Articles tagged "editing"

Top ten errors writers make that editors hate

Screen Shot 2013-10-07 at 3.40.50 PMHelga Schier, independent writing and publishing consultant and founder of Withpenandpaper.com, recently gave a brilliant presentation at the Writer’s Digest Conference covering the trials and tribulations of book editors.  More specifically, she eloquently and succinctly outlined a list of the top ten errors editors hate — and often see — the most. For the writers in the room, this was a gold mine of valuable information and I would like to share what I learned.

First and foremost, there are three levels of editing and they should all build upon each other.

  • Editing that deals with the surface structure of the words on your page – copy-editing.
  • Editing that deals with style and voice, as well as, tightening your manuscript by getting rid of unnecessary sections – line editing.
  • Editing that deals with ways to make your world come to life, including ways to create your characters, build your world, and write good dialogue  – conceptual editing.

Before you hand your book to an editor, you should have already gone through these three levels of review…

The Basics: Writing

1. Editors hate it when it’s clear that you never ran that spell-check.

These are things everyone can fix.  This level deals with spelling, punctuation, and grammar. Your words are your tools so make sure they are in good working order. Some may argue that editors should care more about the story and characters. This is true, but these kinds of mistakes greatly distract readers from understanding and absorbing the book.  Your job as an author is to take the reader by the hand and take them on a journey through the story.  Bad grammar or spelling mistakes detract and sway from that journey.

2. Editors hate it when you serve leftovers.

  • Plot or character inconsistencies
  • Timeline issues

A good way to keep this from happening is to run a second reader check. Give your book to someone who will critically read it and ask them to report on things that don’t make sense to them.

Beyond the Basics: Writing in Style

3. Editors hate it when the writing is heavier than a ten-ton-truck.

  • Inflated sentences – polish your sentences, don’t use unnecessary lead-ins. Get to the point or meat of the sentence quickly.
  • Stilted language – you want to meet your readers through your work and you want to call the readers attention to your story or argument.  Unnecessary language reminds readers that they are actually reading and takes them away from being immersed in your world.
  • Overuse of adjectives and adverbs – makes a story feel cumbersome and lazy.  Most adjective and adverb phrases don’t do the description justice.

4. Editors hate it when style isn’t really style but writing in your comfort zone.

  • Repetitive use of vocabulary
  • Repetitive sentence structure and length

Every writer has a set of words that they fall back on and don’t often notice unless they specifically go looking for them.  Remedy: make a list of your most used words/phrases and go through your manuscript hunting them down.  Make sure your characters use their favorite words not yours.

Vary the length of the length and structure of sentences to provide a unique mix for the readers. Also, allow your characters to use varied sentence structure depending on their personality, background, and environment in which they find themselves. Step outside your comfort zone and find your voice.

5. Editors hate clichés. Except when they don’t.

  • Innovate and personalize clichéd images and comparisons.
  • Use clichés and stereotypes as character markers.
  • Turn stereotypes upside down to define a personality or relationship.

Leave trusted clichés behind. Clichés are predictable and writing should never be predictable.  Replace established clichés with your own creative ones. These images should be new and personal but, not obscure to your readers. You want your readers to turn the pages because they can’t wait to see what is beyond the next paragraph.

Far Beyond the Basics: Writing to make your world come to life

6. Editors hate it when characters resemble cardboard cutouts.

Don’t let your characters be predictable and don’t give your character’s entire back story all at once.  Readers can’t digest that volume of information and the story comes to a screeching halt with all suspension of disbelief gone. Giving the character’s back story is not the same as creating and developing a character that comes to life. You want fully developed characters with their own psychological make-up, who have a past, hopes for the future, and most importantly, a motivation or reason for their actions.

7. Editors hate it when the narrative tells rather than shows.

  • Scenes need to show how characters act and interact.
  • Narrative needs to observe, not comment.

