1937645053editor how to make a great book

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The Editor’s Eye

PRACTICAL GUIDE TO TRANSFORMING YOUR BOOK FROM

STACY ENNIS

FOREWORD BY MARYANNA YOUNG

Night Owls Press


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Editor’s Eye: A Practical Guide to Transforming Your Book From Good to Great.

yright © 2013 by Stacy Ennis.t Edition May 2013. All rights reserved worldwide.ted and designed in the United States of America.

lished by Night Owls Press LLC, San Francisco, CA, 94119, U.S.A., www.nightowlspress.com.

or: Genevieve DeGuzmanduction Editor: Andrew Tanger design by Stacy Ennis

ctice good karma. No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without themission of the publisher, except by reviewers who may quote brief excerpts in connection with a review. For inquiries and permtact [email protected].

y trademarks, service marks, product names, or named features are assumed to be the property of their respective owners, and ay for reference and editorial purposes. There is no implied endorsement in the use of these terms.

ary of Congress Cataloging-in-Publication Data:is, Stacy.editor’s eye: A practical guide to transforming your book from good to great/ Stacy Ennis

m.

erback ISBN-13: 9781937645052ook ISBN-13: 9781937645045

3932407

mailto:[email protected]://www.nightowlspress.com/


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or Doug and Lily, who make everything worthwhile.


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The Editor’s Eye

PRACTICAL GUIDE TO TRANSFORMING YOUR BOOK FROM


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OREWORD

OOKS make a difference in our lives. The late Charlie “Tremendous” Jones, one of thtivational speakers to have ever lived, said, “You are the same today as you will be in five

cept for two things: the people you meet and the books you read.”Books can create shifts in mind-set about how we view the world, relate to others, and work and

me books entertain us or encourage us to see things from a different perspective; others help usblems or understand new concepts. Because each reader processes the words in a book through uers based on life experiences, each reader can find individual meaning within the same pages.The desire to create and share meaningful content and stories is what calls writers to write. iters answer this calling, readers benefit from their craft.Statistics show that more than 80 percent of individuals would like to write a book at some poir lifetimes. So, why don’t more people do it? I believe there are two reasons: They think the

ve to write the whole book on their own, and they don’t understand the power of the editing proceile ago, I didn’t understand it, either. Unfortunately, these fears keep many people from w

ogether.What I have experienced in my last decade of giving workshops and speaking with literally hundrybe thousands—of students, writers, and those new to the publishing industry is they don’t undepositive power of editing and how it’s a necessary part of the writing process. The majority of n

iters and authors fear editors, thinking they will be like their former schoolteachers, marking upd returning it with no explanation. This lack of understanding and deep-seated anxiety keeps ny potentially great authors from ever even beginning to write…let alone getting published.Don’t get me wrong: There are some editors who are a little intimidating and make me wonsider whether I can write anything at all. Since I was a mediocre English student at best, I onc

same apprehensions toward having my writing edited—until I realized how much great editingke my work far exceed my own natural skill level.You’re bound to hear many colorful analogies about what editors do and how editors can help wke to think of them this way: Editors are like angel investors in the business world. They are wilest their time, heart, and soul into making your work sound good, feel powerful, and reach deeminds of your readers. And they do all this for a moderate amount of money and a small amou

ognition.So, I will make my point very clear.Good editors can make all the difference in your ability to thrive in the world of writinblishing. Inevitably, there is a gulf between a raw manuscript and a published book that all writerimidating to cross. That gap is widest during the first draft, but gradually closes as a book gets d revised by the author and editor. Editors can be your very best advocates in helping you close thween “draft” and “ready for publication.” Editors can help you take your writing from good to d they will help you get there in less time and with less stress than if you were to do it on youriting is a very critical step in getting a work ready for publication. Regardless of the skill levehor, it takes the eyes of a strong editor or team of editors to polish a book to the point where tch any other in the marketplace. Without good editing, a project is an epic fail and the book ches the readers for which it was intended.When I met Stacy Ennis a few years back, I quickly identified how her personality and profes

ll could powerfully impact the authors we work with at Aloha Publishing. A majority of our a


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busy professionals and leaders in their areas of expertise, which range from health to parentsiness. With her background as both a creative literary professional and teacher, Stacy has a uy of getting the best content out of first-time authors and refining the work of more seasoned w

any of the books she has edited for Aloha have helped establish authors as nationally recognized thders.The Editor’s Eye will open up a whole new world for you in your understanding of the different editing, how you can improve your writing process, how to find an editor, how to sign a contracindependent editor, and how to effectively use the editing available through your publisher.

portantly, you’ll learn how your extraordinary ideas, given the touch of a powerful wordsmith, cau from an unknown into a best-selling author.Gaining insight into the many editing options available to authors helps individuals recognize thaas and stories have the power to change lives, entertain, and provide new insights about the we Editor’s Eye gives you this understanding and more. Drawn from Stacy’s experience ofessional editor and packed with interviews with writing and editing professionals, this booite a fire within you to write, write, and write more—and then turn it over to your editor.

You may have picked up this book because you want to start writing a book of your own, or you measoned author hoping to gain a greater understanding of the editing process. I am convinced that n do your part by getting your best ideas from your brain to paper, a highly qualified editor can hel

e them the rest of the way. I encourage you to be fearless with your writing ambition and spend thfind a great editor; if you do, you may discover that your writing can exceed your highest expectat

aryanna YoungO of Aloha Publishing and author of Blank to Book: Idea to Amazon in 150 Days


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NTRODUCTION:Book to Help You Write Yours

he Inspiration

while ago, I was scheduled to talk to a group of writers at the Idaho Book Extravaganza, a re

hering of people in the publishing industry, including many aspiring authors working toward the publishing a book. As I set up for the session, “Write Your Best Book: The Writing and E

ocess,” I remember looking out at the large, empty room and thinking there were too many seatsed. After all, my session was the first slot of the entire conference (and an early one at that), andre three other classes taking place at the same time—one put on by a best-selling fiction author, ana successful CEO of a social media firm, and one by a sought-after memoir writing coach.With those choices, who would be interested in editing? Writers usually take classes on writing; ean afterthought and a dreaded one at that. But, as I finished setting up, I was surprised to see thles were nearly full. By the time I was ready to introduce myself, the room was packed. Peop

oulder to shoulder with their notepads ready and pens poised, eager to learn. The class nderfully, and the audience was engaged, inquisitive, and genuinely interested in everything I h them. There were a lot of questions about the types of editing out there and how to hire andh an editor, and some people even voiced their concerns and fears about the editing process

nversations I had afterward reinforced connections I’d already made through my experiences tor and led me to several realizations.When it comes to what writers generally know about editing and how it relates to the writing prre are three things I’ve observed:

#1 Most writers don’t know much about the book-editing process.

Over the years, I’ve worked with a wide range of authors across a variety of fiction and nonfnres, helping each one through different stages of the writing process. Each time, I’ve been surprirn that most authors have a limited understanding of the editing process. Most of the time, theting as a vague, unpleasant, and slightly mysterious step that happens along the way.

#2 Most writers don’t realize that editing is an integral part of writing.

When I ran a high school English program in the Dominican Republic, I had the opportunity dents work on their compositions through waves of revisions. It was from teaching and editinggan to understand the greater nuances of writing and the critical role editing plays in the evolutiona, an image, those first words on paper—into a finished, coherent piece.Later, when I was the managing editor of a local magazine in Boise, Idaho, which I helped found,the writers I worked with didn’t really understand the necessity of self-editing when writingicles. I often encountered disconnects between what the writers wanted to write (or were assignefinal articles they sent me. In essence, they had trouble evaluating their own work. Furthermore,

w editing as something separate from the writing process. In the course of managing the magazine,rted noticing some similarities between book and magazine editing—things that all writers can tter the medium, to streamline the writing process and make editing a part of the creative process.


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#3 Most writers really do want to learn more about editing.

The moment I began my talk in front of that crowded room at the Idaho Book Extravaganza, I re was an unaddressed need among writers to learn about editing. I also recognized that the ong writers to improve their craft and write their best books could only be realized through masart of self-editing and taking advantage of professional editing.

