Editing

From Publishers Weekly:

Rhoda Lerman was known as a writer’s writer. Jewish, feminist, inspired by spirituality and folklore, she was compared to Isaac Bashevis Singer and dubbed “the female Saul Bellow.” Having written works of fiction and nonfiction over a five-decade career, Rhoda died in 2015, leaving behind a novel she’d been working on for the previous 10 years. That’s where I came in.

It was literary agent Murray Weiss who first contacted me about Rhoda’s final manuscript (actually, manuscripts—there were a few different versions of the novel). He wondered if I might revise, consolidate, and basically do whatever editorial work was necessary to get her final brilliant work to market.

I don’t normally read an author’s backlist before taking on a project, but this wasn’t a normal job, and I was determined to stay true to Rhoda’s voice. Surely some sort of preparation was necessary. So, I did the world’s best kind of homework, savoring the exquisite pleasure of discovering a new writer, awestruck as I studied Rhoda’s remarkable body of work. Her novels featured long, brilliant sentences that surprised me again and again. (A PW review from April 1989 called her “the very opposite of a minimalist.”)

Each book was completely unlike the previous one. Rhoda must have driven her publishers crazy as they struggled to market and sell such a boundlessly imaginative storyteller. Her plots were unpredictable. She had no limits. In other words, Rhoda was a genius.

Weiss organized a phone interview for me with the Lerman family. When Bob spoke of his wife Rhoda, his love was palpable, and I sensed her strong spirit. It was clear how important it was to him and his two daughters to publish Rhoda’s masterwork. I gushed to them about how I adored her earlier novels—especially God’s Ear, a funny but serious book in which a real estate agent is tormented by his father’s mischievous ghost. With my enthusiasm for Rhoda’s work so evident, the gig was mine.

The manuscript I began work on was 150,000 words. Among other narrative goals, I hoped to deliver a finished work of 100,000. An editor’s job is to respect the author’s vision, but how does one make these changes and maintain an author’s integrity when one does not have her ear? I had to listen very carefully to Rhoda. I had to become Rhoda’s ear.

Rhoda’s new novel, Solimeos, might be characterized as literary, as her prose is exquisite. Maybe it’s satire. Also, it has elements of magical realism. It follows Axel von Pappendorf, a naive boy in World War II–era Germany whose father is an aristocratic Nazi linguist. After the war is lost, Axel and his family are spirited away to the Brazilian jungle to help create a new, occult-obsessed German Reich. Twisted passions, ayahuasca visions, startling historical discoveries, vengeance, and much more ensue. It’s a love story, but complicated.

What I already knew from my study of Rhoda’s work was confirmed by the manuscript: she eschewed modern condescension to readers, continually challenging them. The only other writer I worked with who crafted similarly lengthy, lyrical sentences filled with surprising clauses and illustrative digressions, but nonetheless executed with pitch-perfect aplomb, was Caleb Carr.

In long passages, Axel and his linguist father trace the ancient roots of words like Og and I back to Osiris and Pergamon. Sometimes I’d happen upon an outrageous plot twist and would protest—this came out of nowhere! But how much of this was too much? Rhoda was a commercial and critically acclaimed writer. She might challenge her readers, but she would not want to drive them away. Some of these beautiful words had to go.

Solimeos, the new novel from the female Saul Bellow, was published this spring by Wicked Son Books, which is headed by Adam Bellow. That’s some nice karmic resonance. But there’s more. In her novel Animal Acts, the animal-loving Rhoda explored the consciousness of other species in a story about a woman on a cross-country trip with a gorilla.

Link to the rest at Publishers Weekly

From dyiMFA:

You’ve finished your manuscript, congratulations! Now what?

After all these months or years spent on your book, you’re fairly close to the material and it can be hard to objectively assess your own work. So, it’s time for others’ feedback.

TIME FOR FEEDBACK

Feedback will help you make the book the best it can be. Just like you’d want feedback on your schoolwork or at your job, feedback on your writing is an important step.

SHOULD YOU ASK FAMILY?

Your mind might jump to the idea of asking your spouse, best friend, or family members. After all, you have access to these people.

