Editing

BookBaby Launches e-Book Editing Service for $1,200

11 July 2016

From GoodEreader:

BookBaby has just announced that they have a new editing service available to self-published authors. They will copy edit a 60,000-word eBook for under $1,200, which is 50% lower than other competing premium offers.

. . . .

“Every book needs editing–that’s an established fact,” says BookBaby President Steven Spatz. “Now every author can get the kind of top-notch editing they need. Our goal was to provide a cost-effective solution for self-publishing authors while maintaining the quality that they expect and deserve.”

Here’s why our program is different–it’s not just about speed and price. It’s about providing a book editing service that keeps authors’ best interests as the priority,” says Spatz. “Our editing process is personalized by matching authors with book editors that specialize in their respective genres to yield the best possible results. And while the editor’s goal is always to improve the book, we understand this is a subjective process and authors may not always agree with the changes. But authors will always have the final say on their work, retaining control throughout the entire process.”

Link to the rest at GoodEreader

On Max Perkins, One of America’s Greatest Editors

14 June 2016

From LitHub:

Shortly after six o’clock on a rainy March evening in 1946, a slender, gray-haired man sat in his favorite bar, the Ritz, finishing the last of several martinis. Finding himself adequately fortified for the ordeal ahead, he paid the check, got up, and pulled on his coat and hat. A well-stuffed briefcase in one hand and an umbrella in the other, he left the bar and ventured into the downpour drenching mid-Manhattan. He headed west toward a small storefront on 43rd Street, several blocks away.

Inside the storefront, 30 young men and women were awaiting him. They were students in an extension course on book publishing which New York University had asked Kenneth D. McCormick, editor-in-chief of Doubleday & Company, to conduct. All were eager to find a foothold in publishing and were attending the weekly seminars to increase their chances. On most evenings there were a few latecomers, but tonight, McCormick noted, every student was on hand and seated by the stroke of six. McCormick knew why. This evening’s lecture was on book editing, and he had persuaded the most respected, most influential book editor in America to “give a few words on the subject.”

Maxwell Evarts Perkins was unknown to the general public, but to people in the world of books he was a major figure, a kind of hero. For he was the consummate editor. As a young man he had discovered great new talents—such as F. Scott Fitzgerald, Ernest Hemingway, and Thomas Wolfe—and had staked his career on them, defying the established tastes of the earlier generation and revolutionizing American literature. He had been associated with one firm, Charles Scribner’s Sons, for 36 years, and during this time, no editor at any house even approached his record for finding gifted authors and getting them into print. Several of McCormick’s students had confessed to him that it was the brilliant example of Perkins that had attracted them to publishing.

. . . .

Partly because Perkins was the preeminent editor of his day, partly because many of his authors were celebrities, and partly because Perkins himself was somewhat eccentric, innumerable legends had sprung up about him, most of them rooted in truth. Everyone in Kenneth McCormick’s class had heard at least one breathless version of how Perkins had discovered F. Scott Fitzgerald; or how Scott’s wife, Zelda, at the wheel of Scott’s automobile, had once driven the editor into the Long Island Sound; or how Perkins had made Scribners lend Fitzgerald many thousands of dollars and rescued him from his breakdown. It was said that Perkins had agreed to publish Ernest Hemingway’s first novel, The Sun Also Rises, sight unseen, then had to fight to keep his job when the manuscript arrived because it contained off-color language. Another favorite Perkins story concerned his confrontation with his ultraconservative publisher, Charles Scribner, over the four-letter words in Hemingway’s second novel, A Farewell to Arms.

. . . .

Many stories about Perkins dealt with the untamed writing and temperament of Thomas Wolfe. It was said that as Wolfe wrote Of Time and the River he leaned his six-and-a-half foot frame against his refrigerator and used the appliance’s top for a desk, casting each completed page into a wooden crate without even rereading it. Eventually, it was said, three husky men carted the heavily laden box to Perkins, who somehow shaped the outpouring into books. Everyone in McCormick’s class had also heard about Maxwell Perkins’s hat, a battered fedora, which he was reputed to wear all day long, indoors and out, removing it from his head only before going to bed.

. . . .

Perkins took of his sopping raincoat and revealed an unpressed, pepper-and-salt, three-piece suit. Then his eyes shot upward and he removed his hat, under which a full head of metallic-gray hair was combed straight back from a V in the center of his forehead. Max Perkins did not care much about the impression he gave, which was just as well, for the first one he made on this particular evening was of some Vermont feed-and-grain merchant who had come to the city in his Sunday clothes and got caught in the rain. As he walked to the front of the room, he seemed slightly bewildered, and more so as Kenneth McCormick introduced him as “the dean of American editors.”

