Working with a Freelance Editor—Part 1

After it’s over—and often before it began—many a client has expressed how anxious they were about working with an editor and how little they knew about the process. Hiring an editor is a commitment of your spirit and resources, and it’s understandable that writers approach the process with caution, questions, and even some trepidation. But developmental editors are the midwives of the book world, as more than one client has put it. We edit because we love books and love working with book creators to bring great books into being. We want your book to be as good as good as it can be, and we want the process to be as beneficial for your work—and as painless for you—as it can be.

First off, what is a “developmental” editor? That is one of the many questions freelance editors get, and I’ll share some others in this post. Not all editors work the same way, of course, but as I try to answer common questions, I’ll provide a window into my own editing process, which will likely be typical for many editors.

(I’m assuming you are reading this article because you feel that working with an editor might be beneficial to your work. The question “How do I know I need an editor?” is a topic for a post all its own, followed by “How the *bleep*do I even find a decent editor?” That said, the short answer is that ALL writers need an editor at some point prior to publication. If you’re self-publishing, you should consider hiring a copyeditor at minimum to proof your manuscript before you publish. More likely, your work will benefit from developmental editing, too, and further revision(s)—after all, even successful traditionally published authors go through rounds of developmental editing with their agent and then publisher.)

So here we go. The most common questions editors receive from clients and a window into the editing process…

What should I look for in an editor?

First, it needs to be said: Not all editors are created equal, and even an otherwise great editor might not be right for your job. What to look for in an ideal editor:

• A specialist in the genre you’re writing in. (Don’t hire a regular copyeditor or a specialist in erotic fiction to edit a children’s picture book, for example, because picture books require highly specialized editing.)

• A proven track record of traditionally published—not just self-published—books.

• Years of experience: some editors have longevity for a reason (otherwise their freelance business would have failed long ago).

• Testimonials and references, or choose a fully tested and vetted editor (which all editors in our Book Editing Associates network are).

• Connections/networking/industry: Does your editor belong to relevant writers’ societies, such as SCBWI? Does your editor keep an eye on the industry and who’s who, go to conferences, and are they generally invested in, for example, the kid-lit community.

• Personality: Are you a good match? Is the editor personable? Kind? Patient? Do you communicate well together?

• Professionalism: Is the editor prompt to respond? Are her emails professional and clear, and do they answer your questions thoroughly? Does she appear to know what she’s talking about when it comes to writing and to your project in particular.

• Published: Many editors are also writers, and you will find some who are published. If they have already traveled the long, grueling path to traditional publication, it’s certain they have a great deal of experience to offer their clients.

• Honest: An honest and ethical editor will be truthful about what your work needs, even if it’s not what you hope to hear. Listen to them. An honest and ethical editor will agree to work with you on a basis that is best for your work. (If your work isn’t ready for end-stage copyediting and proofreading yet, for example, an editor should say so and not waste your time and money.)

Some things to be aware of:

• Sample edit: Some editors are happy to provide a free sample edit, so you can get a sense of the editor’s style and what you’ll be getting. A reasonable sample edit is between three and five pages. Don’t expect any more than five pages (12 pt. text double-spaced). (However, do not expect the same for a very short work such as a picture book. Two or three paragraphs is reasonable, and personally, I won't do a sample edit for picture books.)

• Contract: If an editor does not offer you a contract, be extremely wary. I would not work with an editor who does not provide a legally binding contract or a client who won’t sign one. A contract should clearly outline the services, project start and end dates, and payment schedules. And it should include all sorts of legalese pertaining to ownership, project cancellation, copyright, etc. (I’m an editor, not an attorney. Editors, get an attorney to draft one for you or check out resources for editors here!)

• Confidentiality: While there should be no need for a separate confidentiality agreement (copyright law protects your work automatically, and the editor’s contract should state that your work is protected and your property), an editor should be happy to sign one if you require it.

• The Internet: And as always, a ten-minute Internet search will help protect you, confirm an editor’s credentials, and tell you what others are saying about her. There are scam editing services and weak editors out there, so do your due diligence.

What sort of contact will I have with an editor?

Most contact with your freelance editor will probably be via email, though if you want to speak to an editor, you should be able to. Some editors will charge for phone time, however, so keep this in mind as you budget for editing.  

A good editor will respond swiftly to emails. (It’s my policy to answer email on the day I receive it if at all possible, or the next day if not.)