This can sometimes work, however, be mindful that:

•  They care about their relationship with you and may be hesitant to provide critical comments
• They may not be your target reader and therefore may comment on aspects that wouldn’t be an issue for readers in your genre

The most objective sources for feedback will come from a combination of editing professionals and beta readers.

This article won’t go into details on hiring editing professionals like developmental and copy-line editors. It also won’t cover how to find and work with sensitivity readers. Just know that all of these roles can be really important to the quality of your work. The key is to find professionals that you work well with.

Rather, this article will address a question that a pre-published author asked me: “How do I find beta readers?”

WHAT ARE BETA READERS?

First, what are beta readers? Beta readers are people who read your manuscript before it goes to the printer for publication. The term comes from information technology, where beta testing is used to find and eliminate problems before launching new computer programs.

Beta readers are different than publishing industry professionals whom you’d hire. They’re “ordinary” readers who can point out places where your story is confusing, where the continuity is awry, where plot points are missing or where there are factual errors. Remember though, that it’s unlikely for any single person to find all of these things, so be grateful for any issues a reader finds but don’t expect one person to find them all.

WHEN TO USE BETA READERS

For me, I find beta readers helpful at several stages. Having one or two trusted readers look at an early manuscript can help iron out big issues like plot holes, unlikable characters or action-reactions that don’t make sense. However, they will have to understand that the manuscript may be messy. You may need to get them in the right mindset to overlook any typos or grammatical issues and ask them to focus on the big picture.

Secondly, I appreciate having beta readers after developmental editing and after copy-line edits. The beauty of great beta readers is getting fresh sets of eyes on the work, since you’ll be very close to the material after having been through multiple rounds of edits.

By the way, it’s also validating to hear when readers enjoy the story. Don’t underestimate the joy of getting positive feedback!

HOW TO BRIEF BETA READERS

One key to helpful feedback is to specify what input you want. Your questions may differ at different stages of the editing process. To get honest input, make clear that your feelings won’t be hurt by critical comments. Critique is what you need to make the work stronger!

Here’s are some sample questions you could ask beta readers. Use these as thought starters and customize for your own need:

• How early in the story did you feel a connection with a character?
• Which parts, if any, made you feel bored and want to stop reading?
• Which parts evoked emotion for you?
• Did anything confuse you? What needs to be clarified? Please highlight the confusing sections.
• Any scenes that feel authentic emotionally?
• Any parts where the person’s actions didn’t make sense?
• Which character(s) were your favorite? Why?
• Which character(s) did you not like? Why?
• Did any scene, dialog, or event seem awkward? Perhaps a character does or says something that does not fit with his/her personality.
• What emotion(s) were you left with at the end? Were you satisfied with the way the story ended?

You can personalize your questions to hone in on a specific area where you think there may be issues, or where you’d like your readers to focus.

Link to the rest at dyiMFA

From Jane Friedman:

When I opened the just-edited manuscript of my first book, some 12 years ago, I gasped.

My editor had covered it in so many red marks, it looked as though she might have accidentally stabbed herself with an X-Acto knife.

Worse, I was totally unprepared. I’d spent my entire working life as an editor—first at a community weekly newspaper, then at a large metropolitan daily, then a brief stint as a book editor, finally as a freelance writer and editor. I thought I knew how to edit. Even myself.

Perhaps more persuasively, I’d also had a dozen beta readers—many of them professional writers—comb through the manuscript to critique, question, and eviscerate my words. My manuscript was definitely in the best possible shape it could have been.

How was it possible that this editor found so many fresh problems? Did she really know what she was doing?

Turns out, of course, that she did. As soon as I’d calmed down and gone through her comments, one by one, I could see they made sense. And, besides, I knew her to be not just a superb editor, but a wise and well-informed person.

But having a strong, gut-punch reaction to being edited is part of the cost of doing business when writing. You’ve poured your heart into your words. In fact, you’ve anguished over every damn one of them. It’s hard to hear that your manuscript, your child, has an ugly nose.

