Courses (Part 2)

Okay, make that four online courses.  Queue the statement “My name is Anna, and I am a study addict.” Why have I done this?  Simply put, to make me better equipped at helping the authors who come to me for my services. I digress.

Harry DeWulf has very generously given me a voucher to take his Read Worthy Fiction Course (and inadvertently enabled my addiction to self driven distance study). I’m currently listening to the audio files for the first two lessons and madly jotting down ideas for my first 500 words. In keeping with the theme of the course, I intend to publish my finished article but I am undecided about how.  I am considering an episodic approach to publishing. Right here on this blog.  I have (probably unwisely) decided to allow my readers have a say on this.

[polldaddy poll=9542330]

I should probably go away now and consider what I have actually let myself in for…

Additional information.

  • Harry Dewulf can be found on Twitter @densewords.
  • The Read Worthy Fiction Course is available via Udemy.com and normally costs £95. I have placed a link to his website in the sidebar of my main website but you can find links to his courses here. I highly recommend his advice.

 

Courses…

I have just signed up for three, yes, three online courses.

This free online course is for English language teachers around the world. It will help you develop the skills and practices you need for your continuing professional development (CPD).

This course is part of our Teaching for Success: Practices for English Language Teaching program. In the program we will look at the 12 professional practices for CPD on the British Council’s teacher development framework.

In this course aspiring writers will be introduced to perhaps the most elemental and often the most challenging element of story: plot. We will learn what keeps it moving, how it manipulates our feelings, expectations, and desires. We will examine the choices storytellers make to snag our imaginations, drag them into a fictional world, and keep them there. We will learn how to outline and structure a plot, discuss narrative arc, pacing and reversals and reveal the inevitable surprise: connecting the beginning, middle and end.

Have you always wanted to write, but never quite had the courage to start? This free course, Start writing fiction, will give you an insight into how authors create their characters and settings. You will also be able to look at the different genres for fiction.

  • identify strengths and weaknesses as a writer of fiction
  • demonstrate a general awareness of fiction writing
  • discuss fiction using basic vocabulary.

I do this with two reasons in mind.

First and foremost is to update and revise my own skills.  While I hold a degree, it is in a very specific area of history. It also dawned on me recently that I took my English Literature A’ Level sixteen years ago.  That was a realisation that had me reaching for the teabags and kettle, believe me. So here I am updating my skills, but don’t believe for one moment that I feel like this is a chore.  I love these online distance learning courses.  I spent five years with the Open University, taking one module at a time, to get my degree and while some units were more interesting to me than others, I thoroughly enjoyed it. Any chance for more study is welcome.  Yes, I am one of those…

Secondly, I initially began my degree with a career in teaching in mind.  Now I have finished and, much like my two co-authors on this blog, I find myself on a path to a career in editing.  While not quite the path I was expecting, editing work remains essentially a teaching role.  It is my job to guide writers on their way to publishing the best work they can produce. I do still hope to train in F.E. teaching and if that helps me to become a better editor, then so much the better. I have not stopped on my path, I have merely taken a minor detour.

Website Finished!

Well, I think that is my website just about sorted. It’s taken some time but I think it’s been worth the work. Considering I am very new to it, I am genuinely quite pleased. If anyone sees finds a mistake on it, please let me know via the contact form.

This post is mainly to offer my wholehearted thanks to everyone who has offered me help and advice while I have been getting properly set up.

  • Steve Frost
  • Sean Johnstone
  • Michelle Dunbar
  • Harry DeWulf
  • Lee Hunter
  • Barbara Holten
  • Tim Green
What makes a good editor?

What makes a good editor?

Introduction

I should distinguish first, the differences between the roles of the editor and copy editor.  It might seem at first, particularly to new writers, that the two roles are one and the same, but they vary definitively. There is no strict definition of who does what, which can lead to confusion over what to expect so it is vital for you to be sure exactly who offers what, and at what level so you can be sure that your book gets the right process. These service levels are dealt with in more details later in the post. Briefly, an editor is the second pair of eyes who will be able to look at an author’s manuscript objectively, and dispassionately, and thereby identify where the work has potential, where it falls down, and advise where changes are needed in order to make the work as good as it can possibly be (Oliver, 2003, p. 127) this will take several drafts.