So, this is where my book can make a difference: It addresses those three concerns and explainsting can help you write a better book. And not just a good book—a great one.

ow to Use This Book

Whether you’re an already published author who wants to better understand the editing proculd-be author considering self-publishing or pursuing the traditional publishing route, or a writet wants a better grasp on refining your own work, this book is for you. The Editor’s Eye is yopth introduction to the self-editing and professional editing processes. You’ll learn how to transfory you write, gain insight into how to hire and work with editors, and master each stage of the

ting process. Everything you need to know to get your book into best-selling shape is in this bookEach chapter touches on an important part of the editing process. Chapter 1 starts by debunking

old myths about book editing and gives you the truth about the editing process, including the illing your darlings” and more. Chapter 2 covers editing fundamentals, including a detailed look r stages of editing and important terminology you should know.

Chapters 3 and 4 take a fresh look at the entire writing process from planning to publication—frtor’s point of view. You’ll learn how integrating editing into your writing early on can dramaprove your drafts right from the moment you add words to a blank page.Chapter 5 details how to hire and work with an editor, including important questions to ask prosp

tors; it also gets very specific on what you can expect to pay, how to work with an editor in any, and other essential information about working collaboratively and productively with your edw from my experience working across distances to help you understand how to work digitally annot so hard. In fact, the first book I edited was for a client in Boise, Idaho, and I edited it fro

artment in Ho Chi Minh City, Vietnam. If I can do that, you can definitely work with an editoferent U.S. city, and I’ll show you how.But, perhaps most importantly, each chapter in this book is as practical and hands-on as possiblel examples of tools, tips, and strategies you can actually use as you write your book. You’ll al

mplates for outlines, examples of how editors can improve your writing, and samples of a

dback form, an editing checklist, an agreement letter, and a manuscript style guide.While my experiences inspired me to share my expertise with you, I didn’t stop there: I interviewustry leaders in publishing, including editors, owners of publishing houses, and authorserviews are included throughout, too, from several important names: ghostwriter, coauthor, andctor Tim Vandehey; independent writer, editor, and author Christy Karras; commercial freelsiness coach, and author of three award-winning books, including The Well-Fed Self-Publisher, werman; freelance writer and author of My So-Called Freelance Life, Michelle Goodman; and nue international best-selling fiction author Vincent Zandri. These are people who really know theid have a following because of it, and many of them also happen to be my colleagues, people I’dth my own work. If you’d like a list of all the people interviewed, please see the Acknowledgmeback of this book.


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There are several ways to use this book, and it’s designed for authors at many stages. If you’re nok writing and editing, you should read this book cover to cover, especially the section on the wcess and self-editing. If you’re reading this book with a completed manuscript sitting next to y

ght be a good idea to skip the sections on self-editing for now (Chapters 3 and 4) and instead focing and working with editors (Chapter 5). Whatever your situation, The Editor’s Eye will

valuable part of your book-writing process.But this book isn’t really about me or the experts I interviewed—this book is ultimately about yoout helping you get to where you want to be, whether it’s starting or finishing a book, taking controft that keeps escaping your grasp, or another equally important goal. It’s about helping you reachams and enjoy the process of writing and refining your book. Because, as I’ll show you over the

w chapters, editing can be just as enjoyable as writing.Let’s get started.


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NE:ethinking What You Know About Book Editing

once asked a large group of writers, “What is the definition of editing?” The room was still, n

ing to speak. Finally, someone said, “Painful.” Everyone chuckled, but nodded, all seeming to res description. After some more prompting, a woman in the back of the room slowly raised her n offered, “Cleaning up written copy.” A few more ideas bubbled up around the room, most of

aling with some sort of revision after writing is finished.Were they right?Well, yes…aside from the pain part. They were right, but not totally. Editing does include those tit is also so much more.

diting by Spell-Checker Alone and Other Misconceptions Abditing

For the purposes of this book, editing * is defined as all of the things done to a piece of writing toits final state. (* Note on the text: Throughout this book, the first instance of terms included in the Terminology section at thepter 2 is bolded.) That means editing takes place at all stages of the book-writing process, from concprint, and is an integral part of the creation of a manuscript. After all, how good would a book beal version was based on the very first draft of an outline, included the first ideas that popped inhor’s head, and was printed immediately after the first draft was written, without anyone reviewe quality would be questionable at best.In fact, you can hire an editor before you even start writing your book to help get your oganized, do some of your research, and keep you motivated. An editor also helps you shap

nuscript as you write by offering feedback and suggestions. Genevieve DeGuzman, the managing Night Owls Press, says editing is about figuring out the writer’s intentions, what he * is trying td helping him say it in the best way possible. (* Note on the text: To avoid using the clunky construction of “he/r variations, I switch between male and female pronouns throughout the book.) “Editors do more than just fiddle

nctuation and correct typos,” she explains. “The editing process is less about putting semicolons ht places and more about engaging with the author’s content and ideas.”More than just a sieve to filter surface errors, editing is a special kind of alchemy that prepares areader scrutiny. Editors do this by diving deep into your work, pushing against your stylistic fdding the walls of your research, and testing the integrity of your ideas. And in the end, they pus

become a better writer. The important thing to remember is this: Editing is an intrinsic part iting process, taking place before a book is written, while writing, after the first draft, and befoer a book is sent to book design.Writing and editing go hand in hand, and trying to write without any consideration of the various editing and revision shortchanges your manuscript. One of my favorite quotes about the interpiting and editing comes from Lois Johnson Rew’s Editing for Writers: “Editing and writing are noarate and parallel paths to [an] end. Editing and writing should converge on one path.”

In fact, many times, great writing emerges from the trial by fire of several editing rounds; it’s ra first draft that’s pitch-perfect. There’s always room for improvement, and an editor’s commen

u thinking about your book in a new light. Furthermore, a close rereading of your own work prou to reexamine narrative elements you once thought invincible. When editing, you might find yo


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king, “Oh, why didn’t I think of that?” Approaching editing as what it is—an integral step in wur book—will vastly improve the way you write and develop ideas, narratives, characters, and plWhat about you? How do you perceive the editing process? Does it feel like a necessary eviing out the trash on Sunday nights? Does it make your stomach churn to think about handing ovenuscript to an editor? Do you worry that your editor will hate your book…or make it worse?I’m here to tell you these feelings are all normal. It’s natural to fear the unknown—the uncertaiat an editor will do to your work. You may ask yourself, “How will my work change in the han

other?” The creative passion that started you writing in the first place suddenly gives way to futiny. After all, many of us have very little experience with the editing process, with much operience limited to college or high school English classes or writing workshops, in which a dent scribbled some unhelpful comments about your dangling participles or misplaced modifiers.Here’s a cold dose of reality: The editing process is long and involved. It’s more than just haver read through your work, and it’s definitely more than running spell-check or making sure yommas in the right places. It requires an investment of time and money, and most importantly, it det you shift your thinking and approach your work with fresh eyes and an open mind.

he Misunderstood Editor

Part of why writers feel ambivalent toward the editing process is that they mistakenly see editversaries. Many authors secretly think of an editor as a warty witch hovering over the comighting in the annihilation of a manuscript. Or they see editors as grim, dictionary-wielding dictau know, the kind that uses the word “catachthonian” in everyday speech and culls precious paragrven had an author once end an e-mail with the words, “With some nervousness,” rather than “Bencerely.” There is real apprehension about the editing process, as if editors are waging crault on authors’ books.Some writers opt away from using a professional editor, arguing that fellow writers in theirkshops provide all the help they need. But a skilled editor usually offers much more than any

n. Let’s face it: The people in your writing group aren’t getting paid to pore over your manuscripritical eye, and though they probably do care about your manuscript to some extent, at the end

y they’re mostly there to improve their own work, not yours. Other writers are also likely not traispecific stages of editing, which we’ll discuss shortly.