If you are going to be facing an editor’s red pen, here is my advice on how to survive the process:

If you can choose your own editor, choose carefully.

Approach the job as if you were hiring a contractor for your much-loved house. Find someone who specializes in your genre. Talk to at least three different editors who might suit. Make sure you actually like them, as well as trust their abilities. Get three references from each and don’t think holding the references in your hands is enough—check them all, thoroughly. Ask questions not just about the quality of these editors’ work but also ask about what they were like to work with. If the editor sounds promising, request a test edit (of about 750 to 1,000 words of text), even if you have to pay for it, so you can see what you think of the editor’s work. If you like it, then agree upon cost and a deadline and sign a contract.

Don’t rush your hiring process or make it slapdash. Take your time and do it right.

Be prepared for a lot of red ink.

Somehow, anticipating lots of red ink—rather than the blissfully color-free pages I had expected—will make the inevitable result easier to bear. And if you find red ink offensive (as many people do), ask your editor to use green, blue or purple for their comments instead. And if they resist, which I would consider a terrible sign, hire someone else.

Take it slow.

Give yourself at least a full day to do nothing more than glance at the volume of comments and steel yourself. There is no need for you to respond to edits at the speed of light. Take your time and get your feelings in the right place first. Do some deep breathing.

Remind yourself the editor is there to help you. Understandably, it’s going to feel as though the editor is doing nothing but criticizing you. But in fact, any editor is really in loco lectorem—Latin for “in the position of a reader.” Consider your editor to be your partner, there to help protect your published work from mistakes and misunderstandings. What can be worse than an editor who points out too many mistakes? Easy! A published work with mistakes.

Link to the rest at Jane Friedman

From Jane Friedman:

Question

I’m a college student majoring in English. I have had internships but not in the world of editing, but my dream is to be an editor and writer. Do you have any advice or guidance to offer on how to make this dream a reality?

—Desperate Gen-Zer

---

Dear Desperate Gen-Zer:

I’m desperately glad you asked this question. You’ve hit on one of my main concerns in our industry: Anyone can hang out a shingle as an editor, which results in a very wide range of knowledge and experience levels. I love that you are interested in seeking out a path for developing your skills.

You say you want to be a writer too. That’s useful—the skills you learn in that pursuit are the core of becoming a good editor. In fact, although they are very different skill sets, much of what you can do to master one will serve you well in the other.

You’ve asked a pretty enormous question that I need to address in a manageable number of words, so I’m going to give the quick-and-dirty version of how to develop both careers through two essential approaches: Study and practice, with an emphasis on editing (not least because of the nature of this column).

Study the craft

Writing and editing both rest on the same foundation: an understanding of story craft and language. You learn how the sausage is made—and made well—and eventually internalize those skills so that they’re automatic; you don’t have to focus consciously on craft and mechanics because they become a part of you.

There are an overwhelming number of resources for expanding your skills. It’s a lifelong process; after 30 years in this business I’m still learning every day. I’m betting you’re already digging into some of them: craft books, classes, webinars, workshops, blogs and other outlets (like Jane’s!); conferences.

You’re already doing one great thing toward your career in majoring in English, which will give you a sound foundation for both writing and editing. (I can’t tell you how often I think back to my college papers in my own English major and think what wonderful training ground they were for learning to analyze and articulate a text’s effectiveness.)

Another thing you could do now is work with your university publications and gain skills in writing and hands-on editing.

For readers who are past their college days, there are reputable programs for learning editing skills, like those offered by the University of Chicago (the masterminds behind the industry-standard bible, The Chicago Manual of Style) and the Editorial Freelancers’ Association (EFA), taught by career editors.

Be discerning about where you learn—there are countless programs claiming to teach editing skills and offering self-declared certifications, but keep in mind there is no “official” set of standards, training programs, or governing body for offering editorial services. Caveat editor.

For insight into editing specifically, I can’t recommend highly enough master editor Sol Stein’s books Stein on Writing and How to Grow a Novel, and A. Scott Berg’s biography Max Perkins, Editor of Genius, which shows intimately how renowned editor Perkins worked with some of our most venerated authors. There’s even a new documentary, Turn Every Page, about the 50-year collaborative relationship between author Robert Caro and editor Robert Gottlieb.