. . . .

Hooking his thumbs comfortably into the armholes of his waistcoat, speaking in his slightly rasping, well-bred voice, Perkins began. “The first thing you must remember,” he said, without quite facing his audience: “An editor does not add to a book. At best he serves as a handmaiden to an author. Don’t ever get to feeling important about yourself, because an editor at most releases energy. He creates nothing.” Perkins admitted that he had suggested books to authors who had no ideas of their own at the moment, but he maintained that such works were usually below their best, even though they were sometimes financially and even critically successful. “A writer’s best work,” he said, “comes entirely from himself.” He warned the students against any efforts by an editor to inject his own point of view into a writer’s work to try to make him something other than what he is. “The process is so simple,” he said. “If you have Mark Twain, don’t try to make him into a Shakespeare or make a Shakespeare into a Mark Twain. Because in the end an editor can only get as much out of an author as the author has in him.”

. . . .

Once Perkins had concluded his prepared remarks, Kenneth McCormick asked the class for questions. “What was it like to work with F. Scott Fitzgerald?” was the first.

A fragile smile floated across Perkins’s face as he thought for a moment. Then he replied, “Scott was always the gentleman. Sometimes he needed extra support—and sobering up—but the writing was so rich it was worth it.” Perkins went on to say that Fitzgerald was comparatively simple to edit because he was a perfectionist about his work and wanted it to be right. However, Perkins had added, “Scott was especially sensitive to criticism. He could accept it, but as his editor you had to be sure of everything you suggested.”

The discussion turned to Ernest Hemingway. Perkins said Hemingway needed backing in the beginning of his career, and even more later, “because he wrote as daringly as he lived.” Perkins believed Hemingway’s writing displayed that virtue of his heroes, “grace under pressure.” Hemingway, he said, was susceptible to overcorrecting himself. “He once told me that he had written parts of A Farewell to Arms fifty times,” Perkins said.

Link to the rest at LitHub

The Copyedit from Heck

12 March 2016

From Kristine Kathryn Rusch:

In late February, I was scrambling to clear the decks for last week’s anthology workshop , I got an email from an editor who had kindly bought one of my stories for a major traditionally published anthology that will appear in November. Attached to the email was the copyedited story, along with a deadline of this week.

No problem. All I had to do was move that copyedit into the proper file on my writing computer so I could work on the manuscript when the workshop was over. However, I have learned that the first thing to do with any file that includes track changes is open the file and make sure the track changes are visible on both my e-mail computer and my writing computer.

I did just that—and hit the ceiling.

Two hours and a lot of invective later, I had completed the copyedit and returned it to the editor at the traditional publishing house, while copying the anthology editor (as per instructions). I wrote the editor at the trad pub house a polite letter that I have written a version of a lot in my career.

Dear Editor,

I have enclosed the copyedit for my story. The copyeditor took the voice out of the story. I have stetted almost all of her changes. I do apologize for the tone of my comments in track changes as I got deeper into the manuscript. It became clear to me that the copyeditor had no concept of a writer’s personal style.

I have run two separate publishing companies, won awards for my editing, and have trained copyeditors over my thirty-year career. I am hoping that this particular copyeditor saw my opening three lines and decided that I did not know how to punctuate dialogue. Because if the copyeditor treated the other manuscripts in this stellar anthology the way that mine was treated, you have a problem.

I’m stunned that this copyeditor was chosen for an urban fantasy anthology. Urban fantasy is voice- and style-heavy, and should be copyedited with a light hand.

I do hope that you will ensure that my corrections make it into the final volume. …

I received a kind letter in reply from the editor, who works for Random Penguin. She said she forwarded my letter to the managing editor who hired the copyeditor, and promised to make sure the changes were in the volume.

The letter came before last week’s bloodbath at Random Penguin, where most of the mass market division NAL/Berkley is being “repurposed.” Last week, according to Publisher’s Marketplace:

Other outlets and Twitter conversations indicate at least four editors and other support staff have been let go, and that title cuts at the Ace and Roc science fiction and fantasy imprints are on the way.

Note that it says “title cuts.” That means books already purchased will be cut and the contracts canceled.

. . . .

I have no idea if the editor I dealt with still has a job. I have no idea if the managing editor still has a job. I’m assuming the copyeditor from heck isn’t employed with that company, since most traditional publishers’ copyeditors these days are freelancers.