On that note, you’ll notice that I often say you should look for a “good” or “highly-skilled” editoe anything else—dental work, car repair, home remodeling—hiring the best often results in the beoduct. If you scrimp on editing, it will show. And just like a botched car repair, bad editing will hfixed sooner or later, and there’s no sense wasting money and learning the hard way. When all i

d done, investing more money at the outset of a project is usually the best option; but don’t worry,

to how to hire and work with editors in Chapter 5.While these warnings are all very true, there is good news: A highly-skilled editor can makerwise bewildering process a pleasant one, and she can help influence your manuscript in incre

d substantial ways. And I really do mean substantial. An editor reads a manuscript with a very spe—an editor’s eye—putting on both the “editor hat” and the “reader hat,” looking for areasnuscript that are confusing, don’t speak to the intended reader (more on that later), and somehowmark. An editor can take a book from good to great by identifying these areas and, most import

ering suggestions and solutions. More than just revising at the sentence level, an editor can imok at the idea level, even at the concept level, too.I tell the authors I work with that I’m there to bring out the best books that already reside withinhelp them share the stories they want to share. The writer-editor relationship should never


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versarial one. In fact, we are working toward the same goal: to bring out the author’s voicnsform a book into something great.What else can an editor do besides rework your prose and help you refine your ideas? Lots mou’re going the traditional publishing route, she can help you get the manuscript ready to send ouer hard-won expertise in crafting a book proposal and cover letter. If you’re self-publishing, wh to help build your brand or career, realize your dream of writing a book, or just because youiting, an editor can help guide you through the publishing process and connect you with other qndors, like cover designers. When you think about it that way, it’s actually a pretty rewationship, right?If you are writing a book to achieve a specific purpose (say, to attract publicity and then go oblic speaking circuit), consider this: If a developmental editor can help you finish a book twolier than you would have on your own, how much will you gain in the time saved? Is it uggling through a process you don’t understand—and perhaps having to do it over again—just tome money? Moreover, think of how much money you could have made or publicity you couldnered if your book had been out during those two years.Basically, when it comes to writing a great book, an editor is a trained professional who knowse’s doing. All writers could use someone like that.Now, before we get into the book-editing particulars, we need to have a candid talk.

Kill Your Darlings” and Other Truths About Editing

Here’s a universal fact: Most writers tend to be resistant toward editing, whether it’s out ofxiety, lack of confidence, or a protective stance toward their work. Let’s say you’ve spent mssibly a year or more, writing your manuscript. Perhaps you’ve spent four hours every Thurning crafting your book, putting everything you have into it, sacrificing free time and time with

ends and family. You think your book is pretty darn good, and you’re sure your editor will think soThen you get the manuscript back from your editor.

As you look through the pages, you see your manuscript seemingly butchered in red ink or elecrks. You then read her detailed e-mail, including some shocking feedback: “Chapters one, two, e, six, and seven are very strong…but chapter four seems a bit off topic. You might consider cuttiddenly, your beloved writing pen becomes a shield, your nostrils flare, and you find yourself bree. Your mind reeling, you think, But, but, but…I spent weeks on that chapter!This might happen. The editing process is going to feel frustrating at times. As a writer, you are be as naturally protective of your work as a parent would be of her child. Having a good a

ward editing can be difficult, especially when authors are tied to the traditional notion of editing ing errors. If you can view editing as an integral part of the writing process—an extension of it—

u’re well on your way toward adopting a more collaborative approach to editing (more on tapter 5). Douse the fire breathing: Your editor really does have your best interest at heart. Keen mind, and be willing to change your work.My favorite quote on keeping an open mind to editing comes from Stephen King’s On Writing: “ur darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, killings.” 1 If you need to, write this quote on a piece of paper and tape it to your desk or somewh

ur writing space where you’ll see it regularly. And always be ready to kill your darlings.Here are a few tips for adopting a good editing attitude:

Remember that manuscripts are organic. When you started your manuscript, it was just a piece of paper. Just because you added words to it, that doesn’t mean it’s done; it’s an ever-gro


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ever-evolving document that can always become something better. Don’t be afraid to kill your darlings. It’s okay to let go of something that’s not working, whetha few words or an entire section. Maybe that deleted section or chapter can be repurposed blog post or an article…but it just doesn’t belong in your book. Learn how to let it go. In the a“Let us now praise editors,” Gary Kamiya puts it this way: “You have to let go of your attachmthe specific words you’ve written and open yourself to what you were aiming for. You need econfidence in yourself to accept constructive criticism, some of which can feel like your inorgans are being more or less gently moved around.” 2

Don’t take edits and feedback personally. James C. Wilson, Ph.D., professor of Englis

journalism and the author of six books, says, “My advice to authors: Be adults. Editing will imyour product. So grow up.” Your editor isn’t hired to be your friend; his job is to makemanuscript better. A heavily marked-up manuscript doesn’t necessarily mean you’re a bad writeditor’s job is to take into account a lot more than your writing skill, and he is also consideringfactors, such as the intended audience and purpose of the manuscript (more on this in Chapter 2 Allot time for the critical phase of editing and rewriting. I once had an author request exte

editing just weeks before the book was supposed to go to design. While his book eventually tout fine, thanks to several 12-hour days on my part and a lot of work on his part, we both agreebook could have been stronger with more editing time. Don’t make the mistake of doing rush eat the end; give yourself enough time to properly revise.

NOW THAT WE have the truth about the editing process out of the way, let’s move into whole book-editing process is, anyway. So grab a cup of coffee or tea, settle in, and let’s get goin

me to finish that manuscript!


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Interview with Tim VandeheyTim Vandehey began his career as a freelance writer in late 1994. Since 2004, he’s focused exclusively on ghostwnonfiction books and has written more than 40 titles in genres ranging from spirituality and business to spomemoir. He’s the author of 15 ghostwritten, coauthored, or “book doctored” works published with major publish Random House, McGraw-Hill, Hachette, and Simon and Schuster. He currently lives in Missouri with his f amily.Tim took time out of his busy writing schedule to answer a few questions about writing and editing. Define the author-editor relationship and what it means to you. What benefits does an editor bring to the writing pand how has professional editing improved your work?

A good editor is a writer’s best friend. Good ones enforce rigor and discipline on writers, sort of like personal trainers computer keyboard. The best editors I’ve worked with have made me more precise and careful in my language, especiaregard to citing research, quoting individuals, etc. That’s not sexy, but when you’re writing nonfiction, it matters. What is your best advice for new authors just getting started in regard to the writing and/or editing process? There are reams of writing advice out there (much of it bad), so I won’t add to it. Instead, let’s talk about working with anTim’s Rule 1: Find a professional editor whose judgment you trust and make him or her your lifelong best friend. Tim’s Don’t listen to the amateur editors, a.k.a. the people in writers’ groups. If you want professional judgment, pay attenprofessionals who work in the business. Do you have an interesting story about working through the editing process with a publishing house? I have a horror story with a moral. In 2008, I stepped in for another ghostwriter on a book for a celebrity who had gottenbook deal. The first writer had botched it, and my agent got me the gig doing a total rewrite. I worked with the celebrity months or so and turned in the rewrite. The editor (who was with a major New York publisher) hated it.Only then did she send me the memo she had written to the first writer telling her exactly what she wanted from the rewnever seen this memo. For some reason, she hadn’t sent it to me. I’d wasted the last four months. I went ballistic, but thdown and we rewrote the book again. This time, they absolutely loved it.Moral: Always make sure you have all communication from your editor, publisher, agent, etc. Not everyone is detail-orieyou have to be. Do you have any tips, tricks, or ideas to share with aspiring authors? Don’t join writers’ groups. Most are a waste of time because they’re full of amateurs and wannabes who have never pu

but think they know all about the business. Writing is full of delusion and self-deception. If you’re going to build a supporpopulate it with professionals who can give you usable advice. Learn more about Tim Vandehey at www.timvandehey.com.