Try not to get too overwhelmed by the amount of info that’s out there—or to subscribe to one school of thought or system too slavishly. The many approaches and techniques you can learn are all tools for your toolbox that you can draw on. The more you learn, the greater your skill set as both a writer and an editor—and the better you will become at both.

Practice

You mention internships, and I’m so glad you did—editing is definitely an apprenticeship craft, one that’s most thoroughly and deeply learned by seeing it done and by practicing doing it—over and over and over again. There’s a reason for the system at publishing houses where editors work up from assistant to lead editors—there is no more effective way to learn this skill and craft.

This is a crucial place where training programs often fall short. The misconception that you can learn to be an editor simply from a course or certificate on editing can lead to bad editing, a cardinal sin in my mind that can do great damage to an author’s writing and psyche (and charge them for the “privilege”). In my opinion editors shouldn’t hawk their services before they’ve logged solid, relevant experience in the particular field where they’re working (e.g., publishing or academia or journalism, fiction or nonfiction, and specific genres).

There are so many excellent ways to do that—a couple of which I already mentioned above. But also:

Work with a publishing house as an intern or assistant editor

They are legion now, not just the Big Five in New York—find a small press near you. Back in my day (oh, how I love hearing old-people phrases like this come out of my mouth), I started as a freelance proofreader and copyeditor for the Big Six (at the time), long before electronic editing, when all revisions were made on hard copy and I got to see the editors’ and authors’ work right there on the pages I was reading, comments and all, and I learned what got changed and why.

If you can’t find a publisher in your area, try apprenticing with a reputable working pro. (I’ve mentored a number of high school and college students, both through school programs but also one-on-one when a student or fledgling editor contacted me directly.) This is a great way to see what makes for an effective edit firsthand—and to learn directly from a professional editor how they work, what they look for, and how they offer useful feedback to authors.

Work with the people who work with manuscripts

Interning with a literary agency can be another way to hone your skills in action. Reading endless submissions off the slush pile (your likely entry point at an agency) and learning what agents do and don’t respond to as effective and marketable work is invaluable training ground.

Any practice at analyzing a story and articulating its strengths and weakness is wonderful training: I worked in my baby days reading book and screenplay submissions and writing reports on them for a Hollywood producer, an ad agency that specialized in book campaigns, and a fledgling movie-review database engine.

Learn from IRL manuscripts

One of the most useful things I ever did as a budding editor was join an especially large critique group (more than 25 members) that met weekly and focused on a single submission each meeting. Not only did I get hands-on regular practice in analyzing and conveying what made a manuscript (someone else’s, crucial for objectivity) effective or not, but even more valuable: I got to hear many other viewpoints as well. It taught me what was useful feedback and what was not, gave me perspective on how subjective a craft editing is, and—not unimportant!—the difference between a positive and constructive approach and a dictatorial or righteous one. The latter offered little value to an author.

Another good way to learn: Sit in on as many industry-pro “read and critiques” as you possibly can—at conferences, retreats, classes, workshops. The great value of these lies in seeing what jumps out at these professionals and hearing why—and, in the best-case scenario, how they offer suggestions for addressing areas of weakness.

There are more and more opportunities to do this: Bestselling author George Saunders offers a regular Story Club on Substack where he and attendees analyze short stories for what makes them work (or not). I do something similar, though less highbrow, with book chapters and other forms of storytelling in my Analyze Like an Editor Story Club. Agent Peter Cox of Litopia offers a weekly Pop-up Submissions program where authors submit a page or two of their WIPs and it’s analyzed by Peter, his industry guests, and a “genius room” of fellow authors. Look for similar opportunities to see pros in action.

Link to the rest at Jane Friedman

Lots of links in the OP.

From Anne R. Allen’s Blog… with Ruth Harris:

I often advise new writers to look for a critique group to help them learn the writing ropes and get free feedback as well as the support they need when starting on a writing journey. But critique groups vary widely and some can be dangerous to a writer’s mental health.

. . . .

