Category Archives: The Fictorians

Dos and Don’ts of Working with an Editor

Author, Joshua Simon

 

There are many things an indie writer needs to consider when looking for an editor. Is the editor capable of providing you with the service you need:  content, line, or copy editing? Does the editor have reputable references? Based on the sample, does the editor’s style suit your own? Can you afford the editor’s service?

I think every writer needs to carefully consider each of the above questions during the selection process.  Though this topic is crucial to every writer, it is one that has been beaten to death.  So, I thought I would discuss what I feel every writer needs to consider after the selection process is complete. Below are my top Dos and Don’ts when working with an editor.

Dos:

  1. Do agree to terms ahead of time.

Be clear on expectations before work begins.

Do you want only that content edit or were you also expecting a copy edit as well?

Do you want the editor to provide a second round of edits in order to proof read your work after you’ve made the previous suggestions provided to you?

Do you need the editor to help you with writing the back cover, marketing materials, a press release, and text for your website?

Most editors probably won’t do all of the above but some might if you’ve discussed the scope of work ahead of time.  Don’t expect an editor to provide extra services (no matter how little) for free after the agreed upon work is completed. Their time is valuable and they have other clients besides you.

  1. Do meet your deadlines.

As I said, you are not your editor’s only client.  The time to schedule an editor is when your book is nearly complete, especially if you’re writing your first book.

Find out what your editor’s schedule is like and how long they think it will take to edit the book, and then plan accordingly. It is not unreasonable to wait weeks or months before an editor can start on your book. Expect the overall editing process to take several weeks or longer once the editor begins work. Variations will exist based on the length of the book, how good of a writer you are, and how many projects the editor works on at once.

As a side note, after you’ve had some experience in completing projects it will be easier to schedule an editor before actual completion.  Even then, I’d recommend giving yourself several weeks or even months of cushion.  It is much nicer knowing you’ve finished early and can get ahead on your next project rather than scrambling to complete something at the last minute and turning in shoddy work.

  1. Do ask for clarification.

Any editor worth their salt will clarify questions you might have on their suggestions. Otherwise, how can you determine if it is a valid change?  If an editor is unwilling to communicate with you in this way after giving you the manuscript back, I’d question using that person again.

  1. Do be prompt with payment.

But what happens if it costs more than I originally expected?  Too bad.

If you go to a car dealership and they give you an estimate for a brake job that later increases by several hundred dollars because things were worse than expected, can you get away with not paying them? Of course not. Can you imagine if your boss decided not to pay you promptly or not at all, and how that would affect your life?

For some editors, this might be their only source of income.  Therefore, don’t be late with their money.

If you decide their services were overpriced and not what you expected then the only thing you can do is not use them for future work.

  1. Do remember that a suggestion for change is not a demand for one.

As the writer, this is your story.  You need to be satisfied with it more than anyone else. Make changes only if you agree it improves the quality of the work. If you can’t make that decision on your own, bring in someone else to give you a second opinion.

I rarely disagree with my editor, but there have been a few times I decided against making his suggested changes.  This is partly because I had received differing opinions from my beta-readers and partly because the change would affect later parts of the story in works he had not yet edited.


Don’ts

  1. Don’t hand over a mess.

Your editor should not be the first person to read your manuscript besides yourself. Employ both alpha and beta-readers.  They will help you smooth out many problems long before your editor gets a hold of your story, especially in the way of content.  If nothing else, this step will help reduce the costs to you. The more time your editor spends cleaning up your mess, the more they will charge.

  1. Don’t expect your editor to do all the work.

Your editor shouldn’t have to re-write your book. They will rewrite sentences as needed, but they aren’t supposed to write chapters or sections for you (unless you’ve agreed they will act as a ghost writer).

  1. Don’t take it personally.

This is all a learning experience and a way to make you a better writer. I’ve improved significantly with each work I’ve turned into my editor, and a contributing factor to my improvement has been his feedback on each story.

Remember, an editor’s reputation will be held against the quality of your work as well. You don’t want an editor to blow smoke up your rear.  You want an editor to be honest about what is good and what isn’t so your story and characters can shine.

  1. Don’t be a jerk to your editor.

Like everything else in life, be professional. If I really have to explain what this means then you probably have bigger problems to worry about than everything I’ve mentioned above.

  1. Don’t lose sight of your ultimate goal.

You want a great book!

Joshua P. Simon is a Christian, husband, father, CPA, fantasy author, and heavy metal junkie. He currently resides in Atlanta, Georgia and hopes that one day he can leave the life of a CPA behind and devote that time to writing more of the ideas bouncing around his ADD-addled brain. You can find out more about him at www.joshuapsimon.blogspot.com.