http://www.timvandehey.com/


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WO:he Editing Basics

’s All About the Author-Editor Relationship

OR most editors, the first book they work on is something of a rite of passage, a test of skills, a break kind of moment. Most writers see their books in a similar way; writing a book is a chan

ow the world what they can do. I can relate to that, and I bet you can, too.The first book I edited was an out-of-the-box business book meant to help business owners apprketing and relationship building in a unique way. I recall opening the manuscript file with hesimming over the chapters, and thinking it seemed very, very long. In reality, it was a short booch more than 5,000 words, but, boy, did I feel like that little document was at least 200,000 word

d sure to be full of complex ideas I wouldn’t ever “get.”As I started reading, I was surprised to find that revising the manuscript was fairly intuitive for mediately found areas that could use stronger descriptions, identified places that needed

nsitions, and noted chapters that would benefit from more riveting introductions. The heavens opght shined down on my computer, and harp music started playing: I was officially a book editor,s good at it!But that bravado was quickly tested as I wrote the author an e-mail regarding his work, which incoint-by-point bulleted list detailing how he might strengthen his manuscript. Although my messagstly positive in tone, I felt like a bearer of bad news. As I finished the e-mail and attached the rnuscript, I sat there for a moment, the pointer hovering over the “send” button, my finger resting ock pad of my laptop. For a moment, I thought about revising my e-mail, removing some oggestions, offering more praise. Softening it. After all, I thought, this is his manuscript. What i

ended at my suggestions? What if I just didn’t “get” the book? After some hesitation, I decided l in my critique. Finally, I sent the e-mail and waited for the author’s response.Lucky for me, the author—a highly respected businessman who happens to be a pretty good wrs open to feedback and really wanted his book to be great. Looking back, I realize now how impattitude was. He appreciated the care I put into revising his manuscript, and it helped him w

ch stronger book, a book he was proud to share with family, friends, clients, and the world. In faediting his next book very soon.Now, many books and author e-mails later, I know that my initial feeling of uncertainty, even feauthor’s reaction was unnecessary. After all, an author has ownership of his work, and my sugge

n only help…assuming I’m doing my best work and putting my heart into editing the manuscript. derstand that, as an editor, I’m a partner in the writing process, and the authors I’ve worked witely say the same.Here is one of the key things you’ll learn as an author: The relationship you have with an editor cmost important element of your book-writing experience. In our ever-disconnected (or virtually

nnected) society, “relationship” seems to be the overused catchphrase plastered across billbbsites, buses, and television commercials. But in the craft of writing and the business of publishinrd is a perfect description of the connection between writers and editors. This relationship nerstone of the writing and editing process.

Why is the author-editor partnership so important? “A manuscript is so personal, no matter the cocause the author dedicates so much time and passion to the written copy,” explains Samantha Ty


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elance copyeditor and writer. “Because the editor is so involved in changing and improvinnuscript’s content, it is important that there be a solid relationship between author and editor.”With that in mind, here’s my formula for success: compelling and relevant story + skilled editor +hor-editor relationship = great book. It’s that simple.

Complementary Relationship: Two Approaches, One Goal

While writing and editing are part of the same equation with the same goal—to produce a great boy are also very different. Writing is about exuberance and creative freedom. Some writers may de

ir drafts in excited, hazy bursts, spilling their thoughts and observations onto paper; others efully and slowly, mulling the words around in their heads before committing them to the page. y, it’s an experience that’s largely self-driven. Writers have to be intimately close to their woite in a riveting way. Whatever your style, I imagine you can relate to the romantic creativity iting process.Editing, on the other hand, is more clinical and removed, because editors need that unattspective to make the hard choices of what works and what doesn’t. Editors work at a more pond

ce, focused on deepening and clarifying aspects of the writer’s work and improving it as a whotor’s approach, while creative, isn’t as spontaneously inspired as the writer’s. Instead, it is caref

ntemplative, focused on how major or minor changes might positively impact a manuscript.Just as the writing process is a dynamic one, so is the editing process. Editors excavate and refind this demands not only discipline but also an ability to engage with an author and a book in an ind honest way. That’s a very personal relationship. In fact, the best way to describe the relationshil it a partnership. Sure, the author wrote the book, but the editor is there to make it better—aft

en best-selling authors use editors, and many of these authors aren’t shy in praising how their eproved their books.Take best-selling author Vincent Zandri, who explains it this way: “I’m lucky in the case of mtor, as we not only get along in a creative way, we thus far have been entirely in tune wit

other’s take on the work. That’s something that rarely happens, but when it does, it can be one st rewarding experiences in a writer’s life. In the end, the writer is the creative part of the relatio

d the editor, if he is a good one, will work on pulling as much creativity out of the writer as is humssible.”Max Perkins, the legendary editor at Scribner, was described as having the “ability to inspire an aproduce the best that was in him or her. More a friend to his authors than a taskmaster, he aided thery way. He helped them structure their books, if help was needed; thought up titles, invented plw editors before him had done so much work on manuscripts, yet he was always faithful to his he book belongs to the author.’” 3 In his hands, Perkins transformed classics like The Great Gatsbe Old Man and the Sea.

Good editors also have the ability to say “enough”—as in enough editing. Our training and expes us when to leave things be, and we know authenticity is often more important than textbook-piting. Nonfiction editors working on memoirs employ this restraint frequently, especially when wth someone who has a particularly dramatic story to tell. After all, when hearing about a tragic acd how the author used the experience to better her life, a reader won’t fixate on whether the wviated from The Chicago Manual of Style. In fiction books, especially with dialogue, it’s someter for things to sound natural than correct. Good editors know when to employ restraint at thements.The main point is this: Don’t underestimate the impact of your relationship with your edi

veloping your book. “A very good relationship between an editor and author is the same as a pro


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d musician/songwriter in the recording studio,” says Vincent Zandri. “You need to feed off oother in a healthy, creative, collaborative way. There has to be a real, almost love between youn’t work.” For editing to be effective, the editor’s partnership with the author must be an activnamic one, full of lively discussion, feedback, and brainstorming. The writer and editor are partnking a book the best book possible, and a good editor will care about your book almost as much a

We’ve established that a good author-editor partnership is extremely important to writing a manuhow do you go about cultivating that sort of close-knit relationship? A foundational understandtypes of editing is the first step toward an effective author-editor relationship; later, in Chap

’ll talk about the key questions to ask and things to look for while you’re choosing your editor.With that in mind, let’s now look at the many ways you can hire someone to collaborate with iting your book. We’ll then discuss some important terminology you’ll need to know to both usok and work with an editor. If you haven’t already, now is the time to start taking notes.

eciding What You Need

“Wow, I wish I’d known that earlier,” the conversation sometimes goes when I’m talking to a poent. “I had no idea I could hire an editor before writing my book.” At this, said author thinks wo

out her manuscript, hangs her head, and starts to cry. Okay, so maybe that’s a bit of an exaggerationt is this: Sadly, many people have a very limited view of editing, and this misunderstanding enting them a lot of time and money. Many of the authors I work with are surprised to hear that they

ve hired an editor early in the writing process—rather than two years, five revisions, and twditors” (ahem, friends who are English teachers) later.Since editor involvement can vary widely from manuscript to manuscript, the trick is figuring ouu need. An editor can be involved in a lot of different areas, from writing or cowriting your boveloping an outline, doing research, offering feedback, performing line editing, and proofreahatever the involvement, an editor is your indispensable ally to writing your book. Many write

aware that there are many ways to involve an editor, and the degree of collaboration depends onu need: Do you need a hands-on collaborator, someone who takes your ideas and vision and dinsforms them into a book? Do you prefer to write alongside someone or get feedback along the woauthor arrangement? Or are you a seasoned author who just needs to be guided through the eges?The key is choosing the best editor relationship for you.

hostwriting and Cowriting: When Your Editor Takes the Lead

Ghostwriting is a service often used by busy professionals, politicians, pro athletes, and celebri

a story, share unique knowledge, or transform notes into a book. Not everyone is a natural wordhas the luxury of time to sit down and draft a 120,000-word manuscript, so a ghostwriter is hiredheavy lifting of drafting a work. As Tim Vandehey, a well-known ghostwriter, coauthor, and

ctor, explains, “[Ghostwriters] help great people tell great stories and then we disappear. We crace and vision of our authors and then step back to let them shine.” 4

Now, I do realize the word “writer” is involved here—after all, it’s not “ghosteditor”—ostwriter does approach a writing project with an editor’s bent. Since a ghostwriter isn’t neces

originator of an idea or expert in the field, he is editing content—author’s notes, as well as red interviews he conducts—to write the book; at the same time, he approaches the work with a w

vor and creativity, as ghostwriters are typically tasked with delivering the final manuscript.Cowriting, much like ghostwriting, involves heavy involvement with another writer or editor. W


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ook Editing in Four Stages: Getting from Good to Great