But now I think it’s time for a checklist for providing a useful critique. It’s a delicate business, and not everybody can critique effectively. If you don’t read much outside your genre, or you never read fiction, you need to learn to open your mind or find a group that’s genre-specific.

No matter your genre, a good critique requires empathy. Learn to empathize with your fellow writers. If they are newbies, critique accordingly. Remember you were a beginner once. Pick one or two areas to work on. Nobody can take in a huge amount of information all at once, and 100% negativity shuts down a person’s ability to listen. It feels like an attack, even to a seasoned writer.

. . . .

Notes for the Critiqued:

• Tell your group the genre and audience you’re writing for, and let them know where you want readers to focus: pacing, clarity, dialogue, grammar, repetitions, authenticity, etc.
• Don’t expect 100% praise.
• Stay silent during an oral critique, except to give a quick answer to a direct question. Once the critiques are finished, you can elaborate.
• Don’t argue or explain “what you really meant.” One of the major things a critique can do is tell writers how much of what’s in our heads did or didn’t make it onto the page.
• Give trigger warnings: If you’re going to read a scene of rape, abuse, torture, or extreme violence, let the critique group know beforehand. Some members may prefer to give it a pass and not read or listen to that piece.

Do’s and Don’ts for Critiquing

1. Do Keep in Mind the Purpose of the Critique

Remember everybody was a beginner once, and everybody makes mistakes. It’s your job to help them remedy those mistakes, not send them home in tears.

A manuscript critique is not the same as a book review:

• A review is for readers — to help them decide whether a book is for them.
• A critique is for writers — to help them improve the piece they are working on.

Whether you’re exchanging critiques online or in person, reading out loud, or sending around digital copies, as a critiquer, you have ONE job: help writers improve their work.

This is not a time to talk politics, religion, or hold forth on your distain for people who order pineapple on their pizza.

No matter how much you hate Chick Lit, don’t condemn a Chick Lit piece because it’s not angsty prose about middle-aged academics with prostate issues. Your job is to help make it the best Chick Lit it can be.

Avoid culture wars. We live in an era when the simple act of writing is going to offend somebody somewhere, so work on being helpful, not offended.

A critique is also not the place to show off. The writer being critiqued doesn’t care that you’ve read all the works of Proust in the original French, or that you once took a writing workshop with somebody who went to high school with Stephen King.

. . . .

3. Do Use the “Sandwich Method”

The human brain can’t take unrelenting criticism. 100% negativity comes across as an attack, and the only thing gained is the writer’s anger and distrust.

Start with something positive and conclude with another. Even if a beginner has presented 5 pages of embarrassing classic writing mistakes, use your imagination to come up with something positive to say. You’re a creative person, remember?

When I was first learning the ropes as a stage director, a veteran director told me that no matter how dismal an actor’s performance is, you should never give notes that are 100% critical.

Sometimes you have to say, “You remembered your blocking! You didn’t fall down!” before you tell him that playing Hamlet with a hillbilly accent is not working.

Make sure you remember the nice comment at the end too. “You looked good up there!” always worked, and kept the costumers happy.

Link to the rest at Anne R. Allen’s Blog… with Ruth Harris

From Women Writers, Women’s Books:

There’s a word commonly uttered in writing circles, a word that often strikes fear even in the most seasoned of novelists. Revision. Yep, revision. I know it’s scary, but I promise, it’s going to be okay. I can say that now, but when I first learned about the art of revision, I was pretty sure me and my novel were going to be anything but okay. 

I wrote my first manuscript bit by bit, sitting at my kitchen table while my youngest child attended preschool. I’ll never forget the feeling of excitement that coursed through me as I typed the words, “the end,” into the document. It was exhilarating. I had done it. I wrote a book! 

After doing a quick perusal of the manuscript and without missing a beat, I signed up for a writers conference where some literary agents would be in attendance. At the conference, I took a seat at a round table with a small group of other aspiring author hopefuls and held my breath as one by one the agents read a few pages from each of our manuscripts and provided comments. Spoiler alert…the feedback on mine was not good. Sure, they liked the story idea. But they could tell there were plot holes, that the descriptions of setting needed improvement, that my characters felt flat. I scratched my head as I turned their comments over in my mind. What in the world did it all even mean? Plot holes? Flat characters? How am I supposed to fix all of that? I had no idea. 

