Leaving Stuff Out

I went on a week-long writing retreat to rough draft a short story. The absolute upper limit of the submission word count is 9000 words, and my draft finished at nearly 11,000. A weeeeeee tad bit too long, eh?

So now I'm going back through and polishing and cutting.

The point of pounding out a draft during National Novel Writing Month is to just pound the thing out, to just get the story down, to get to the end. It's okay if there are repetitions; later, you decide what the best place for that information is.

So my first pass through the draft has been to trip repetitions and streamline awkward sentences. I've cut a bunch, added some, and I'm still above 9000 words.

Now comes the hard part: Now comes the part where I have to cut stuff that isn't awkward and isn't repetitious.

Luckily for me, I know where to go first.

I'm almost finished with Cixin Liu's Three Body Problem Trilogy. It's insanely satisfying: Hard science fiction plus strong, rich characters. But, although the author realizes any number of worlds and societies, the books contain no animals. No, I tell a lie, there are a couple of ants, some passing birds, and mention of a pet cat. Otherwise, humans are the only animals on earth or in space.

So I put some animals into my story.

And now I'm going to take them out.

If cutting those bits give me enough wiggle room, I might be able to stick a reference in here and there, just a tiny brushstroke suggesting much more.

Wish me luck!

And read that trilogy!

Marian Allen, Author Lady

Revisiting My Old Fictional Friend

(reposted from my new WordPress blog)

I’m one of those weird writers who likes to work on several novels at once. The upside is that I’m never ever bored. The downside is that it takes a while to see the books published.

Since I find it impossible to release three or four new titles a year to stay visible, (trust me, I’ve tried) it’s not a huge issue. The truth is that I like to take my time with plots…allow them to simmer and merge into a story with seamless subplots and layers of character development.

So, after a nearly eighteen month hiatus, I’m finally ready to start the sixth draft of my 6^th Casey Holland mystery, still untitled. This WIP has been around a while, ever since I met a bus driver a few years back. He’d been assaulted three times on the job, and has since changed careers.

 Although I was working on book five this spring (now in my editor’s hands), it feels like I haven’t visited Casey in a long time. I think this way because Casey’s in a different place emotionally in book six than she was in the fifth installment. It’ll be interesting to catch up on the latest challenges in her life. How has she grown? What new challenges must she face, beyond crime solving?

I’ve been writing about Casey for many years, and I’ve changed more than she has. Certainly, my perspective has changed, but that can be a good thing. Authors, like their protagonists, need to grow and change, don’t you think?

Debra

Clamping Down on Errors in Published Books

As a self-published and traditionally published author, I spend a lot of time trying to find typos, spelling mistakes and grammatical errors in my work. Even after hiring a professional editor, it's a painstaking ordeal. The same is true when working with my publisher’s editorial team. Four of us will go over the book, yet a typo or two can still be found in the published product.

As a book reviewer, it’s pretty rare to find a book without a single typo, but the occasional typo doesn’t bother me as a reader. Unfortunately, it’s also incredibly common to find multiple typos, spelling inconsistencies, and grammatical errors in self-published books. It’s why I’m glad Amazon is implementing a new warning system on February 3 to would-be buyers. Frankly, I wish they did it long ago. Too many unhappy readers, including me, have wasted time and money on books filled with these types of errors.

Michael Kozlowski has written a short, useful blog about what authors need to know regarding the new warning system that flags books with lots of typos and/or formatting issues. Note that Amazon has been sending authors a list of misspelled words or poorly formatted books to correct for a while now, but this new warning upgrade will be public. Kozlowski also provides a link to show what it will look like, here.

As Kozlowski notes, authors inevitably have questions. For instance, what about the science fiction and fantasy authors who’ve created new words and languages? Well, the answer is that a lexicon can be implemented. You can read more about that in his blog.

How consumers and authors will respond to this remains to be seen. The point is that writers who haven’t paid enough attention to the editing and formatting of their books will have to do so now, or their sales will disappear.

Debra

Never Again Yes Again

Every time I finish a book, I think, "I am never gonna write a book again!" It's so much fun to start them out, but then it gets hard. And then you finish and you have to go back and make it make sense. And then you have to make it better. And then you have to make it better.

And then you take it to your critique group and, if they're a good critique group, you have to fix all the goof-ups you didn't catch. And then you have to make it better. And again. And again.

Finally, you submit it for publication. Let's say it's accepted. Then the editor sends it back to you all marked up, and you have to fix it. Then the editor says, "That's the easy stuff, now let's get serious." So you have to make it better.

When the editor is satisfied, the book gets formatted for publication. Then it comes back to you and you have to read it again, to catch formatting errors, and also punctuation and spelling errors that got through all the previous screenings.

Then it goes to electronic publication, and you have to read it again, to catch formatting errors, and also punctuation and spelling errors everybody still missed.

Then it goes to audio, and you have to read the damn thing again while listening to the recording, to catch any errors made by the reader. You'll also catch punctuation and spelling errors, but oops! too late for that. Then you send the reader your corrections, and the reader corrects the narration, and you have to read the damn thing again while listening to the recording, to make sure it's okay.

So by now, I'm really like, "I will never ever ever ever write another book -- EVARRR!"

But I will.

Because it's so much fun to start them out. So! Much! Fun!

Marian Allen, Author Lady
Fantasies, mysteries, comedies, recipes

Guest Post: Essential Proofreading Tips by Nikolas Baron from Grammarly.com

Today's special guest is Nikolas Baron, from Grammarly.com, and he's sharing some great tips for writers on the importance of proofreading...