If ghostwriting and cowriting arrangements aren’t what you’re looking for, and if you’re the sole d want complete ownership of your work, you should opt for an editor who will walk you througting process in stages. The editing process takes place over four main stages, which typically ocs sequence:

1. Developmental editing2. Substantive (content) editing3. Copyediting4. Proofreading

Each stage of editing acts like a different lens through which your work is viewed. At each stferent aspect of the work is brought into focus and under scrutiny. Think of the different editing szoom lenses. “Big picture” editing, such as developmental and substantive editing, are your wideses, while copyediting and proofreading are your microscope lenses. With their macro perspe

velopmental and substantive editing focus on improving content and structure, while the “closhniques found in copyediting and proofreading fix text and line errors. In general, development

bstantive editing take place before copyediting and proofreading.Understanding the main stages of editing not only helps you make an informed decision in determen to hire an editor but also helps you know what your manuscript really needs.

age 1: Developmental Editing

Just like the name implies, developmental editing involves the development of a manuscript in itsw and green state. While it usually takes place at the earliest stages of the book-writing process,mination of an idea, a developmental editor often works with a book until the final draft is complAmanda Hackwith, editor at Rockable Press and author of Freelance Confidential, describes hoproaches a work with her developmental editor hat on: “I typically give the entire manuscript aer, then start trying to break down the purpose for each section of content and determine how to

content fulfill that purpose better. That might include suggestions to the author on restrucmination/expansion, terminology, tone, and more.” Just like Hackwith, most editors velopmental editing approach a manuscript with the idea that it’s still developing, whether ginning stage or further along.In Developmental Editing: A Guide for Freelancers, Scott Norton says that “developmental enotes significant structuring or restructuring of a manuscript’s discourse.” He goes on to explaiile developmental editors are supposed to be mostly working at the structural level, it’s some

possible for an editor in the developmental editing stage to not do some rewriting and heavy eng the way, too.In general, developmental editing can help authors with a wide range of things, including:

• Developing the concept or story and maintaining focus while writing• Creating the outline and performing research• Restructuring chapters and paragraphs• Evaluating stylistic elements, such as tone and diction• Ensuring the draft is reaching the needs of its intended audience and purpose


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Developmental editing means different things for fiction and nonfiction works, although the objecsame: helping you focus on what your book is about and, most importantly, what makes your b

que work in a crowded market of similar books. For example, if you’re writing a how-to guiling crafts and homemade products online, how will you set your book apart from the many srketing books available? How will you engage your intended audience? What does your book offers don’t?

For nonfiction manuscripts, the developmental editor is focused on making sure the writer can aee basic questions. Here are some questions an editor might ask, followed by sample responses:

1. What is this book about?

This book is a guide that discusses how to transform a small business into a socially responsible enterprise.

2. How will this book enhance the topic?

Written specifically for the “little shop,” this book focuses on practical approaches to implementing and trackingresponsibility (S-R) initiatives. The book also considers the challenges of integrating S-R practices for microbusinesslimited resources and offers easy, practical tools for evaluating the associated costs, benefits, and potential impact on cusemployees, vendors, business networks, and the community. Interviews with successful microbusinesses and solop

provide readers with real-world advice and insights.

3. Who is the target audience?

This book is targeted toward resource-strapped and busy solopreneurs and microbusiness owners who feel that they haoverlooked in the discussions on S-R.

Developmental editing can help you extract and refine your thoughts on these core questions, hu strengthen your nonfiction book from the ground up. The first question is straightforwardentially the main topic or subject matter of your book. The second question captures the most c

t of the book-development stage and is sometimes difficult for nonfiction writers to undecause it’s often confused with the first question. What you are writing about (the topic) and wh

trying to say (your personal angle and unique contribution to the general discourse about the topio very different things. Many writers do fairly well in describing what their books are about, buuggle in detailing their points of view as the author or authority on a topic. In this rvelopmental editors can be instrumental in helping authors highlight their expertise and experien

best light, as well as in showing them how to let their unique “voice” and perspectives come throHow you “develop” your book is largely determined by your answer to the third question. Here arngs to consider:

1. The technical skill level of your readers: Are they experts on this topic?2. Reader expectations: Do they expect to be entertained or informed? Will they preconversational or more formal tone? Will they be reading your book with built-in biases thaneed to overcome?

Knowing the answers to these questions will help you approach your topic with the right writinge, level of vocabulary, and depth of research.

For fiction manuscripts, the editor has similar concerns, though more emphasis is placed on nar

ments like plot, characters, and reader market. Here are core questions for your novel that needswered in this editing stage; again, following the questions are sample answers:


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1. What is the book about?

This book is about a young girl who travels back in time and has life-changing adventures along the way.

2. Who are the main/secondary characters?

Anna Landman is a 13-year-old girl living in modern-day Dublin with her dad and stepmother. While traveling back throu

she meets Clyde Van Berth, a 15-year-old boy living in a 13 th century farming community.

3. Who is the intended audience?

This book is targeted to young readers who have an interest in fantasy fiction, ages 9 to 17.

Sometimes an author is still at the preliminary idea stage and isn’t yet ready to answer these quemuch detail. When I consider working with a new author, I usually like to see how much thoughen to the book he wants to write. Depending on the genre and how complete the manuscript is, I ahor to describe the book as concisely as possible:

1. My book is about … (15 words).2. My intended readers are … (15 words). For help completing this, see the section onaudience.3. My book is like [insert book title here] and [insert book title here], but is unique because … (25 words)4. The purpose of my book is … (20 words). When considering fiction or creative nonfiction, think whether you’re trying to achieve a grander purpose (e.g., to teach a moral, create awareness, emainly writing the book to entertain readers.

Here is an example from my notes when I was first developing the idea for this book:

1. My book is about the basics of book editing.2. My intended readers are new and experienced authors who want to understand the editing process.3. My book is like Editing for Writers and Editors on Editing but is unique because it’s specifically about book editing, wrauthors.

4. The purpose of my book is to give authors the tools to write the best book possible.

Can you answer these questions about your book concisely? Try it now, even if it’s just in your he, it might be time to reevaluate your manuscript or topic because you may not be clear on what k

ok you’re writing. In my case, if a potential client can’t answer these questions, I might suggest th

hor hire a book coach, rather than a developmental editor.An outgrowth of developmental editing is book coaching, which involves a more hands-on approding authors through each stage of the writing and editing process. A book coach will beispensable guide in every sense of the word, walking you through writing your manuscript

velopment to publication, as well as be your cheerleader, organizer, editor, boot camp sergeannnection to other talented people in publishing. Your coach will keep you on a writing scheduleu set milestones, meet with you on a regular basis, and massage your scalp when you’re having wck. Just kidding.

Okay, you’re probably thinking, what are the main differences between a developmental editook coach?Developmental editors, while vital to writing a manuscript, aren’t nearly as involved in the pr


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ok coaches keep in touch with you throughout the writing process, keep you motivated, and wily with you even after your manuscript is completed, helping you put together a proposabmission package if you’re going the traditional route or assisting you in marketing and promotingok if you’re self-publishing. They do everything a developmental editor does and then some, ano typically work with you until the book is finished—as in designed, printed (or electron

oduced), and released to the public.If the roles of a developmental editor or book coach don’t sound quite like what you need, don’t he world of editing is flexible. A fiction author I worked with, for example, had a comnuscript that he was revising to shop with traditional publishing houses. He sent me three t

apters at a time; I would then perform both developmental and substantive editing (more on thatd provide feedback on plot, theme, characters, stylistics, and other elements. I also created a stylee the Appendix for an example), compiled the separate chapter files into one document, and formhe way publishing houses would want it. Since he was an experienced author, he didn’t quite nok coach, and I was happy to create a scaled-down editing plan that met his needs.A special note to first-time authors: If you’re writing your first book, a developmental editor aok coach can be extremely useful. Aaron Patterson, CEO of StoneHouse Ink and a best-selling autur titles, agrees: “I think it is smart [to hire a book coach or developmental editor], and every ould do it; why learn the hard way when you can learn from people that have been where you w

?”He’s right. A developmental editor or book coach not only can help you fully understand the wting, and publishing processes but can also act as a motivator. After all, you wouldn’t enter rnament without taking a few lessons, would you? Think of your editor as a “book instructorson who will help you confidently enter the world of already-published books, ready to compete