So, after returning home from the conference and attempting to lick my wounds, I decided my book simply wasn’t good enough. Not only that, I also decided I wasn’t good enough. In that moment, I knew for certain I was not destined to be a writer. With that in mind, I tucked my manuscript away in a file on my computer and vowed to never look at it again. That embarrassing chapter of my life would remain where it belonged, permanently behind me. 

But the tiny whisper of my writing voice refused to keep quiet and with no small amount of courage, I submitted a few pages of that manuscript to a local writing class. Much to my surprise, I was admitted. Hope bubbled within me for a whole second before fear crept in. Sure, I was excited about this class and grateful for the opportunity. But worries and doubts plagued my thoughts. One of the goals for the class was to try to write a complete novel. A novel with a beginning, a middle, and an end. Could I actually do it? Again? Did this story idea even have what it takes to run the distance of an entire novel? Would the novel be riddled with plot holes as deep as the ocean? I couldn’t be sure. But I steadied my breath and decided it was a chance worth taking. 

The class was a trip. I adored my classmates, loved reading and critiquing their work, and devoured learning about writing in general. Our teacher was proud that by the end of the class, each of us had finished our manuscripts. Hooray! We were thrilled. I clung to my printed-out pages and thought maybe this manuscript would be the one. The one literary agents would like. Maybe I got it right this time. No flat characters here, I hoped. 

As the class celebrated with cookies and wine, the teacher began the last lecture. And said the word. Yes, that word. Revision. What? 

“No, no, no,” I thought. My manuscript is done. It’s written. Ready to go. 

My teacher shook her head. Nope. In fact, our work had just begun. 

At the time, this news did not make me happy. But after the final day of class, I vowed to continue to study the craft of writing and eventually received an MFA. Through that process, I learned to embrace revision, to view that naughty word as a decent and obedient one. 

Link to the rest at Women Writers, Women’s Books

From Writers Helping Writers:

Unless you wrote your book exclusively for your own satisfaction, once your creative vision is on the page, it’s time to zoom in on how the book works for readers. The key is getting the right kind of feedback for where you are in the revision and editing process—and dodging the kind that will pull you off track.

Much of this choice hinges on your editorial budget. You could do most or all these steps for yourself at no cost, but the quality of your book will reflect the quality of the production behind it. Most writers end up drawing on both free and paid feedback options.

Writing Feedback: Stage by Stage

With a newly complete manuscript Volunteer feedback is perfect at this stage of your book’s development. One or two alpha readers (often a spouse, critique partner, or close friend) provide that initial gut check on what’s hitting home and what’s missing the target.

During second and later drafts

As you continue working through early drafts, crowdsourced feedback continues to be your best bet. Lean on your peers in critique partners and groups, collecting enough opinions to sort out which point to genuine issues and which simply refer to personal taste.

Active drafting can be an opportunity for coaching or mentoring on story problems identified by critique buddies—a character arc that refuses to gel, saggy pacing, a general lack of zing—if your budget and time comfortably allow it. A little one-on-one help from a pro now could prevent you from filling your manuscript with pernicious errors that will inflate your editing rate down the line. (Incorrect use of dialogue tags and action beats, I’m looking at you!)

Before you’re ready for professional editing

Once you sense you’re nearing the limits of your ability to improve your book on your own, it’s time to bring in beta readers. Beta readers provide high-level, subjective, personal feedback such as “the pacing felt slow in the middle” or “I just didn’t like that character at all.”

Although paying for beta reading ensures the readers will finish the book and return feedback, it’s not necessary to hire a pro. In fact (unpopular opinion ahead), an editor is the wrong choice for beta reading. The reason is simple: Beta reading is not Editing Lite™. It’s designed to generate genuine reader reaction, not analysis from a trained professional.