I do know that the volume will appear in November as promised, since the book is available for preorder. I am now braced for a voiceless version of my story to hit print, since I doubt there’s anyone remaining at the company to oversee this volume.

Such is life. In a few months or years after publication (whatever my contract says), I will publish the author’s preferred edition. I do so love the modern era.

I know many of the writers in that volume and was exchanging emails with them on another project. I found out that several of them had had a harsh copyedit too. Some didn’t care (I never read copyedits,one told me), but some got as angry as I did. Of the ones who got angry, only one other writer (that I know of) actually restored the original version. The others told me that the copyeditor knew better.

Nope. No. Not at all. The copyeditor knew the style manual better. The writer knew how to tell a story with an authentic voice better than that copyeditor ever would.

. . . .

I’ve had copyedits from traditional publishers that are much worse than this one, including one young copyeditor who rewrote every sentence of my 100,000 word novel. I’m not the only writer this has happened to. A traditionally published friend of mine just dealt with the same thing last year on one of his novels.

. . . .

I wasn’t kidding when I told the editor at Random Penguin that I used to train copyeditors. I still train them sometimes, although less often now. When I had published my novels traditionally, every single company I worked for used my manuscripts as a litmus test for their copyeditors.

My manuscripts were exceptionally clean. The editors would tell me (one or two novels in) that they were sending my manuscript to a new copyeditor, with a recommendation for a light copyedit. If the manuscript came back with hundreds of changes in the first chapter, that copyeditor never worked again.

The copyedit was sometimes tossed away, and we would let the proofreader catch the typos. It was easier than doing repair.

. . . .

The best way to learn how to tell a story properly is to read for enjoyment. NOT critically. If you read for enjoyment, you’re getting the same effect that the readers are. When you’re done with that story or novel, figure out if you enjoyed the story. If you liked the voice, or the story startled you somewhere, go back and figure out why.

Link to the rest at Kristine Kathryn Rusch

Here’s a link to Kris Rusch’s books. If you like the thoughts Kris shares, you can show your appreciation by checking out her books.

What Exactly Does An Editor Do? The Role Has Changed Over Time

30 December 2015

From National Public Radio:

When Harper Lee’s Go Set a Watchman was published earlier this year, readers learned that this much anticipated “second book” by Lee was actually a first draft of what would later become the beloved To Kill a Mockingbird. Lee radically revised this early version of the book on the advice of her editor, Tay Hohoff. That made us wonder: How much do editors shape the final book we read?

On hearing the news about the role Lee’s editor played in the creation of To Kill a Mockingbird, Pulitzer Prize-winning author A. Scott Berg was surprised at first. The story immediately made him think of legendary editor Max Perkins — who shepherded the works of such greats as F. Scott Fitzgerald, Thomas Wolfe and Ernest Hemingway. Berg, who wrote a biography of Perkins, says Perkins had a huge influence on the editors who came after him because of the way he worked with his authors.

“Not only did he change the course of the American literary river, but he changed what editors do by becoming their best friends, their money lenders, their marriage counselors, their psychoanalysts,” Berg says. “And along the way he began offering them titles. He often provided structure for what their novels ought to be. He often gave them whole ideas for what their next book should be.”

That was the way editors interacted with their writers for many years after Perkins came on the scene, Berg says, but now publishing has changed: These days there is more pressure on editors to acquire best-sellers, and they are much more involved in marketing a book. And that, he says, leaves precious little time for actual editing.

“Make no mistake about it: That editor-author relationship is still fundamental to good books,” says Berg. “But it’s not necessarily cost-effective for book editors to invest as much of their time into any single manuscript or any single author and that’s simply because the publishing houses have not encouraged their editors to edit.”

Link to the rest at NPR and thanks to Deb for the tip.

I Will Not Join in the Snooty Trashing of Self-Published Books; Here’s Why

9 September 2015

From Foreword Reviews:

The self-published book—despite its surge in respectability of late—is still derided, with snoots in the air, as “vanity press” by self-important literary critics. On a recent New York Times Book Review podcast, editor Pamela Paul proudly asserted that they don’t even read them. After all, who has time to go through all those so-called books? The assumption is that no legitimate publisher would touch it, so the author had to go it alone.