You should consider having your manuscript undergo developmental editing or investing inaching if you need help with any of the following, keeping in mind that the last three apply mook coaches:

• Getting started• Brainstorming and developing ideas and concepts• Determining audience and purpose• Developing an outline and planning• Researching• Reordering chapters or sections, often at the outline level (before writing)• Getting feedback on tone and diction (whether a book is speaking to the intended audience)• Rewriting sections• Staying on track while writing the book

• Staying motivated and moving forward in the book-writing process• Checking your progress and ensuring you’re staying focused

Now that we’ve taken a look at developmental editing, let’s move to the next stage: substantive ed

age 2: Substantive Editing

Substantive editing, also known as content editing, involves an editor looking at how a manuscrking as a whole, as well as piece by piece and chapter by chapter; consequently, it usually oer the first draft is complete. It’s at this stage where an editor might suggest that sections or ch

ght need to be revised or—gasp!—the entire manuscript needs to be rewritten. This is also


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hors seem to be most resistant to revision suggestions (see the section, “‘Kill Your Darlings’ and uths About Editing,” in Chapter 1), as revisions at this level can be, well, substantial.Brace yourself. This stage is where your book goes through its toughest criticism and often makst dramatic transformation. Even if the writing is good, sometimes a manuscript still misses its m

d that’s where a substantive editor comes in. Especially for first-time authors, this is whereerpillar of a manuscript blossoms into a best-selling butterfly of a book. (Of course, that’s assums a caterpillar to begin with…and not a worm.)A substantive editor may help with structural revisions, flow, transitions, clarity, tone, concvelopment, and overall effectiveness of the manuscript. Your editor reads and screens for cedibility, depth of writing, solid thesis) and structure (sequence of ideas, continuity of themes, iters often write in a myopic tunnel, writing so that they only see a few feet at a time in front of th

bstantive editor can help you see your book as a whole and appreciate its structure and content.With variation by genre, the substantive editing stage focuses on things like:

• Structure of the book (clear beginning, middle, and end)• Transitions from chapter to chapter, section to section, idea to idea, and paragraph to paragra• Clarity and soundness of viewpoint and angle• Flow and movement toward a clear and logical conclusion

• Depth of research and background material presented• Areas to be expanded, condensed, deleted, or revised• Compelling points or scenes to be developed

While all the previous items are important to a solid manuscript, an area that is truly indispensaben overlooked, is proper transitioning between chapters, sections, ideas, and paragraphs. Writersderestimate how important transitions are in writing. To have flow and continuity, it’s crucial to account what’s been said and build upon it, rather than jumping haphazardly from one idea to ther example, at the idea level, new ideas that are introduced should connect in some way to the

sented before. At the paragraph level, the endings of paragraphs should complement the beginniccessive paragraphs. Writing, when done well, builds in a progression.To illustrate this, imagine you’re having a conversation with a friend, Siegfried:“Hi Siegfried,” you say. “Nice weather we’re having, right?”“I love baseball,” says Siegfried. “It’s the best sport on the planet.”“Oh, yeah,” you say, rather startled at the switch in topic from the weather to baseball. “Me, tooout them Yankees?” You laugh at your own cleverness.“You know, I once went to Thailand for two months. Got a tattoo. It was splendid.”At this, you stare at Siegfried, not sure what the heck is happening.

This conversation might seem a little bizarre of a comparison, but you’d be surprised how oftenmilarly abrupt transitions in writing. While writers write with the best intentions, it’s often diffic

m to see these blunders—they’re just too close to the manuscript, too close to the ideas and conceIn addition to transitions, substantive editing is also focused on pacing. Does the piece move too me sections and slow to a crawl in others? Pacing is often a product of sentence length and variell as paragraph density. In fact, I’ve found that one of the easiest ways to improve flow is to sy sentence length and construction. Paragraphs or sections that don’t feel “right” or “aren’trking” are often due to having too many sentences of similar length and style. Your editor can heermine where to vary sentence length by alternating long sentences with short ones, or where to

nstruction by leading with an introductory clause or using compound sentences. And it’s the samagraphs: A substantive editor knows how to break up big blocks of text or break down a complex


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o bite-size ideas.Substantive editing is also where your text is streamlined. Don’t be surprised if whole sectioapters are significantly pruned or (gulp) cut completely. Your editor is checking to see where ymbled—not only in the writing but also in your presentation of ideas. He will prune areas with

cription or exposition. The job involves selective trimming—removing vague, foggy, or unnecose—and the process can be painful for writers. But don’t worry too much. With a skilled ednd guiding you in this stage, your work will emerge leaner and stronger.In doing substantive editing, your editor also ensures that you have reached your intended audienristy Karras, independent writer and editor and author of four travel and history books, puts it: “st intensive, an editor’s job is to help the author define the work and its scope, to develop the

d to ensure the work does what it’s supposed to do. For example, does it educate the reader, if thaal? If the book is fiction, will it find an audience?” At this stage, an editor is ever mindful of audd whether your prose is reaching your target reader.I’m currently doing a round of substantive editing on a young adult fiction manuscript by a very siter. Much of the book is beautifully written with evocative descriptions and vivid characterhor has received positive feedback from friends, colleagues, and other readers, and for good reawriting is solid. But in my editing, I noticed something he could improve: diction. The le

cabulary he used in some parts was just too advanced for young readers. In the dialogue, espe

rtions spoken by teens in the book, much of the expressions were too elevated to sound naturviding feedback, I suggested he try to “become” his teenage characters—as scary as that sounds— more authentic vocabulary. In evaluating whether his manuscript was reaching its intended rea

ked several questions: Will a young reader put the book down after the twentieth word she dderstand? Will a kid have to pause reading, and thereby disengage with the story, to figure out wntence means? More importantly, does the dialogue feel stilted, unbelievable in the context aracters and situations?Nonfiction writers have other things to consider, such as: What knowledge does a reader bring ok? What jargon will the reader know? How educated is the reader? Will the intended reader

aightforward prose that provides information in a no-nonsense way, or will the reader feel gaged with a book that includes personal stories, narrative digressions, and colorful case studies?If you’re not sure how to identify your audience, don’t worry—there are some practical strategp you. One way to help define your audience and capture the right tone and language in your writcreate audience personas. Advertisers and copywriters have done this for decades, and it’s helpfh fiction and nonfiction book authors, too. Here’s the idea: Determine three to five “types of reyour book. Then, create a persona by writing a one-paragraph description about each hypoth

der.For example, a potential reader for a book titled How to Make Money from Home might look like

Jennifer Blaylock is a stay-at-home mom to a 9-month-old girl. She loves her role, but her family is struggling financially. If shbring in $1,000 a month, her family wouldn’t have to live paycheck to paycheck, and her husband could spend more time with thShe has a bachelor’s degree in art and is adept at computers, and she’s been thinking about starting a blog about arts and crafwonders if she might be able to make money doing the thing she loves—art—but isn’t sure how to start a business or if it’s somshe can do while caring for her child.

Of course, personas will vary widely by genre, but the key is coming up with guidelines to helke editing decisions. While writing and editing, use your personas to help you understandential readers; this will help you make decisions, refine your prose, or determine areas that

pansion. Feel free to write your personas based on my example, and do share them with

bstantive editor; he’ll know how to use your personas to make sound changes to your manuscript.


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Several months back, I worked on the first draft of a nonfiction handbook, which was meant to beormative and engaging, while reaching a very specific audience. The author had a lot of knowleare and the personality to bring the book to life, but something was missing in her manuscript. So

prose was lacking her natural enthusiasm, and certain sections, though informative, wticularly engaging. While a handbook shouldn’t have over-the-top narrative—after all, it

ndbook, not a novel — I knew her intended readers would need a little “spice” to keep them readinFurthermore, since she was an expert in the area she was writing about, some of the informsented was unclear for “newbies”—which also happened to be her entire intended audience

mple mistake could have overshadowed all of the great information in the book. After doing an und of substantive editing, in which I did some rewriting, moved some chapters, combined and dtions, and offered revision suggestions, I sent it back to the author for review and revision. Th

me I saw the book, it was like an entirely new manuscript: fresh, engaging, clearly articulated, andfor the intended audience. Our partnership—my suggestions and editing paired with her expertissonality—resulted in a book that was better than I could have hoped. Her book sales havemendous, too.Behind every great writer is a great editor, and this is in large part due to the substantive editines place behind the scenes. Genevieve DeGuzman, the managing editor of Night Owls Press, athe creative equation of writing, the writer is the artist, the one with the vision, blueprints, idea

ce. By comparison, the editor is more the craftsman or engineer, armed with a toolbox for prkering with, and scrutinizing your text.” In many ways, writing is like building a house. Substting checks the soundness and integrity of your manuscript’s structure to make sure it doesn’t ter under reader scrutiny. Think of the substantive editor as the engineer to the writer’s architeign.

