entertained. They want the scene to play out in their mind. And they don’t want to think for one second about the writer behind the scenes—at least the first time.

Here are a few dialogue tips to help you accomplish that.

1. Use the word “said.” Avoid sounding like a thesaurus with your dialogue tags.  No one wants to be wowed with your synonym skills. Statistics show that readers actually skip over the word “said” in their reading. It doesn’t even register. All they see is dialogue (which is what you want). 

If your characters are replying, interrupting, cajoling, remarking, and muttering? There’s no way people can miss that. 

     “Are you kidding me?” Jen queried. “Just tell me we can undo it,” she complained. “What will it take?” 

     “We’ll do what we have to do,” Will countered.

     “We better,” she sniped. “If we lose this account because you dropped the ball—”

     “Relax,” he challenged. “Your attitude isn’t going to help us win them over.”

It can get annoying after a while, right? 

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2. Use action beats about 50% of the time. An action beat is exactly that—a moment filled by the character’s action. When it’s right next to the dialogue, it’s clear who’s just spoken. Often, an action beat can do more to convey the emotion than an explanation, with no “said” involved. Isn’t that same excerpt better like this?
“Are you kidding me?” Jen snapped her head to the side. She swallowed, then turned back and locked gazes with Will. “Just tell me we can undo it. What will it take?”

 3. If the characters are taking turns nicely, don’t tag every give and take. Sometimes, it’s obvious. 

     Will stood a little taller. “We’ll do what we have to do.”

     “We better. If we lose this account because you dropped the ball—”

     “Relax. Your attitude isn’t going to help us win them over.”

     Jen rolled her neck and closed her eyes. After a few deep breaths, her shoulders relaxed an inch. She met his gaze once more. “I’ll smile, and you dig us out of this hole you got us in.”

Make sense? A little goes a long way.
Thanks to McBeth and Vancouver Film School for the images.
Categories
A Little Red Ink

Character Motivation

Everybody wants something. Why do YOU want to write, for example?

Maybe you want to write a book for the story’s sake. A vociferous, misunderstood character started vying for your mental attention and enthralled you with his antics. He gets under your skin in all the right ways, and he’s an entertaining guy. You don’t want the world to miss out.

Maybe you like to challenge people. You’re on a metaphorical soapbox, and—rather than flat out preaching at the masses—allegory would be a better, wiser venue for your message. It’s time people question the status quo. Or act on their convictions. Your story will call them on that.

2D Joost

Or maybe you want to be rich and famous. You fancy yourself the next J.K. Rowling or Frank Peretti. (NOTE: If this is your motivation, you’re in the wrong field. There’s an easier road you should travel, somewhere.)

I know there are scads of other reasons people write. But the point is: something drives you.

Something’s got to drive your characters too.

Character motivation matters.

And I don’t mean only your main characters.  Would you want to watch a play—no matter the genre—where only the protagonist and the antagonist were played by humans? Everyone else was a cardboard cutout?

(NOTE: Even though there are no other humans pictured below, I am NOT saying The Doctor interacts with a bunch of emoticons-on-sticks. Far from it. I simply couldn’t resist using THESE particular cardboard cutouts when I spotted them.)

doctor cutout

Too often, I read books in which the cast may as well be made up of action figures. The MC wanders over near the smiling cut out when he needs encouragement and hangs out with the stereotypical thug when he feels dangerous. He can’t bum a cigarette, though, because there’s just the one. Permanently in Dude’s hand. You’d have to cut his hand off to get rid of that thing.

As Kurt Vonnegut, Jr. said,

every.

single.

character.

should want something—

even if all he wants is a glass of water.

Surround your main characters with a cast of characters who are also each desperate for something, determined to change something. To achieve something.

To defuse the bomb.

To hear their father say he’s proud of them.

To find the cure.

To get her to say Yes.

Give them motives and goals, and SHOW your readers what they’re after.

For truly multi-dimensional characters, give them motivations that might surprise the readers. Show a soft side or a deep-seated fear in the heart of the bad guy. Maybe you’ve got a selfless and thoughtful protag, but there’s one thing she absolutely cannot STAND. Show it to us.

[bctt tweet=”Surprise people. Add dimension to cardboard characters with motivation. #writing tips #ALittleRedInk”]

Okay, I would be remiss if I didn’t mention Flat Out Love, by Jessica Park. If you’ve read this book, you know what I’m about to say. (If you haven’t…) There actually WAS a cardboard cut out character–an enthralling one, I might add–Flat Finn. Talk about a quirky cast, all flawed and winsome!

flat stanley

But what about other favorite books? Don’t you love reading a novel that makes you want a sequel—where your favorite minor character gets to play lead? Even if there’s NOT a sequel? I love dreaming about what could be.

How about Tolkien’s Lord of the Rings? History, politics, culture, and languages were all so well-developed that there could have been shelves full of books penned. I’d have adored Eowyn and Faramir’s story. Or more about Samwise. He gets my vote for the true hero.

Serena Chase’s Eyes of E’veria series? During The Ryn and The Remedy (her reimagining of “Snow White and Rose Red”) I wanted more of Cazien the pirate. Got him. She wrote The Seahorse Legacy and The Sunken Realm (summer of 2015), a phenomenal, gripping retelling of “The Twelve Dancing Princesses.”

Ronie Kendig’s Rapid Fire Fiction. This may be one of Ronie’s greatest areas of giftedness. She’s made me crave another SERIES. And then delivered. Twice.

Charity Tinnin’s Haunted. I empathized with the bad boy much more than I intended to, and his story is on the horizon. That’ll be an automatic pre-order for me.

Steven James’s Patrick Bowers Files. I loved every scene with Tessa or Ralph. I felt like I knew them.

Christopher Paolini’s Inheritance Cycle. What about Angela? And I’d have loved a prequel about Brom.

All of these books left me wanting more. And got me to immediately follow the authors on Twitter and Facebook. Marketing genius, writers.

Writing genius.

Who is the most intriguing minor character YOU’VE read recently? What was it that got to you?

[bctt tweet=”What minor character makes you wish he’d gotten center stage? #amreading #amwriting”]

 

Thanks to Joost Assink, Richard Anderson, and Heather N. for the photos.

Portions of this content were previously posted at www.alittleredink.com