 

Book Blast For Ben Wolverton Today!

 

As announced in yesterday’s post about David Farland’s son, Ben, the Book Blast is here! Please browse the titles and buy for yourself, buy for your friends, and share to everyone you know.

Please note, if you click through the Amazon links embedded below, Dave will get a percentage of ANYTHING else you buy while there!

 

Kindle Edition
Kindle Edition

 

Nightingale

Some people sing at night to drive back the darkness. Others sing to summon it. . . .

Bron Jones was abandoned at birth. Thrown into foster care, he was rejected by one family after another, until he met Olivia, a gifted and devoted high-school teacher who recognized him for what he really was–what her people call a “nightingale.”

But Bron isn’t ready to learn the truth. There are secrets that have been hidden from mankind for hundreds of thousands of years, secrets that should remain hidden. Some things are too dangerous to know. Bron’s secret may be the most dangerous of all.

 

 

Kindle Edition
Kindle Edition

 

Million Dollar Outlines

If you are a writer, you may want to consider purchasing David Farland’s MILLION DOLLAR OUTLINES. It has been a bestseller on Amazon for over a month and is only $6.99.

As a bestselling author David Farland has taught dozens of writers who have gone on to staggering literary success, including such #1 New York Times Bestsellers as Brandon Mull (Fablehaven), Brandon Sanderson (Wheel of Time), James Dashner (The Maze Runner) and Stephenie Meyer (Twilight).

In Million Dollar Outlines, Dave teaches how to analyze an audience and outline a novel so that it can appeal to a wide readership, giving it the potential to become a bestseller. The secrets found in his unconventional approach will help you understand why so many of his authors go on to prominence.

 

 

For updates on Ben’s condition, the details of what happened, or to make a donation please visit the site James Duckett was kind enough to build here.

Book Bomb For Ben Wolverton

Ben

I would like to briefly interrupt our regular schedule today to talk about something that happened last week. David Farland’s son, Ben, age 16, was in a serious long-boarding accident on Wednesday the 4th.

Imagine the worst skateboarding accident you can without cars, or guns, and there you have it. His list of injuries is staggering: brain trauma, internal bleeding, bruised lungs, blown eardrum, broken pelvis, broken tailbone, crushed vertebrae, cracked skull . . . He is currently in a coma.

His family does not have insurance.

Dave is one of the best guys I know. He’s mentored, and taught, and helped out more students and aspiring writers than any person I know. Personally, I would not have been as happy or as successful without him. I know I’m a better person for having him in my life; let alone a better writer and editor. He’s one of the good guys. He’s one of the ones who honestly cares.

Turns out that early estimates of the medical bills are as staggering as the injuries, so we are helping with a book bomb on Ben’s behalf.

You can learn more about Ben’s condition, or simply donate to the Wolverton family here.

WHAT IS A BOOK BOMB?

A Book Bomb is an event where participants purchase a book on a specific day to support the author, or, in this case, a young person in serious need: Ben Wolverton.

WHAT BOOK SHOULD I PURCHASE?

David Farland’s young adult fantasy thriller NIGHTINGALE has won 7 awards, including the Grand Prize at the Hollywood Book Festival–beating out all books in all categories. It is available as a hardcover ($24.99), ebook ($7.99), audio book ($24.99), and enhanced novel for the iPad ($9.99).

You can purchase it on AmazonBarnes and Noble, and on the Nightingale website.

Or, you can get the enhanced version, complete with illustrations, interviews, animations, and its own soundtrack, through iTunes.

WHAT IS IT ABOUT?

Some people sing at night to drive back the darkness. Others sing to summon it. . . .

Bron Jones was abandoned at birth. Thrown into foster care, he was rejected by one family after another, until he met Olivia, a gifted and devoted high-school teacher who recognized him for what he really was–what her people call a “nightingale.”

But Bron isn’t ready to learn the truth. There are secrets that have been hidden from mankind for hundreds of thousands of years, secrets that should remain hidden. Some things are too dangerous to know. Bron’s secret may be the most dangerous of all.

IS IT GOOD?

In short, yes.

Authors such as James Dashner (The Maze Runner), Brandon Sanderson (Mistborn), and Paul Genesse (Iron Dragon series) all praised it. Nightingale has 4 and a half stars on Amazon.  But just go buy it tomorrow and find out for yourself.

WHAT IF I ALREADY OWN NIGHTINGALE? OR I’M NOT INTERESTED IN IT?

If you are a writer, you may want to consider purchasing David Farland’s MILLION DOLLAR OUTLINES. It has been a bestseller on Amazon for over a month and is only $6.99.