In the previous example, the author I worked with had all of the creative material—the vision, d voice—in her manuscript, but I had the tools for making all those fine-tuned changes that broug

best book.With all this in mind, you should consider hiring a substantive editor if you need help with any

lowing:

• Making sure the structure and flow are effective• Checking for gaps in logic or reasoning• Ensuring transitions work between chapters, sections, ideas, and paragraphs• Evaluating tone and diction to make sure they align with your intended audience and don’t alor confuse readers• Identifying areas that need revision• Identifying chapters, sections, or paragraphs that could be cut or combined

• Noting areas in the manuscript that are unclear or could be expanded upon• Evaluating the manuscript for overall effectiveness and making specific suggestionimprovement

We’ve discussed developmental editing and substantive editing, and it’s now time to move on xt editing stage: copyediting. We’ll look at the sentence-level specifics and how a copyeditor tur prose to make it stronger and more effective.Are you ready? It’s time to fine-tune your manuscript.

age 3: Copyediting


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For all the editorial heavy lifting and dramatic transformation that happen to a text in the developmd substantive editing stages, copyediting often gets all the credit. When most people think of edy think of copyediting: fixing grammar, punctuation, capitalization, spelling, word use, and song other sentence-level edits. A skilled copyeditor strengthens your voice, shapes your text ended audience and purpose, and delivers a close-to-finished manuscript, without distorting yourchanging your intent and meaning. This stage also includes making sure everything in the manugns with whatever style guide has been selected and is consistent with manuscript-specific nuae coined words and phrases. The copyeditor isn’t really getting into the “meat” of the book—aftt was already done in the substantive stage. Rather, he is cleaning up the book and making it theective piece of writing it can possibly be.Copyediting can have a bigger impact on more technical nonfiction works than on more creative wtion and creative nonfiction tend to follow their own rules—with creativity as their main style gu

d often don’t transform as dramatically during copyediting as other types of writing. Fictioative nonfiction also don’t stick as closely to the rules of expository writing, and creative liceen invoked. Take, for example, the use of slang or dialect in dialogue. This doesn’t mean crnres can’t benefit from thorough copyediting; it’s just that the copyeditor may be less likely tojor sentence-level changes.All manuscripts should go through copyediting at least once, but it often takes place over s

unds. If you’re writing a nonfiction book, the best plan is to budget the time and money for two rcopyediting—one “heavy” round of copyediting, which you’ll then review and revise, and then an

und to review and clean up new text and anything that was missed in the first round. Fiction eies so widely that it’s hard to estimate how many copyediting rounds you’ll need. But even theative works are vulnerable to awkward word use, grammar mistakes, and punctuation errors. Bat least two rounds, but know that you might need just one…or you might need five. If you’re h your copyeditor, you can use the same editor for all rounds of copyediting. Whatever the genre

pyediting needs will vary depending on how careful of a writer you are in your drafts and how attu are to your unique style of writing.

When you get to the copyediting stage, keep in mind that you might discover you need more intting than you thought you did—or your manuscript might even require more rounds of substting before copyediting can take place. Throughout my career, I’ve found that most authors thinknuscripts only need light copyediting or simple proofreading, when in actuality they need a derhaul. A professional editor should not proceed with copyediting if the book sorely needs ensive work, and he should let the writer know what editing needs to be done.The thing to keep in mind is this: Everyone’s writing can be improved. Just because a manuscript re editing, that doesn’t mean the author is a bad writer or somehow inept; it simply meannuscript could be stronger. And who wouldn’t want to put forth the best book possible? A profes

pyeditor will almost always improve your manuscript; it’s unlikely that it will get worse (unleurse, you decided to skimp on this stage and hired the cheapest editor you could find). As Samree, a freelance copyeditor and writer, explains, “An editor maintains your tone of voice andssage, working with you to ensure that your manuscript’s content reaches its full potential.” I coee more.You should consider hiring a copyeditor if you need help with any of the following (and eryone should hire a copyeditor, no matter what):

• Editing for grammar, syntax (word order), punctuation, capitalization,parallelism, and spelli

• Removing extraneous words and tightening prose• Cleaning up errors in the manuscript (for example, typos like “its cold” instead of “it’s cold”


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• Identifying areas that need clarification or revision• Checking for alignment with the chosen style guide• Checking for consistency (for example, between the table of contents and chapter/section font types and sizes, and use of terms)• Formatting your manuscript for design

Now that we’ve looked at copyediting, let’s move on to the all-important final stage: proofreading

age 4: Proofreading, Proofreading, Proofreading

No, it’s not a typo—think of this as the “proofreading, proofreading, proofreading” stage. Whu’re self-publishing or working with a partner publisher, your manuscript should go through atee rounds of proofreading before it hits the shelf (or digital shelf, in the case of an e-book). If yopping your manuscript with traditional publishing houses, one or two rounds are probably enoughThere’s a reason why proofreading is so important. As the last stage of the editing profreading serves as the gatekeeper between you and the reader. It’s the last stop wherenuscript is reviewed and checked, and its only purpose is to catch errors. At this stage, syntax

der), tone, and other stylistic elements should remain intact. Naturally, proofreading follows tho

pyediting.When a proofreader picks up your manuscript, he is only looking for true errors—misspelled wonsistencies, and style guide errors, among others. Proofreading generally takes place over s

unds, with one or two rounds occurring after the copyediting is completed. A subsequent rouofreading takes place after the manuscript is sent to the book’s interior designer (the personigns the inside of the book and places the text and images) and the design proof (the final, print-sion of the book) is finished. During this round of proofreading, a proofreader will look forments, too, such as design inconsistencies, textual errors that snuck in during the design stagether images or figures mentioned in the text are present in the chapter. At this very last stagofreader is proofreading the proof—now, say that three times fast!

Unfortunately, many authors don’t realize their manuscripts are still vulnerable to errors even as though design and reach the print-ready state. Authors going the self-publishing route, in particulen unaware that additional errors can be introduced in the design stage. When a designer conuscript from a text document into a design program, the software often replaces certain punctrks (such as “&,” “—,” and “…”) with other characters (such as “€”); also, certain formments, like italics, will often disappear in the design program. A designer has to fix these err

mparing the text document to the design document, but it’s easy to miss things. It’s the job of thoofreaders to catch these errors.From when I was the managing editor of a local magazine in Idaho, I remember putting togeth

icles for the first issue, each of which I personally copyedited and proofread. I was confidesigners would be thrilled with how clean they were and sure the design stage would be the easie

me—after all, I’d already thought up the stories, assigned writers, edited and proofread the ard sent the clean, final versions on to the designers. What more was there for me to do, other than

articles were all placed properly? Sure, I expected a few extraneous errors; I was prepared for thWhen I received the e-mail that the first draft of the magazine was ready for review, I excitedly o

file and prepared for an hour or two of final review. Boy, was I wrong. The magazine was lith errors: weird characters in strange places, pull quotes that had typos, and a myriad of other ors. Ten hours later, I submitted my first edits…and several rounds (and hours) of editing late

py was still riddled with mistakes.


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Of course, the amount of errors you’ll have will vary based on two things: 1) how detail-orientesigner is, and 2) how visually-oriented your book is. The book designer I work with now does aod job of catching these little design inconsistencies, and he has an even better attitude aboofreading stage.