When you’re ready for professional editing

When you’re ready for professional editing, marching in with a request for a particular type or level of editing puts you at risk of getting precisely what you ask for—whether your manuscript needs it or not. It would be like relying on Dr. Google to diagnose a physical ailment, then convincing a local doctor to prescribe strictly the medications and treatments you’ve decided you need.

Choose your editor with care. You deserve a specialist who resonates with you and your work, not whoever offers the lowest rates and immediate availability.

Once you’ve found the perfect editorial collaborator, let them recommend what your manuscript needs. Their recommendations should be based on what will best support your story, your writing, and your publishing goals. If your editor hasn’t reviewed all those points, you can’t be sure you’ll get what you need.

Link to the rest at Writers Helping Writers

From Writers Helping Writers:

Before Your Edit

1. Agreements about the business details of your project protect you both. An agreement needn’t be a formal printed contract signed in person; an email constitutes a legal agreement. The agreement should define the scope of work, start and finish dates and other relevant deadlines, total cost and payment schedule, and a clear explanation of what happens if either party cancels or breaches the agreement.

2. New writers often mistakenly believe they need a nondisclosure agreement (NDA) to protect their material. Your work is legally copyrighted the moment you commit it to print, making NDAs cumbersome, unnecessary, and often a sign of professional mistrust.

3. Most editors require a deposit to get your book on their calendar, customarily ranging from a flat fee of $100 or more to the first half of the total fee. You can expect to pay your total editing bill in full before the editor releases the edited manuscript.

4. If you can’t or don’t want to use your editor’s preferred payment method, aren’t located in the same country as they are, or prefer a slow payment method like personal checks, ask if your choice will create any issues. Allow enough time to process payments without holding up the project.

5. Missing your editing date by even a day or two could leave your manuscript without time to fit into its scheduled slot, if the deadline is tight or your editor is busy. Communicate as soon as you suspect you may have a problem hitting your scheduled editing date.

6. The time it takes to edit a manuscript varies widely, depending on your manuscript’s needs, the type of editing, and the editor’s schedule and work practices. Developmental editing usually takes the longest. Line editing is slower than copyediting, and proofreading is the fastest editing service.

If there were such a thing as a typical editing rate among all these levels of service, it might run from 20,000 to 35,000 words per week. You get what you pay for. If all the editor has time for is a breakneck race through the manuscript, that’s precisely what you’ll get.

Link to the rest at Writers Helping Writers

From Jane Friedman:

Working with a professional editor can be an excellent investment in your manuscript, your writing career, and your craft knowledge as a writer.

But doing so before you’re ready can keep you from getting the most out of what can often be an expensive proposition. A good, thorough developmental edit on a full-length manuscript often costs thousands of dollars.

How can you determine when and if you need the help of an experienced editor?

When not to hire an editor

This time of year, fresh off of NaNo when many authors have just exuberantly typed “The End” after completing their manuscript, editors like me often get a wave of emails from writers eager to hire a pro to help them hone and polish their story.

But fresh off a first draft isn’t the most effective time to work with an editor.

If the story is still in rough-draft shape, then much of their time and effort will focus on the big, obvious issues—issues that you may have been able to effectively address on your own through revision, and perhaps with the help of critique partners or beta readers.

It’s like seeking out a symphony conductor while you’re still learning a new piece of music. You’ll get much more out of an expert’s knowledge and guidance if you lay the proper groundwork and push yourself to the limits of your capabilities on your own before paying for someone to help you elevate it to the next level.

Once you’ve taken it as far as you can, ideally a good developmental editor will hold a mirror up to what’s actually on the page and how well it reflects your vision, and they can help you mine even more gold from it—deepening, developing, tightening, and helping you buff it to its brightest shine.

A professional editor doesn’t replace an author’s own editing and revision. Until you have a completed draft that’s as good as you’re able to make it (which may in fact wind up being your second or third or tenth draft), paying for a developmental edit may not be the best use of your money, time, or energy.

How to know when (or whether) you should hire an editor

I’m going to debunk a myth that grows more widespread as more and more people hang out their shingles as editors: Not every author needs to hire a professional editor for every manuscript.