In fact, during the process, the editor may not need much contact with you at all. Sometimes—typically when I am editing picture books—I do ask the writer to write a short one-paragraph synopsis, an aid to me helping them with issues pertaining to their narrative arc. But generally, it’s relatively uncommon for me to need to clarify something as I’m editing. After all, a developmental editor approaches the manuscript also as a reader—if there’s something that leaves the reader confused or wondering, it’s a sure place for the developmental editor to insert a developmental comment.

That is the job, and it mostly precludes the need for us to contact you, apart from updating you on our progress, which I do at the halfway point for short projects and once a week for longer projects.

You are, of course, welcome to contact us. (If you’re able, it’s a good idea to put as many questions as you can into less frequent emails, rather than sending multiple, frequent emails because freelancers don’t get a wage for answering emails. I find most clients are wonderful and very respectful of my time.)

What IS a developmental editor?

Firstly, there are different levels of editing. They include:

• developmental editing (sometimes called “substantive editing” or “line editing”)

• copyediting

• proofreading

 Developmental/substantive/line editing includes:

• eliminating repetitive, trite, or verbose material and reducing wordiness or tightening up where needed

• marking sections that need better transitional material for readability, clarity, pacing, and general “flow”

• alerting the writer to missing information that is necessary for comprehension

• reworking confusing or awkward writing, or suggesting ways it could be reworked

• alerting the writer to technical issues, for example, POV

• analyzing the big picture—the narrative arc, character development, themes, etc.

 Copyediting includes:

• correcting faulty spelling, grammar, syntax, and punctuation

• correcting awkward language or incorrect word usage

• fixing transposed words or letters

• ensuring consistency in spelling, numerals, hyphenation, and capitalization

Proofreading: a final read of a developed work to catch any errors or typos.  

So, developmental editing isn’t about fixing grammar, punctuation, and spelling (through some developmental editors are also copyeditors and will include that). It’s about helping you create something readable, engaging, and strong on both macro and micro levels.

Other services an editor might offer include:

• a read-through and critique or report on your work, which in my case covers areas such as:

  • plot/narrative structure, the big picture

  • character development

  • cohesiveness, clarity

  • technical aspects of writing such as POV, exposition, elision

  • pacing and flow

  • language style and dialogue

  • relationship between text and possible images

  • writing instruction specific to the genre

  • additional useful information and advice regarding the publishing industry

• writing instruction and/or mentoring

• formatting of your manuscript

• editing of your query letter

• ghostwriting

• ongoing support and cheer-squad (not something we get paid for, but one of the nicest parts of the job)

• and supplemental services such as illustration, book design, etc.

How does an editor quote?

An editor will likely ask for two things:

• a sample from the manuscript

• the total word count

How long should the sample be?

For picture books, expect to send the entire manuscript. For longer works, send the first five to ten pages. If you’ve ever submitted to a literary agent or a traditional publisher, you’ll note that they have about the same submission requirements. That’s because experienced editors can determine a great deal from a short sample of the work:

• Whether it will benefit from further development. Whether the writer has: a sense of narrative and character arc and how to write an engaging beginning, a voice, developed technical skills, an understanding of POV, an ability to write dialogue, etc., etc. (If there is a weakness in any of these areas, the editor will suggest developmental editing.)

• Whether it mainly needs copyediting and how much: are there typos, grammatical errors, word misuse, etc. (This is really the minimum level of editing for all manuscripts, and it’s a rare manuscript that doesn’t need at least some level of developmental editing.)

The sample tells an editor what level of editing the manuscript requires and what degree of editing within that level. For example, light copyediting or heavy copy editing? Light developmental editing or heavy developmental editing?

We then use the word count and degree of editing required to perform a simple calculation to yield the fee. (Also, the number of pages in your manuscript depends on the font, font size, line spacing, margin width, and other factors, so in terms of calculating a fee, the number of pages is arbitrary. Total word count is what we need. A standard manuscript page is considered to be 250 words, so that’s what we use for the calculation: total word count ÷ 250 = number of standard pages.)

How much should editing cost?

The Editorial Freelancer’s Association rate guidelines are a great guide to what editors should and do charge.

Expect to pay a deposit. Many editors will require an initial deposit of up to 50% of the total fee. Many editors will require the balance to be paid prior to return of the project, often by the project midpoint. (This is nothing personal, but there are very few freelancers out there who haven’t been “burned” at least once in our careers by a non-paying client.)