Show don’t tell, but this does not mean that you should shy away from the description. “Show don’t tell” refers to the way your characters should interact. Scenes cannot happen in a vacuum. Your narrative must develop the scene.  Don’t simply say, “the restaurant was loud”, rather describe the conversation at the bar, the waiter dropping the tray, the phone ringing off the hook at the host stand. If you show something well enough, there is no reason to tell the reader.

8. Editors hate it when dialogues turn into speeches.

  • Dialogue requires that people interact with each other verbally and non-verbally.
  • Dialogue passes on information.
  • Dialogue defines characters and their relationships.
  • Dialogue exposes tension and conflict.

Dialogue in a novel is polished speech that serves certain functions…it shows relationship, moves the story along, creates scenes, etc.  None of your characters should ever lecture or pontificate. Dialogue should always have at least two people interacting verbally and non-verbally. The words a character chooses says a lot about the character’s background, personality, and status. Again, words should be theirs, not yours. Dialogue words must also fit the situation. Someone will speak differently given a different situation.

People don’t necessarily say what they mean or mean what they say. There is often a subtext. Do the characters have a relationship? Trust each other? Hate each other? Have a secret crush? This all can come through in the subtext of the dialogue.

9. Anything goes! But just because you say doesn’t make it so.

  • Events must be caused by earlier events and lead to the next.
  • Natural story development depends on the interplay of plot and character.
  • A character’s natural behavior must be motivated by his/her psychological disposition.

Remember, in a novel one event must lead to the next and the interplay of your characters and events should create the plot…in other words, it is the characters that write their own stories.

10. Editors hate hangnail writing.

  • Everything in your story has an impact on your readers.
  • Show and tell your readers only what is relevant. No more.
  • Show and tell your readers everything that is relevant. No less.

An extra scene, banter, subplots, or characters that don’t drive the story forward create boredom and distrust of the author.   Show the readers what is relevant, no more and no less. Readers take in everything about the story, so you must follow through. You absolutely must show everything that is relevant as readers only see what you show not what you may know.

Quick but hugely important tip:

Take time off from your manuscript, a step back, and gain distance. In that time…READ, READ, READ (other people’s work) then, reread your work.  First, start looking for the big picture stuff. Before you edit, read it again and look at style and genre. The third time, go for typos, spelling etc. DO ALL OF THIS BEFORE YOU BEGIN TO REVISE!

For access to Schier’s slide deck, click here.

 

 

 

Editing the breakaway self-published book with Ivory Madison

Screen Shot 2013-09-27 at 11.40.30 AMI just had the pleasure of sitting in on Ivory Madison’s session on writing and editing breakaway books at the Writer’s Digest Conference. Madison is CEO and founder of Redroom.com, the “Facebook for authors”.  She was also named “Best Writing Coach” by San Francisco magazine and has been a guest lecturer to the faculty and writing coaches at the Stanford Graduate School of Business and the Stanford Publishing Course.

In this particular session, she provides some amazing advice and insights on editing your next book:

  • Once you have finished your writing, having said everything you have to say, in all it’s sloppy glory, you will want to get through your editing quickly, painlessly, and efficiently. Now, imagine a giant bulls eye.  Each ring is going to represent a stage and focus in your editing journey.
  • The outermost ring is very big picture questions: What type of book is this?  What are the themes? What are the cast or characters? How do they develop?
  • Then, we get into the inner structure ring (this is also the hardest part). Can you write a one-page hero’s journey? Does it flow and follow correctly? These aren’t necessarily templates but, rather insights into how people tell stories. Structure is also where you look at point of view, tense, pacing, and what kind of voice the story has.
  • Story Fractiles: scientific concept that posits that everything is ultimately a repeating pattern. Applying this to writing, you need to ask yourself “is this all the same book?” If you took a small piece of it, does it still reflect the overall work?  Does each chapter reflect a short story of the book? Your writing should ultimately sound like YOU speaking at your most eloquent…it must be real and authentic.
  • Copy-editing Ring: is everything fluid and in the right word? Is everything true? This is also where you look at metaphors…do your metaphors make enough sense to have an impact?
  • Mechanics Ring: Looking at each word, grammar, formatting, and punctuation.