While the use of the terms ‘editor’ and ‘publisher’ also appears to be inter changeable, particularly in writer’s guides written in the US, they also vary. In the US, the publisher is the printer.  They prepare the material for printing, then issue the books, newspapers and magazines for sale to the readers. In the UK, the publisher is a person or company who is in the business of publishing printed material.

Self-editing is another different process, which will be covered in a different post.  This is the furthest you can take your work without professional assistance. It is good practice to go through your own self editing process and take pains to get your work as close to being finished as possible before submitting any of your work to an editor.  It will save you a great deal of time, money, and disappointment (Maitland, 2005, pp. 174-195). Finally, no type of editing service includes changing huge chunks of your work. Ghost writing and co-authorship are entirely different agreements, which have no bearing on the editorial process. These arrangements, for good reason, should be entered into separately.

 What they will do.

‘An author’s publisher is, in effect, his/her very first, critical, perhaps over-critical, reader. If something strikes your publisher (who is on your side) as not very good, then it may have the same effect on other readers – the buying public, who are not on your side until your book persuades them that they should be.’ – Reay Tannahill (Oliver, 2003, p. 128)

Before work begins

The website Preditors and Editors, contains a list of editing services, which they rate according to their quality (Preditors & Editors, Inc., n.d.). A ‘not recommended’ rating is issued to services which fulfil one or more of several criteria. A good editor will only invoice you for work you have agreed for them to carry out. Here lies the importance of a fair service agreement, signed by both parties which should lay down the precise remit of the editor. This contract is an agreement between author an editor to perform a specific task or process. A good editor will acknowledge that it will take at least four rounds of editing before a work can be in anyway considered finished and ready to publish. A good editor will not make rash promises, in order to pull you in. A good editor will stick to their contract and deadlines: they want repeat business and to do this they will offer a good service – not low prices – and produce a good result,

Free sample editing

Sample edits allow an editor to demonstrate their ability to edit your work and provide an example to you of the standard you can expect from them. One page is reasonable to ask, and many offer this as standard practice, but you should not expect them to sample more than five pages. Remember that whilst they are trying to sell their services, their time and skills are as valuable as your own. At this is the stage an editor can also gain a rough impression of what level of service your work needs and how long it will take (Koch Macleod & Douglas, 2014).

Editing plan

This will detail the exact processes your work will undergo. It normally consists of four or five stages over many drafts. These exact processes and the wording of the plan will vary between services but this plan outlines the level of service which will be agreed to in your service contract.  This should be produced prior to signing any agreement. A good editor will set realistic and fair deadlines in their contracts and they will stick to them. Be aware that sometimes work may take longer than previously estimated. A ten percent margin of error in this respect is not unreasonable and a fair service agreement will allow for this.

Service Agreement

No full manuscript should be submitted before a service agreement, which reflects what you have already agreed to has been signed by both you and the editor. This contract is an agreement formalises your agreement. If you are not entirely happy with the terms of an agreement, a good editor will negotiate before producing a contract.  If they will not negotiate, do not sign anything. It should detail the agreed prices, the service levels and terminology, and the cancellation process.

The actual editing

Most importantly, it is not the job of an editor to research for, or to rewrite your work for you. An editor will suggest changes that they believe will improve the manuscript (Tuttle, 2005, p. 109). These may be minor corrections such as word misuse, or alerting you to the repetition of phrasing. They may also be major, such as removal of sections or even whole sub-plot lines, or including additional content.  These changes are not compulsory. It is your work and you do not have to change anything unless you are entirely convinced (Tuttle, 2005, p. 109). That said, editorial advice should be given proper consideration, and not simply rejected if you find their reactions overly harsh. Editors can bring an unbiased eye to your work, as well as a totally candid assessment, whereas a friend or family member might be reluctant to point out any failings, lest it hurt your feelings.

A good edit consists of four distinct stages (Koch Macleod & Douglas, 2014).


  1. Developmental, (structural or substantive).

Here an editor will look at how the story comes together and makes a note of trouble spots: where the plot is lost or inconsistent; where there is an excess of description; where the characters are indistinct.  From this point, they will look at how sections might be reordered so they fit together better, and represent the expectations of the reader. This can be an expensive service if the whole of a manuscript needs restructuring so it is a good idea to address this issue before you start writing with a detailed outline.  This can also be sent to an editor, together with your manuscript, but bear in mind that this may incur an extra cost (Koch Macleod & Douglas, 2014).