Even if money is tight, don’t ever skip the proofreading stage. If you spent a great deal of timney during earlier editing stages, it will all be for naught if your book is a mess of typos, design

d textual inconsistencies. Take my advice and proofread, proofread, proofread.You should hire a proofreader to help you with the following:

• Catching errors, including grammar, spelling, capitalization, and word use• Rechecking for consistency (for example, between the table of contents and chapter/sectionfont types and sizes, and use of terms)• Verifying that the entire manuscript has been placed into the designed document (knointegrity editing)• Checking characters and formatting post-design• Verifying that images/tables are present in the designed version when mentioned in the text• Catching any typos that weren’t caught pre-design, including grammar, spelling, capitalizatioword use

Let’s move now from “proofreading, proofreading, proofreading” to why each stage of the eocess should be kept separate.

eping the Editing Stages Separate

In an ideal world, each of these four editing stages is separate and distinct and happens in a cquence, with developmental and substantive editing taking place before copyediting and proofrereality, however, budgets and timelines don’t always allow for such clean and simple separationyou’ve probably guessed, the more editing stages your writing undergoes, the better the final booAllowing an editor to only focus on one stage at a time makes the process more systematic and ent he can give careful attention to your work.Nobody likes to be rushed. Editors, especially, by the nature of the job, like to dwell on a iting has been described as “high-pitched concentration at a low-gear pace.” 5 It can be exhark, and to be done right, it must be focused, slow, and careful. So, please, don’t tell an editor, “Oh should only take a few days!” Let the editor estimate how long it should take and what stagting—and number of rounds within each stage—the book should undergo.

Authors planning on self-publishing should take special note. Because you don’t have an torial and design department backing your book, it’s imperative for you to invest in solid editing

n edit your own work, but I highly recommend that you hire additional editors, too. Peter Bowemmercial freelancer, business coach, and author of The Well-Fed Self-Publisher, puts it thiself-publishing still has a stigma, but frankly, in about 99 percent of the cases, it’s well-descause 99 percent of the time, self-published books are, in fact, crap. Your goal should be that pd out your book is self-published, and they’re shocked.”Think about it this way: Would you buy a structurally sound house, built with solid craftsmanshi mold growing in all of the rooms, a colony of rats living in the basement, and a paint job of bk, and lime green polka dots inside and out? Probably not. In real estate lingo, the house h

urbside appeal.” Likewise, even if your writing is solid, and the book is well-planned and concep

und, a poorly edited book is like the eyesore of a house no one would ever buy.


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Self-publishing sensation Amanda Hocking, who at one point was making $9,000 per month snre fantasy fiction for 99 cents a pop, is also adamant about the importance of editing for writersgest word of advice to any new/future writers thinking about diving into Kindle: Edit. I donat you think, you didn’t edit enough. Some people won’t care that there are errors, it’s true, but ethem will. And they paid for it, so they have a right to. So edit more. And then again. Really.” 6

Bear in mind that the big publishers have good products for a reason, and if you want to even bempete with them, you’re going to need to duplicate their process as best as you can. Bowerman adert—and I’ve seen this firsthand—there’s nothing a publishing company can do that you can’tst as well, if not better.” I agree with him, and if you maintain that idea at the heart of youblished book, you’ll be in good shape.

diting Terminology

Now that we’ve looked at the four stages of editing—developmental editing, substantive (coting, copyediting, and proofreading—let’s look at some editing terminology you’ll need to knoer to some of the terms throughout this book, although most of it is here to help you “talk the talk”rking with an editor. While reading, you may want to keep this chapter marked for easy reference.

Audience personas: detailed descriptions of prospective readers for your book. characterizations help focus your writing to a specific audience or type of reader. Back matter: the pages that come after the book’s main text, including endnotes, citations, aauthor biography. Book coach: someone who guides a book through each stage of the writing, editing, and publprocesses.

Book coaching: see book coach. Citation: see cite.

Cite: to attribute a quote or other reference to a source; the result is known as a citation, whicbe in the form of an in-text citation, a footnote, an endnote, or an entry in a bibliography. Content editing: see substantive editing.

Copyediting: the stage of editing that looks at grammar, punctuation, capitalization, spelling,use, syntax, and other sentence-level elements, as well as consistency with the chosen style and manuscript-specific nuances, like coined words and phrases. Cover designer: a person who designs book covers. Cowriting: an arrangement in which more than one person develops the content of a book. Coware usually listed as coauthors when the book is published.

Design proof: the print-ready version of a manuscript, ready for review and proofreaTypically, a publishing house or author has to sign off on the design proof before a book g


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print. Developmental editing: the stage of editing that helps develop a manuscript. A developmeditor often assists with concept development, outline creation, and research; gives feedbadrafts; makes structural revision suggestions; looks at stylistic elements, such as tone and dand gives feedback on whether the manuscript is reaching its intended audience and purpose. Editing: all of the things done to a piece of writing to get it to its final state. Editing rounds: the number of times a manuscript undergoes an editing stage; for example,rounds of copyediting.” Editing stages: the process a manuscript goes through as it is edited; the four stages of editidevelopmental editing, substantive (content) editing, copyediting, and proofreading. Editor: a person who edits a document (book, magazine, technical manual, etc.). Editorswidely in specialty, interest, and skill.

Fact checking: verifying that information in a manuscript is accurate. This can include verURLs, names, dates, numbers, and other elements. Freewriting: writing without concern for grammar, spelling, syntax, or other language nuusually for a specific amount of time. The point of this type of writing is to get ideas onto theand encourage creativity. Front matter: the pages that come before the book’s main text, including the title page, coppage, table of contents, and preface.

Ghostwriting: writing that is published under someone else’s name other than the original auth

Indie: independent, usually referring to indie authors (self-published) or indie publishers (smpublishing houses).

Integrity editing: verifying that all of the content from the original manuscript is present design proof.

Interior designer: the person who designs the interior of a book, including page layout, images, colors, and other design elements. Levels of editing: often in reference to technical documents, this term refers to editing do“levels,” or stages, with each level focusing on a different element. The term originated from

Levels of Edit , a guide written for the Jet Propulsion Laboratory in 1976, which inclu“comprehensive and detailed hierarchy of editorial tasks.” 7

Line editing: editing at the sentence level, rather than for overall effectiveness of the manu

also known as copyediting.


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Manuscript: a book or written work that is not yet published. Parallelism: using “successive verbal constructions that correspond in grammatical structure, smeter, meaning, etc.” 8 In a book, elements like bulleted list items should have the same constr(e.g., each starting with an adjective) so that they are following the rule of parallelism.

Partner publishing: a model in which the author and publisher both invest in publishing a boohave a more even share of the royalty, as compared to traditional publishing.

Persona: see audience personas. Plagiarism: taking credit for someone else’s work or idea. Primary research: research you conduct yourself, such as interviews, investigative travel, suor questionnaires. Proof: see design proof .

Proofreading: checking for errors, both before and after the manuscript goes to the book design Secondary research: reviewing and sifting through research that already exists; this inreading credible articles, reviewing historical documents, and reading nonfiction texts, amongthings. Self-publishing: a model in which the author pays for all publishing costs and is responsibdistribution and marketing. Authors typically make 100 percent of the royalties, unless arrangements are made through a self-publishing company.

Style guide: the style and rules that dictate the way a manuscript is formatted. Common style ginclude The Chicago Manual of Style (CMS), The Associated Press Stylebook (AP), an

Publication Manual of the American Psychological Association (APA). Most editors will crmanuscript-specific style guide as well, which details any elements that deviate from the cmajor style guide or are unique to a particular manuscript.

Substantive editing: the stage of editing that looks at how a manuscript is working as a whowell as chapter by chapter and section by section; a substantive editor may help with stru

revisions, flow, transitions, clarity, tone, and overall effectiveness of the manuscript. Top-down editing: starting with the “big picture” elements (structure, tone, clarity, etc.) and wdown to the small details (syntax, spelling, punctuation, etc.). Traditional publishing: a model in which the publisher pays all of the fees associatedpublishing a book. The author usually makes a smaller percentage of the royalty, compared to separtner publishing.

Transition: in writing, moving seamlessly from one chapter, idea, or paragraph to another, thconnecting the two. Usually, this includes addressing the ideas presented in the previous ch


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idea, or paragraph prior to introducing a new one.

For more editing terms, see The Chicago Manual of Style.


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Interview with Christy KarrasChristy Karras is a freelance editor specializing in books, magazines, and other long-form projects. Her clients prominent and awa

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