As with most things, price is a guide to quality. Budget editing may seem like a bargain, but it rarely ends up being so. I’ve heard way too many writers say they paid for budget editing and ended up with something unpublishable due to missed errors—or worse, went ahead and published and received poor reviews about bad editing, grammar, and typos—and then paid for quality editing. Aren’t your manuscript and your budget worth quality editing the first time round?  

Now you’ve chosen an editor, agreed to the level of service, signed the contract, and paid a deposit…

…What happens next?

Find out in Part 2!

 

The Path to Publication

Recently, a writer asked me to be honest about whether he should continue to pursue writing or not. It’s not the first time I’ve been asked that question. It always catches me very off-guard, but it does make me want to say what follows:

I’m really not the one you should be asking. 

It would be the height of arrogance and stupidity for me—or anyone else—to suggest someone not pursue writing. We all start somewhere, and we all have quite a learning curve. Everybody. If we write, it’s because we are writers. And so we must write (or paint or sculpt or garden or whatever) or shrivel up and die a bitter, strangled creative/spiritual death.

But should we ‘pursue’ it…which I assume really means ‘pursue publication’?

When I was a younger, less experienced editor (and probably thought I knew more than I did, as is natural), I worked with a gentleman who was determined to be an author. He was incredibly eager, earnest, and gung-ho, but he just seemed to be starting in a difficult place. His work seemed a bit… well, unpublishable. But he just wanted to keep trying, no matter what the critique.

And so he did.

We kept working together, multiple drafts of first one book  and then another, both of us learning much along the way. Beneath the unpublishable veneer of what he was doing, there was something wonderful and inspired and rich in what he thought and felt and cared about. But it was just all coming out in ways that were not working at all. In truth, I didn’t think his chances of ever getting published were very good. I was almost certain he wouldn’t, in fact, even though I wanted it for him. But he loved it and wanted it for himself, and that’s all he saw in front of him (or so it seemed to me). So no matter what, he just kept on.

I don’t know what ups and downs he went through on his private journey as a writer, but I guess they’re the ups and downs we all go through. The self-doubt and the frustration, the elation and late nights. All I saw was his consistent drive, the revising, the eagerness, the upbeat attitude, the desire, the focus, and the pleasant, grateful willingness to listen intently, to learn every single thing he could. When he was ready he let go of ideas he’d tried and which he now understood weren't working. He tried new things that incorporated new knowledge. He was willing and ego-free and hardworking.

And he quickly proved me wrong. He grew. His work became good, then really good (in my humble opinion). It was amazing and wonderful to watch. He soon did what I had not managed to do at that point: he found a publisher who wanted his book, signed the contract, and produced a very saleable story with a lovely heart and appealing vehicle. I’ve never seen a writer with such a short journey to (traditional) publication. (Sure, it took years, but not even close to double digits like most of us.) 

He might well have wondered if he’d ever be a published writer. He never discussed that with me. Yet he knew he would, no matter how long or how hard the journey. He was the only one he needed to ask. 

Do you use Word’s ‘embedded comments’ feature? It’s a tool I use every day when I am editing, but I also find it extremely handy when I am writing.

I often want to leave a note to myself about a character or a plot idea or some back-story, but not stop to find the place where it fits or break the flow of the section I’m writing. Sometimes it’s a possible rewording I might like for the sentence I’m working on, or just some added info about the scene that I haven’t yet found the right spot for. So being able to quickly throw in an embedded comment with that extra information is a very nifty thing.

Don’t know how to use them? It’s easy:

In Word 2007, select review from the tool bar:

Select the text or place where you’d like to put the embedded comment:               

And then select ‘New Comment’ from the toolbar:

And the comment will be inserted on your text, as well as the comment box opening up to the left (or below if you have your options set up that way). Then just type your comment in:

Comments can easily be removed by selecting ‘delete’:

Even if you don’t have this version of Word, the process is pretty much identical once you have located the editing/review functions on your tool bar.

It makes my writing life so much easier, and I hope you will find it helpful, too! 

So You Want to Write for Kids: The Least You Need to Know

After years of editing, teaching writing, working with writers, and learning about the industry as a writer/illustrator, I have a created a list of things I believe new children’s book writers need to know. I also asked some published author and illustrator friends to tell me what they wish they’d known when they began. Following is a compilation of the very least you need to know when you’re starting out. It is by no means an exhaustive list, but it will give you a solid foundation as you begin your journey toward publication.

Be prepared

Always carry a notebook or another way to record your ideas. Always. That incredible idea you have at 3 am that you’re certain you’ll remember in the morning? You won’t. Great ideas and inspiration can strike at any time: in the car, in line at the supermarket, while cleaning your bathroom. Be prepared.