So, indulge me a little and let me take you back to my very first editing assignment. I was fifteen years old and my grandfather, a former Hungarian refugee from the Holocaust, was writing his life story. I was “the writer” in a family of doctors, so he came to me for this project, asking me to fix his broken English. Here’s an excerpt from the beginning of his book. It was 1918, and he and his brother were hiding in wine casks in a courtyard in Paks, Hungary, while the townspeople went on an anti-Jewish rampage. My grandfather, six years old, looking out through cork holes in his makeshift hiding place, witnessed this:

“The mob was busy and loud. Every business was looted, homes ransacked and fires burning at will. … The women were beaten, their clothes ripped off, the men’s beards were plucked and given twenty-five lashes on the street, as the enraged mob looked on and enjoyed all the atrocities. … As the night came, the street was filled with drunks and looters singing hate songs which sometimes were mixed with the cry and pleading for mercy of the Jewish population. As we looked out from our peephole, we recognized some of our neighbors as they went by with their loot, and we fell asleep. Our sleep was short-lived, when we heard an enormously loud crash. The mob reached our house, broke through the steel shutters and rampaged the house, and as we looked out from our hiding place, across the street, the little Jewish-owned grocery store was in flames.”

My grandpa’s book recalls his childhood as a Jew in Hungary, his escape—with my grandmother and my father, then four years old—from Europe to make a new life in America. I am nearly fifty years old, and for American Jews of my generation, my grandpa’s story is both an ordinary one—for it was mirrored in the experiences of grandparents of many American Jews who grew up in the safety of ’60s and ’70s America—and an extraordinary one, because it described a lost world that took on mythic proportions in my imagination, of a life filled with danger and split-second decisions that could mean living or dying.

It was a heavy editing assignment for me as a teenager who only had some vague idea that I wanted to be a writer. What I did not tell my grandpa was that I kept much of his original wording in the book. I cannot imagine reading my grandfather’s book in anything other than his broken, Hungarian-accented English.

Later, after it was completed, my grandpa showed me a letter he received from a literary agent. She wrote that while his story of escape from the Holocaust had potential, there needed to be some sex in it if she were to sell it to any publisher. My teenage brain tried to wrap around this thought. Some agent behind a desk somewhere in New York was telling my grandfather, the most honest man I knew, a man who lived enough adventure for many lives, that his life story was not worth telling if he did not invent some sex scenes.

Link to the rest at Foreword Reviews and thanks to Judith for the tip.

Copyediting or Proofreading? Getting the Most for Your Editing Dollar

13 May 2015

From The Book Designer:

As a self-publishing author, it’s next to impossible to manage all aspects of publishing a book by yourself. Inevitably, you’ll need to seek help with at least some stages of the process. And there’s a bevy of providers out there, eager to offer their assistance.

. . . .

Joanna Penn again warns authors to “do their due diligence” when seeking help with self-publishing. These comments are as true for editing as for any other author service.

How can authors know what they’re getting? Bottom line: if you’re paying someone to help you, that transaction must be transparent. You need to know exactly what the editor will do and what it will cost. In short, all the terms must be spelled out plainly.

Lately, most authors who contact us are requesting a quote for proofreading. And we could simply provide a quote for proofreading, but that wouldn’t be transparent. Why? Because when we look at the manuscript they’ve sent, it’s clear that the manuscript doesn’t need proofreading—it needs copyediting.

. . . .

The easiest way to remember the difference between copyediting and proofreading is to consider when they occur in the editing process. Proofreading is the final stage of editing. It occurs after your book has been formatted for print or digital distribution—after you get it back from your formatter or book designer. Proofreading occurs when your book is in its final form—in the environment in which your reader will read it.

For print books, proofreading will occur on a PDF. For an ebook, the proofreader will view your book as an epub or mobi file—on a Kindle, perhaps—and keep a list of any changes that need to be made in the master file. Any corrections that the proofreader suggests will need to be addressed by your formatter or designer. If you’re the formatter or designer, you’ll be the one making the corrections.

The proofreader will also look for errors that have been introduced during the formatting and design process. That’s right! Every time someone touches your book manuscript for any reason, the possibility of introducing errors exists. So the fewer changes you have to make at the proofreading stage, the better.

. . . .

When an author submits a manuscript to us for “proofreading,” this is the first question we ask: “Has your book been copyedited?” If it hasn’t, the process can become costly for the author.

Here’s why: editors generally copyedit a manuscript using a variety of automated copyediting tools. These tools not only help editors to be more accurate in hunting down errors, they also help them to be more efficient during the copyediting process. If an editor charges by the hour, you will want her to use the tools that will make the process more efficient, as this will be less of a drain on your book budget.