Madison’s final editing words to live by, “it’s worst to not get published than cut things out of your book”.  Finally, sit down and have someone read the manuscript out loud at full volume, you will be surprised by what you find.

 

Life After NaNoWriMo

We’re well into December, and it’s almost the end of the year, but let’s take a minute to talk about last month. How did you spend your November? Maybe getting ready for the change in seasons or braving crowds to get a head start on holiday shopping? If you participated in NaNoWriMo you can add “writing an entire novel” to that list. Fifty thousand words in thirty days is no small feat so first things first: congratulations! Now that you’ve got everything all typed up and had some time to go over it, the most important question is…what’s next? You wrote your book in record time, so why not publish it just as quickly? Lulu has the professional publishing services to put a little shine on things and get your work ready for the world.

Cover Design


They say you shouldn’t judge a book by its cover but let’s be honest, a nice cover goes a long way and can hook a customer before the first page is even turned.

The Editorial Process

Photo courtesy of TheCreativePenn’s photostream on Flickr

Michael Crichton once said of revising, “Books aren’t written. They’re re-written.” As any of us who have slogged through draft after draft knows, he’s entirely on the mark, and it’s what you do during the rounds of revisions that make your book closer to finally being finished.

Editors at traditional houses work extensively with writers on everything from a book’s plot and character to title and cover design. After a book is acquired, the author will receive an extensive, pages-long editorial letter that is not for the faint of heart. It outlines a number of changes that will need to be made, thus kicking off a long revision period that ultimately ends with publishing as much as 18 months later.

As an author using an open-publishing platform, you have more flexibility in accepting or rejecting where you want the story and characters to go, and you don’t have to wait nearly two years to hold a copy of your book in your hands.

DIY Proofreading

Happy Editing Month: DIY Proofreading

Proofreading is an important topic these days, particularly for indie authors. Just this week we caught sight of a conversation on Quora that started with the thread: “What does it say about you if you are terrible at proofreading?” What we’ll say is that self-proofreading is very challenging, but doable. So, we thought we’d provide some tips.

Once you’ve edited your text and you’re 100 percent confident as to your content and narrative, it’s time to proofread. Self-proofreading isn’t optimal. Look at it this way: self-proofreaders inevitably see what they want to see. In other words, if you’re not serious about finding errors and typos, then you’re probably not up for the task—there’s that and let’s face it, if you don’t know something is a mistake, then a different set of eyes can make all the difference. That said, while it’s not ideal, it can be done. Editing expert Ellie Maas Davis is back today to give some tips on self-proofreading.

How To Choose an Editor

Happy Editing Month: How to Choose an Editor

When it comes to finding an editor to help you with your book, make sure it’s someone who responds to what you’ve written and how you’ve written it. Make no mistake: no one likes to be edited. It can be an incredibly painful process. You’re basically paying someone to poke holes in what you’ve done and critique every aspect of it from concept to comma use. Like many things in the publishing process, it requires a leap of faith, and if you want to ensure your book is marketable—or at the very least navigable to readers—then it’s absolutely necessary.

Here are a few pointers for starting the editing process, from editing expert Ellie Maas Davis:

1. Make sure your editor specializes in your genre—if you’ve written a book about the Civil War or advanced polynomials, by all means, find an editor who has edited similar titles. If you have an uncommon topic, a Lulu Services rep will be happy to give you background information about the editor most likely to tackle your manuscript.

Happy Editing Month: Only You Can Prevent Bad Book Reviews!

It’s time for Lulu’s Editing Month once again – that time of year when the editors line up their metaphorical red pens and break out the prose polish.

To kick off the month, we pose a question: What’s the last thing you want to read after publishing your pride and joy? A bad review, right? We hate reading them too, but we know that, much like sunburn and forest fires, they are preventable! The remarks below are from actual Clarion ForeWord and Kirkus Indie reviews, with identifying details removed.

“… the book yearns for a good editor. It is rife with missing words, punctuation errors and other grammatical mistakes that impede the narrative flow and distract the reader.”