2. Paragraph Level (stylistic or line editing).

This stage resolves issues over the clarity and flow of your sentences. It could involve moving the sentences around to clear up the meaning, but it always aims to preserve your voice in your work (Koch Macleod & Douglas, 2014).  If your sentences feel formulaic, with excess adjectives, the vocabulary is unsuitable for your audience (strong language etc.), you have used specialised jargon without taking the time to define terms, or your transition between paragraphs is disjointed, it might be a good idea to request a stylistic edit (Koch Macleod & Douglas, 2014).

 3. Sentence Level (copy-editing).

After the editor has suggested the required changes to the content, with regard to accuracy and structure, the copy- editor (which may be the same person) will check the fine details such as spelling punctuation and grammar (Maitland, 2005, p. 174).  This assess the grammatical structure of your sentences, ensuring the correct use of words and the consistency of argument or story line. The writer may have deviated from the expected course, due in part to the sheer number of small details they are trying to incorporate into a single narrative. Inconsistency in spelling can also be caught and picked up in sentence level editing so the author can be alerted and they can correct it in the next draft (Koch Macleod & Douglas, 2014). A good copy-editor will make sure a writer sees these corrections. This is easy to do in applications such as Word as it has a designated function to track changes. While you are under no obligation to accept them (Oliver, 2003, p. 128), it is recommended that your follow their advice.

 4.  Word Level (Proofreading)

This is the final stage, not the first. This is applied only after the structural issues have been addressed and resolved.  It’s the final spit and polish. Typing, spelling and formatting problems are highlighted and an editor will examine how your text presents itself in both hard, and electronic formats. This is the final opportunity to catch errors before your work is laid before the public, for a reader to immediately point them out. (Koch Macleod & Douglas, 2014).

What they won’t do.

An average manuscript from a new author does need quite a large amount of editing, often two or three sets of revisions need to be carried out’ – Luigi Bonomi (Oliver, 2003, p. 127)

A good editor understands that editing can only do so much.   As demonstrated above, it is their job to guide the author through a final process in regard to structure and storyline. In short:

  1. They will not rewrite your work. Nor will they promise to make your manuscript ready to publish within the first round of editing.
  2. They will not make any promises to get your work on best-seller lists.
  3. Beware of those who do make bold promises. You absolutely do not want to do business with those people.
  4. They will not make any attempts hard-sell any long term deals, or push you toward particular printers or publishers.
  5. If you are cold-called by an editor, do not use them. All contact should be initiated by you.
  6. A good editor will not use your work without your consent. They have no propriety rights to your work (unless they have bought the work from you, as in the case of traditional publishing).  Submitting work to them for editing, does not imply that they have any permission to use it.  Even with permission, they have to correctly attribute it to you. If an editor uses work by the writer (in whole or part) without permission, without attribution, this constitutes an abuse of fair use.

 

Bibliography

  • Card, O. S., 1990. How to Write Science Fiction and Fantasy. Cincinnati: Writer’s Digest Books.
  • Koch Macleod, C. & Douglas, C., 2014. 4 Levels of Editing Explained: Which Service Does Your Book Need?. [Online]
    Available at: http://www.thebookdesigner.com/2014/04/4-levels-of-editing-explained-which-service-does-your-book-need/
    [Accessed 29 September 2016].
  • Maitland, S., 2005. The Writer’s Way. London: Capella.
  • Oliver, M., 2003. Write and sell your novel. 3 ed. Oxford: Howtobooks.
  • Preditors & Editors, Inc., n.d. Editing, Copywriting, Ghostwriting, Indexing, & Software. [Online]
    Available at: http://pred-ed.com/peesla.ht
    [Accessed 29 September 2016].
  • Tuttle, L., 2005. Writing Fantasy and Science Fiction. 2 ed. London: A & C Black Publishers Limited.

You are seeing the very first post for AnnaProofing!

This site will be running along side my official website, and will be used to keep a running record and reflection of my experiences as a new editor, to keep abreast of news and changes in the indie-writers’ and self-publishing markets, and to post useful advice to new writers. If you have any advice for a new freelance editor, I would be delighted to read what you have to say.