As a bestselling author David Farland has taught dozens of writers who have gone on to staggering literary success, including such #1 New York Times Bestsellers as Brandon Mull (Fablehaven), Brandon Sanderson (Wheel of Time), James Dashner (The Maze Runner) and Stephenie Meyer (Twilight).

In Million Dollar Outlines, Dave teaches how to analyze an audience and outline a novel so that it can appeal to a wide readership, giving it the potential to become a bestseller. The secrets found in his unconventional approach will help you understand why so many of his authors go on to prominence.

Get it on Amazon, or on Barnes and Noble.

Check out the reviews. Is it worth it? Again, yes.

CAN I JUST DONATE MONEY?

Yes. You can donate money to Ben here. Or you could purchase a book as a gift for someone else!

I WANT TO HELP BUT I DON’T HAVE ANY MONEY!

The best way you can help is by spreading the word of Ben’s donation page and the book bomb tomorrow, Wednesday April 10th. Share it on facebook, twitter, pinterest, your blog-anywhere you can.

TELL ME MORE ABOUT BEN. WILL HE BE OKAY?

David Farland has been keeping everyone posted on facebook. Subscribe or friend him to get up-to-date information. At the moment, Ben is stable and appears to be improving.

Thank you! Just keep those wishes, hopes, prayers, flowers, cheers and skols flowing.

Feeling Tense: 2 of a 2-part series

Feeling Tense:  2 of a 2-part series

Part 2:  Third person

Third person omniscient

“Cora felt uneasy as she stepped into the cave’s gaping maw.  Tina, on the other hand, was thrilled at the opportunity to explore.”

The narrator is God, looking down on Her characters.  Since the narrator is omniscient, the writer has the freedom to reveal what any character is feeling, thinking, or doing, at any time.  If characters are keeping secrets from one another, the omniscient narrator knows, and can share those secrets with the readers.  If a storyline is complex, an omniscient narrator can make sure the readers find out what they need to know to follow the story.

This technique has its drawbacks.  Third person makes it easy for the writer to preach:  to tell the readers how they should feel about the characters, or whether a character’s decision was “right” or “good,” instead of letting the readers draw their own conclusions about the characters’ thoughts and actions.  It is also somewhat impersonal in that the characters are held at a certain remove from the reader (we’re watching them, rather than seeing through their eyes);  a novelist wants to avoid the dry tone of a history book.

One of my English professors once suggested to me that the narrator was also a “character” of sorts.  The narrator affects the reader’s interpretation of the story’s events by the use of judgmental language–descriptions can include value judgments about characters or actions–and by describing certain events in detail while glossing over others.  The omniscient narrator may not be a neutral one.  When writing this tense, be aware that how you describe things, and what you choose to dwell on or leave out, may skew the way your readers look at your characters and plot.

 

Tight third person

“Cora looked around the inside of the cave, shivering in the disgusting dampness, wishing she was anywhere but here.  She shot a glance at Tina, hoping to ask if they could leave, but Tina was too busy gawking at the cave’s ceiling.”

If first person is a view from behind the narrator’s eyes, and standard third person is the God’s-eye view, tight third person can be described as a view over the narrator’s shoulder.  In the above example, although it is third person, since it is seen from Cora’s viewpoint, she does not know that Tina likes the cave.  All she knows is that Tina seems to want to look around, while all she cares about is getting out as soon as she can.  Similarly, while the omniscient point of view allows the narrator to outright tell the reader that Tina’s excited to do some exploring, the tight third person viewpoint requires the narrator to drop hints which will allow the readers to guess at Tina’s mindset, whether or not Cora ever figures it out.

From Tina’s point of view, this same scene might look like this:

“Tina looked around the inside of the cave, fascinated by the beautiful limestone stalactites tumbling from the ceiling.  Unfortunately, Cora didn’t seem as entranced.  Tina couldn’t imagine why not, but she wasn’t going to let her friend’s reluctance get in her way.”

Is the cave disgusting, or beautiful?  In this case, it very much depends on which character is doing the looking.

In real life, different people might have different interpretations of the same event.  Tight third person also allows for the narrator to get right inside the thoughts and feelings of his characters, but also provides the possibility of showing multiple points of view.  This viewpoint is tricky, since the “narrator as character” is muted, and it is imperative that the writer describe events in a manner consistent with the beliefs of the character, as opposed to colouring them with her own experiences.  It can be uncomfortable to see through the eyes of a villainous character-a bigot, a thug or a self-serving sleazeball-and present their point of view as rational, even natural.  However, it allows for a fascinating insight into the way different characters think.