Editing and revising (meaning assessing what you have on the page and knowing how to address any areas that could be stronger) are not functions to be automatically outsourced, separate from the craft of writing. They are an intrinsic part of it—in fact a major part. Writing truly is rewriting; the books you love and admire have almost certainly been extensively developed and polished by their authors. These are skills foundational to being a writer.

But as authors we’re constantly filling in the blanks of the rich vision in our heads, rather than seeing what’s actually on the page. It’s often hard get the objective 30,000-foot view that tells you how effectively you’ve conveyed your intentions to a reader.

This is one of the great values editors offer, as well as fresh perspective on ways you might strengthen your story based on their craft knowledge and experience.

Link to the rest at Jane Friedman

From Jane Friedman:

You should be an editor.

Perhaps someone’s said it to you. Perhaps, after volunteering to critique a friend’s book, reading for hours, and writing 2,000 words of feedback (more than you both bargained for), you’ve said to yourself:

I should be an editor.

You love reading, right? And you’re really good with grammar and spelling. Maybe you even have an English degree or an MFA. What else do you need?

Curiosity, education, and ruthlessness.

An editor’s number-one asset is curiosity.

Not just double-checking facts or looking up info for the manuscript they’re working on right now, but a constant, lifelong level of I need to know.

I recently edited an essay that quoted King Lear’s Cordelia. It was a great line—“I cannot heave my heart into my mouth”—but it didn’t mean what the author thought it did. The quote did not support her point. I didn’t have time to reread King Lear and perform textual analysis, as I’d budgeted 30 minutes for this edit. I already knew it, because I’ve seen Lear four times. Fact-checking wasn’t even officially part of this job, but the essay was fundamentally flawed without that existing knowledge.

I’ve always been curious about Shakespeare. And law school. And the oceanic geology of East Asia. And the workflow of commercial kitchens. And dressage. And, and, and. I’ve never met a fact I didn’t want to know. Eventually, most of them come in handy.

. . . .

Editors must be ruthless.

What makes that sentence above true to the narrator’s voice?

Is this the right place in the book to show her desperate to return to the simplicity of childhood, and to tear the reader’s heart that she can’t?

Because no matter how beautiful the writing is, if a sentence doesn’t fit the character or the story, it’s gotta go.

Many early-career authors use their elevated Special Writer Voice, and their editors must challenge them not to make their words “better” or “more polished,” but more truthful to the author’s own voice.

Purely nurturing feedback is unhelpful. Straight criticism is discouraging. An editor must identify what’s wrong, clarify why it must be fixed, and excite the author to do the work. Editors must inflict the pain of “It’s not good enough, yet.” I’ve told more than one author to cut their first 50 pages. That’s painful! What I say about their work must ring so true that they trust me enough to endure that pain, for the sake of a better next draft.

Link to the rest at Jane Friedman

From Writer Unboxed:

I edit books for a living, so I know it’s true that writing is rewriting. But I’ve sometimes seen clients fall into editing traps that can cause real damage to their work. Although some simply waste valuable writing time, others get so caught up in the wrong kind of editing that they either lose sight of or actually blot out their vision of the book.

Before we get into these traps, a caveat. Every writer has their own approach to writing, including rewriting. There are plenty of exceptions to everything I say here. So unless you recognize yourself in the problems I describe, feel free to ignore me.

Do not start editing too soon. I’ve written before about how all the elements of a story interconnect with one another to form a complex ecosystem. If you start delving into detailed rewrites before your story, with all of its interconnected character and plot threads, is in place, then you are probably not doing all the editing you need. You cannot know how a character’s voice should sound until you know who they become. Nor can you judge the importance of descriptive details or the relative weight of different events until you know where your story is going. And you may waste time editing scenes that you later cut.

It’s tempting to jump into the editing too early. You may have reached a critical juncture in the plot where you’re not sure what happens next, so you dive back into the weeds of what you’ve written so far, looking for a way forward. Sometimes this works. But more often, the editing is just a distraction. It’s better to buckle down and finish your first draft before you start delving into the details.

Link to the rest at Writer Unboxed