Most automated tools only work with Microsoft Word—the editor’s tool of choice. It follows, then, that the bulk of corrections should occur when your book manuscript has not yet been formatted as a PDF, epub, or mobi.

Further, copyediting can involve recasting and reordering sentences for clarity, a task you most definitely want to avoid when your book has been formatted or laid out.

Link to the rest at The Book Designer

Self-Publishing Boom Boosts Freelance Editing Services

6 May 2015

From NPR:

For awhile it probably seemed to some friends and family that Rebecca Faith Heyman had pursued an expensive degree at NYU without any intention of actually using it. She did her undergraduate and graduate degrees there, both in English, and while many of her classmates secured internships at the big publishers and magazines, Heyman spent her summers working service jobs in hotels and restaurants. “When I got out of school I wasn’t really sure what to do,” she told me recently. “I had started teaching yoga, which is not, as you can imagine, terribly lucrative.”

But despite forgoing the traditional publishing route, Heyman had always held an interest in book editing, and what with her advanced degrees in English she thought she could give it a try. So in 2007, right around the time of the Amazon Kindle’s debut, she signed up for a couple online freelance marketplaces, the kind where potential clients post jobs on which freelance editors bid. At first, many of the jobs she took on were for simple proofreading, but when she began offering tentative feedback on the editorial structure of a manuscript she was surprised to find a receptive audience.

“I would say things like, ‘Hey, I noticed there’s this big continuity error, and you might want to go back and fix it,’” Heyman said. “I wasn’t really being paid to do that, I would just let them know.”

. . . .

“People really responded to the feedback and asked for more,” she said. “And I said, ‘Well gee, I guess my literary taste has value.’”

Over the next few years, from about 2007 to 2009, Heyman put herself through a crash course in freelancing — she learned how to be client-facing, price her services, and use her education and literature background to provide editorial suggestions.

This commitment to building out her freelancing career paid off as self-publishing swiftly crossed over into the mainstream. A recent analysis by Bowker of ISBNs, the identification numbers assigned to most books, found that the “ISBNs associated with self-published books climbed 437% between 2008 and 2013.” According to the Author Earnings Report, an analysis of the 120,000 bestselling e-books on Amazon that’s released quarterly by bestselling author Hugh Howey, “in mid-year 2014, indie-published authors as a cohort began taking home the lion’s share (40%) of all e-book author earnings generated on Amazon.com while authors published by all of the Big Five publishers combined slipped into second place at 35%.”

. . . .

How big is this growing market? Exact data is hard to come by, but a recent paper published in Learned Publishing found that up to 59 percent of self-published authors have at some point used an editor.

“There is evidence to suggest a growing awareness among self-publishing authors that professional editing is an essential component for increasing the chance that their work will sell,” the authors wrote.

Link to the rest at NPR

‘They,’ the Singular Pronoun, Gets Popular

16 April 2015

From The Wall Street Journal:

Copy editors might seem like stick-in-the-mud traditionalists when it comes to language change, but when I attended the American Copy Editors Society’s annual conference in Pittsburgh a couple of weeks ago, I found growing acceptance of a usage that has long been disparaged as downright ungrammatical: treating “they” as a singular pronoun.

According to standard grammar, “they” and its related forms can only agree with plural antecedents. But English sorely lacks a gender-neutral singular third-person pronoun, and “they” has for centuries been pressed into service for that purpose, much to the grammarians’ chagrin. Now, it seems, those who have held the line against singular “they” may be easing their stance.

“They” most often turns singular in common usage when its antecedent is considered generic, not referring to a single known person. Nearly everyone would find that they can stomach the “they” in this very sentence, agreeing with “nearly everyone.”

Things get trickier when the antecedent of “they” more clearly refers to one person. Areader of this column may not like what they see in this sentence, for instance.

Still, there is no question that “they” is more idiomatic than clunky alternatives that include both genders, as in “he or she,” “he/she” or “(s)he.” All of those seek to replace “he” as a generic pronoun, which has been fading ever since the move toward nonsexist language in the 1970s.

. . . .

In Sweden, similar debates have led to increasing acceptance of the pronoun “hen,” which has been proposed since the 1960s as a gender-neutral alternative to “han” (“he”) and “hon” (“she”). The efforts of those pushing for “hen” will pay off next week, when it’s included among 13,000 new words in the Swedish Academy’s official dictionary.