“It’s not merely a matter of how polished the prose is; rampant sloppiness inhibits rhythm, fluidity and pleasure that might otherwise be derived from the narrative.”

“Syntax is convoluted to such a degree that sentences often require multiple readings.”

Everybody Needs an Editor

Happy Editing Month, everyone. Didn’t know May was Editing Month? Well it is, because Lulu says it is! And we all have our virtual red pens poised and ready to edit some great books!

“I was an English major, so I don’t need editing.” “My professor already edited it.” “My mother was a teacher for 27 years; she can proofread it.”

We here at Lulu have heard every rationalization authors have for not investing in professional copy editing. It’s completely understandable—editing can be costly, especially if you have a very long manuscript. And for some, it may seem preposterous to pay someone else to do what your professor or a relative has already done.

So why should you consider a professional copy edit?

First, remember that, while it is great that you have friends or family that will closely read your book (trust me, not everyone is that lucky!), more than likely, these people are not editors by trade. A teacher is not an editor. An English major, while he or she may have a better grasp on the English language than most, probably isn’t up-to-date on the changing style rules. (The Chicago Manual of Style is on its 16th edition—which edition is that dusty copy of yours?) Not to mention, your friend knows how hard you’ve worked on your book and may be afraid to tell you that your dialogue is dry and unrealistic, or that Chapters 9 through 14 go off on a tangent they didn’t understand. An editor doesn’t know you from Adam, and isn’t concerned with hurting your feelings—they want your book to be as good as it possibly can be.

Second, a proofread is not a copy edit. What your friends are probably doing for you is checking for typos and grammar mistakes. While these are, of course, very important, they only scratch the surface of what a true editor looks at in a manuscript. A professional editor is also looking at syntax, word choice, organization, plot and character development, text flow, inconsistencies in tense, among other issues.

Third, consider the value that a copy edit will add to your book. You wouldn’t go out the door without looking in the mirror to make sure your shirt is buttoned correctly, right? Now imagine if you had a stylist from Vogue stopping you at the door each morning to tell you if your shoes are inappropriate for the interview/wedding/wrestling match you’re headed to. That’s what editing does for your book. It adds credibility—you obviously think so much of your book, and of the information you are relaying, that you won’t settle with only one pair of eyes going over it. Yes, the cost of editing might be higher than what you’d planned to spend on the whole pre-publishing process, but it’s really an investment in your book’s future.  You’ve worked on this book for months, or maybe years—you certainly don’t want your reviews to start, “Great message overall, but couldn’t get past the glaring typos and strange sentence structure.”

How can Lulu help with editing?

An Editorial Quality Review is a great place to start. This service is included in our three main Pre-Publishing Packages, and is also available on its own. This review not only provides helpful feedback that you might use in your own revisions, but also recommends one of our three levels of copy editing. And to celebrate Editing Month, we are offering the Editorial Quality Review itself, normally $199, for $149, plus 15% off the price of whichever copy edit we suggest. And if you decide to take that polished manuscript all the way to the finish line with one our publishing packages, we’ll reduce the cost of the Review from the package price. To get started, just click “Add to Cart” here.  This promotion, along with Editing Month festivities, will end on June 1, 2011.

The Top 3 Most Helpful Services

Here at Lulu, our goal is to help you sell more books.  One of the ways we do this is by providing you with a variety of service options to help you out during the publishing process – from start to finish.

When you buy services from Lulu, you’ll be assigned a project coordinator who will help guide you along the way and answer any questions you may have about your service.

The following are some of what I believe are the best services for getting your book looking its best from the inside out.

Making Criticism Work For You

If you’re reading this blog, chances are you’re the creative type and maybe even a DIY-er. If I were to guess, I’d have to say you’ve probably written your own book, edited it, and then designed the cover. Pretty impressive, and you definitely get a pat on the back from me. But you may have noticed that it’s really easy to get stuck inside your own head and become blind or even evasive of constructive criticism when you’re doing it all on your own. The key is to not let your work suffer.