Know your audience—know the genre

The genre “children’s books” is divided into the following basic sub-categories based on the age range of the readership:

• YA—young adult
• Middle grade—for eight to twelve-year-olds or so
• Chapter books—divided into chapters, some black and white illustrations, for elementary-age ranges six to nine, seven to ten, and eight to twelve-year-olds.
• Early readers—for young children learning to read
• Picture books—fully illustrated, for four to eight-year-olds (sometimes three to seven)
• Board books—for babies and toddlers, made to be tough so they can withstand everything babies throw at them, including chewing
• Graphic novels are also increasingly popular and can be for various age groups
• Non-fiction picture books and other, various ages

If you write a 3000-word picture book or a 120,000-word middle grade novel, expect it to be rejected. Your picture book should be under 1000 words when you submit it; in fact, the industry is tending toward books about half that length or less, currently. A middle grade novel over 60,000 words (75,000 words for fantasy) is going to be treated with serious caution. These word counts aren’t arbitrary, but have been defined by what sells and what works for young readers based on their age, comprehension skills, interests, and attention span. If you’ve written something 3000 words long, consider it may not be a picture book but perhaps a chapter book for slightly older readers—or it may just need editing, development, and revision. Agent Jennifer Laughran has an excellent post about word counts. 

Time spent in libraries and bookstores educating yourself about the different sub-genres of children’s books and reading both classic and recently published children’s books is not time wasted. Also, the industry has changed since you were a kid, so don’t rely on the stories you loved as a child for role models. Look at what is being published now.

Think story, not message

Remember when you were a kid and you got a lecture from your parents or a teacher? How did it make you feel? Did it feel great and make you beg for more? Or did you just wish you could get it over with? Compare how you felt when watching your favorite movie or reading your favorite book. Were you immersed and entertained and a little sorry when it was over? That is your job as the writer: to draw the reader in and immerse them in the narrative, not to deliver a lecture. The story should come first, and any message you are trying to convey or teach is best subtly delivered through the narrative, not by heavy-handed didactic lessons, which give a publisher or agent an easy reason to reject your manuscript. Kids should absorb any message or lesson by default, not because they’re having it flapped in their face.   

And while I’m on the subject of narrative, a weak narrative arc is one of the biggest reasons manuscripts get rejected. See myblog post on narrative issues.

Learn

One of the things that always surprises me is that newer writers think they should automatically know how to write a publishable story. You wouldn’t expect to win a tennis match the first time you played or give a great haircut or perform brain surgery without acquiring the necessary skills. So why do so many newer writers assume they should already know how to write for kids and feel terrible about negative feedback? We ALL have to travel the learning curve. If we don’t, forget getting (traditionally) published.
Take a course, read books about writing, read blogs about writing, join SCBWI, work with an editor or writing mentor, and above all, read, read, read.

Illustrations

Unless you are an illustrator and hope to have your own illustrations published with your story, you do not need to (and should not) have your manuscript illustrated before you submit it to traditional publishers or literary agents. If your story is acquired by a publisher, the publisher will choose an illustrator whose work complements your own. You have, in the vast majority of cases, no power over this decision, but keep in mind that publishers are very good at knowing what you intend, as well as seeing possibilities for your work that you might not have considered. Publishers tend to pair new writers with established illustrators so books can be marketed on the established party’s previous success in creating books that sell. Publishing is, after all, a business. 

Also, you do not need to make suggestions for what should be in the illustrations or about any matters of style, layout, typography, etc.

Of course, if you self-publish, you are in charge of it all. Keep in mind that illustrators will not work only for the promise of royalties somewhere down the track. Most will require a deposit and progress payments along the way. Illustration is a skilled and time-consuming process, and you wouldn’t expect your hairdresser or brain surgeon to provide services for free. Also, there is a difference between a graphic artist and a children’s book illustrator, and children’s book illustration has particular requirements that are best understood by someone who has studied children’s book illustration and knows how picture books work.

Revise

No work by any writer comes out perfect or publishable the first time. A lack of adequate revision is one of the biggest mistakes aspiring authors make, in my opinion. Revise, revise, revise. And then, revise some more.

Join or start a critique group

You need multiple sets of eyes on your work as you develop your work, revise, and then prepare for submission. Family and friends can be a great source of support, but they’re less likely to give accurate, impartial, or even knowledgeable critical feedback. A good critique group is also a source of support and friendships on the up-and-down journey to publication. SCBWI (see next point) can advise you about critique groups in your area.