Lind to the rest at The Wall Street Journal (Link may expire)

The Makings of an Unprofessional Editor

2 April 2015

From An American Editor:

I like to think that all of my colleagues are professionals. I take pride in my editing career and in my skills as an editor. Thus, when confronted with editorial rigidity, I shudder and think “there goes an unprofessional editor.”

What brings this to mind are posts in another forum in which a “professional” editor declared that using a comma before “and” (as in a serial [Oxford] comma) is always wrong and that the very first thing the editor does is search for those commas to delete them. Another editor stated that she refuses to work with authors who are unwilling to accept as gospel her punctuation decisions, including removal of that pesky comma.

If you ask editors with opinions such as these the basis for their position, it usually boils down to “that’s the rule and rules are rules, made to be adhered to, not broken!” Grammatical rigidity is not, in my book, the sign of a professional editor.

. . . .

There are many problems with inflexible editors, that is, editors who apply rules so rigidly it is hard to understand what the role of the editor is. Inflexible editors are like computer macros — they see something that fits the pattern and assume that they have the cure. Professional editors use tracking because we know that someone else (usually the author) may well have a different opinion and want to undo the changes we made.

Unprofessional editors are a problem for professional editors because they inspire their clients to complain loudly in public forums about poor editing and how much better it would have been had the client self-edited. They are a problem because they tend to cheapen the value of editing.

More importantly, unprofessional editors loudly proclaim what they are doing and thus influence other editors. There is nothing more heartbreaking as an editor to see another editor emulate an unprofessional editor, thinking that is the correct path to take.

. . . .

When I speak with these editors, I often ask if they understand how the “rules” came into being, what they represent, and how evolving language requires flexibility. I find that I am always disappointed in the responses. If I ask which rule book they are following, and then ask why they are not following a different rule book, the response is usually one that asks “Are you crazy? Everyone knows that the book I follow isthe book to follow!”

Link to the rest at An American Editor

Six Things I Learned While Writing My First Book

23 March 2015

From Lifehacker:

Writing a book will almost kill you. By the end, you’ll be exhausted, brain dead, and filled with a bubbling sense of anxiety. I recently finished up my first book, and here are a few takeaways from the ordeal that can be applied to pretty much any large scale project.

. . . .

Books are complicated things. It doesn’t matter if it’s a technical manual, non-fiction, or fiction, keeping track of everything requires a lot of effort, which is exactly why special software exists for helping you do that.

After trying out a bunch of different software, I settled on Ulysses (though Scrivener is excellentas well, as is Evernote) to get everything organized. Ulysses has an excellent exporter system where you can define how the formatting works, so it can easily be turned into a Word document with the specific formatting options a publisher needs (and they always want a specific format, regardless of the type of book).

. . . .

Of course, it doesn’t really matter what tool you use, but pick something before you start and stick with it. Be prepared for your notes, outlines, and everything else to become a cluttered, unreadable mess if you don’t create a system for dealing with them ahead of time.

. . . .

A schedule is great, but be prepared for everything you’re doing to take considerably longer than you think it will. This is especially the case at the beginning before you get into the flow of writing.

In my case, this was mostly about formatting. Learning what a formatting a publisher wants and digging through their style guide every other paragraph seriously slows you down. Until you get the hang of it, everything will take twice as long as it should.

Since my book’s a collection of Raspberry Pi projects, it also meant I had to actually make everything in the book, troubleshoot problems, and get projects working properly before I wrote anything. I didn’t think about this in my initial planning phase, and quickly realized that I wasn’t giving myself enough time. I had to redo my schedule completely to accommodate this.

. . . .

There’s a common adage with fiction that you should prepare to “kill your darlings”. It’s about deleting sentences or words you love for the greater good of your work. But it’s bigger than that. In reality, be prepared to kill off full paragraphs and chapters—I cut massive parts out before sending it off for editing.

And that’s just your own editing—your editor will cut even more. As I started getting notes back from my editor, I quickly realized how I couldn’t take any of those edits personally. Obviously a book about a Raspberry Pi is different than a work of fiction here, but the same basic premise remains: you will be ruthlessly edited. Accept it. I was so caught up in writing this book, I often wrote in a weird, privatized little language that was clearly a result of working too hard. By the end, I became the Raspberry Pi: small, low powered, and a bit closed off from the rest of the world. The later chapters made no sense, and the notes sent back to me are best summed up as, “what are you saying here?!”

Link to the rest at Lifehacker and thanks to Meryl for the tip.

Prior to reading this post, PG hadn’t heard of Raspberry Pi. If you’re like PG, here’s a link: Raspberry Pi.

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