Become a SCBWI member

TheSociety of Children’s Book Writers and Illustrators is an invaluable resource for writers and illustrators alike (whether you seek traditional publication or plan to self-publish). You do not need to be published to join. It’s also a warm, friendly, generous, international community of like-minded people. It’s your tribe.

SCBWI conferences and events are a great source of information, inspiration, industry contacts, invitations to submit manuscripts, and enduring friendships. You can also sign up to have your manuscript or portfolio critiqued by an editor or agent.

Get to know people

“I wish I’d known that sometimes it isn’t enough to be a great writer,” one author friend told me. Imagine the following scenario: there are two equally excellent, highly marketable manuscripts, and an editor is forced to choose between them. Writer A is a complete unknown. The editor has not heard of him, and he has no social media presence. Writer B has become well-known by kid-lit industry folks over the years for her personable, easy-to-get-along with manner, and the editor has had very pleasant interactions with her several times at conferences and kid-lit events. When she critiqued Writer B’s work at a recent conference, Writer B was open to suggestion, easy to work with, and very appreciative of her advice. Turns out they’re even friends on Facebook and from time to time, the editor has chuckled at Writer B’s upbeat, amusing, positive, supportive (of fellow kid-lit folk), book-and-creativity related posts on social media, which bodes well for how she will interact with the buying public and how she will work to market her books. Which writer do you think is more likely to get the deal?   

Contests and Awards

One illustrator friend said she wished she’d known about writer and illustrator contests and awards before she’d progressed too far to enter them. SCBWI and its regional chapters offer various contests, awards, and scholarships, and there are other similar opportunities out there for writers. Just make sure that you do a thorough online search for any negative info about scam contests designed only to separate unwary, hopeful writers from their money. 

Submissions

This a topic for a blog post of its own, but some basics:

• format your text properly for submission and make sure it is properly copyedited without word misuse, spelling mistakes, punctuation and other grammatical errors, or typos.
• Write and revise an excellent query/cover letter. (See myblog post on writing queries for the kid-lit market.)
• Start with The Children’s Writers & illustrators Market (Writer’s Digest Books). Always use the latest edition. An excellent print resource for finding publishers and agents.
• Then make a list of suitable publishers who are accepting unsolicited manuscripts in the genre in which you are writing and confirm their submission guidelines on their website—then follow them!
• Avoid the scatter-gun approach to submissions by targeting your submissions to publishers and agents whose work is a good fit for your own. (I once had a client give me a list of publishers she’d submitted her sweet, lyrical picture book to, and one was a publisher who only published material about southwestern architecture and history…for adults.)
• If you submit to agents, don’t also submit to publishers. If an agent takes you on and then finds your manuscript has already been submitted to and rejected by a bunch of publishers she was going to contact, that’s annoying and self-defeating.
• Online resources such as QueryTracker.net and AgentQuery.com can help you navigate the process of finding an agent.
• Don’t be arrogant, gimmicky, or demanding. Be professional, polite, and personable. Don’t be a jerk. Nobody wants to work with a jerk. 
• Don’t take rejections personally. Look at them as a chance to improve your craft. EVERYONE, no matter how talented, gets them, and manuscripts are rejected for all sorts of reasons, some of which have nothing to do with the quality of the work. If you keep writing and submitting, you can expect to get a huge pile just like every other writer who eventually achieves publication. Learn to love rejection. 

Time

If you’re aiming for traditional publication, be aware that it will take time. Don’t expect that your first manuscript will be on the bookstore shelves in time for Christmas. It just doesn’t work that way. You first have to learn to write for kids—think of it as doing your apprenticeship. Learning takes time. Revising takes time. The submissions process takes time. (I don’t know anyone who’s achieved traditional publication in less than five years, and I know many who have taken longer.) And even if your book is acquired by a publisher, expect two years to pass before you hold your published book in your hands.  

Money

Don’t be quick to quit your day job, and don’t expect to make buckets of money when you are finally published. Kid-lit authors almost always supplement their book income by doing school visits, speaking engagements, teaching writing, and editing/mentoring.

The best reason to write for kids and create books is because you love writing for kids and creating books. This path is definitely a journey, not a destination—and a most wonderful journey it is. Remember the 3 P’s: passion, patience, and perseverance. Good luck!

Originally posted on cleverbirdy.blogspot.com on 5.14.15