Proofreading, or line editing, is an essential skill set that every writer must acquire. Whether it be writing for a blog, a college essay or even a work related email, proofing your work is essential. Day in and day out, I spend my time studying people’s writing for my work at Grammarly.com, and it has become apparent to me that most people only afford the minimum amount of time to proofread their work. Granted, it’s been a few years since your last grammar class back in high school, but it is high time the writing world at large become expert proofreaders. Fear not ye intrepid scribes, for I am here to help you! As with most things, becoming an excellent proofreader just takes time and practice.

The first step is to set aside a proper allotment of time to work on proofreading your text. Proofreading takes concentration, which means turning off your cell phones, shutting off the television, and minimizing Reddit. I know it is painful, but you have to do it. All done? Great! Let’s get started.

Below are some easy-to-follow steps to help you on your way:

1. Read slowly — perhaps the most important step to proofing is to read slowly and read out loud. Saying every word allows you to hear mistakes you might otherwise miss. 
2. Correct one thing at a time — trying to correct every error in a paper can at times be a bit overwhelming. Instead, try to focus on one type of error. For example, it is easier to find and correct grammatical errors when you are only looking for grammatical errors. In summation, just take your time and be as thorough as possible. 
3. Highlight punctuation — pro-tip here: highlight every punctuation mark. This forces you to study every mark and determine whether or not it is appropriate. 
4. Read backwards — start from the very last word of the text. Reading backwards, word by word, is an effective technique to spot and fix spelling errors. It is also an excellent way to isolate sentences. Isolating sentences is an excellent way to give each sentence the attention it needs and expose errors you otherwise might have missed. 
5. Ask for help — don’t be afraid! Proofreading is a difficult and often tedious process, so it is important to ask for help when you need it! It is never a bad idea either to have a second set of eyes check over your work. 
6. Look it up — when in doubt, always look it up. You think this sentence needs an extra comma? Look it up. Is that word being used incorrectly? Look it up. Is this en-dash supposed to…yea, you got it. Look it up —a simple but effective practice. 
7. Use online resources — fortunately enough, you live in the digital age, and that comes with some pretty lofty benefits. For one, there are a multitude of websites that specialize in proofreading. Sites like Purdue’s Online Writing Lab, for example, have a multitude of valuable resources wherein you could learn about grammar and different writing styles. Further, there are now a wide array of online proofreaders that can correct spelling and grammatical errors. One such site is Grammarly—an excellent proofing site that offers more than your average proofing site. Grammarly can even improve the quality of writing by offering input on style, detect plagiarized materials, improve diction and more. Undoubtedly, it is an excellent resource for any writer. 

By following these simple steps, you are already on the road to becoming an excellent proofreader. Just remember, becoming even an adequate proofreader takes time. But surely if you work hard, use every resource available, and learn from your mistakes, you will be a pro in no time.

By Nikolas Baron

Author Intrusion: More Mistake Than Writing Style

In 2010, I read and reviewed a number of independently published novels, as well as several traditionally published books by large and small houses. After twelve months, it became clear that while many of the independently published books had wonderful plots, nearly all of them could have used one final, substantive and copy edit to achieve the level of professionalism that the traditionally published books have.

It’s not just the spelling and grammatical errors, which seem to occur more often in the latter third of the novels (in traditionally published books as well), but the lack of control in point of view. Specifically, I stumbled across too much author intrusion in “indie” books, and all of them would have been stronger if the authors had been more careful about point of view. Some of the intrusions were very subtle – a piece of given information that doesn’t seem to come from any characters’ thoughts. Other authors were more blatant and actually stopped the narrative to tell the reader something that wasn’t crucial to the story. Now, a few authors used the omniscient point of view (where perceptions, analysis or predictions can only come from the author) or from a combination of omniscient and third person POV, but the transitions were awkward at times. If indie writers want to raise the bar and rise above the competition, hiring a professional editor and controlling point of view would go a long way.

If you can’t afford an editor, try Self-Editing for Fiction Writers by Rennie Browne and Dave King. It’s an excellent book that’s helped me and others.

Coming in March 2011, THE OPPOSITE OF DARK, http://tinyurl.com/2frw58u

My Alex Bellamy mysteries can be purchased at
FATAL ENCRYPTION, http://tinyurl.com/ddzsxl
TAXED TO DEATH, http://tinyurl.com/czsy5n

One of the Trickier Parts of Writing

It’s funny, you know. You work on draft after draft of a novel, rewriting and editing. You check syntax, clarity, pacing, your over-used words, and so on. Finally, your novel is polished and ready to submit. If you’re really lucky, you’ll find a publisher which will result in more editing and polishing and rethinking segments that you thought were fine. Sounds a bit daunting, doesn’t it? It can be, but all of that work is broken down into months, or even years, of practice. It’s part of the process and extremely satisfying. Still, one part of the process that was tougher than I thought it would be was the dedication and acknowledgements pages.

These two pages might not sound like much and, to many, are not as important as the text, but they are to me. I knew who I wanted to dedicate the book to right away, but I wanted to say something without being overly sentimental. I had to think this through a fair bit before I put the words on paper. The acknowledgements page should have been fairly straight forward. After all, it’s about thank yous and facts, yet when it came down to it, finding the right words for the right people also took some thought and a few drafts.

Dedications and acknowledgements shouldn’t be dashed off at the last second. Like the rest of your book, they require thought, a few drafts, and a final polish.

My amateur sleuth, Vancouver-based, Alex Bellamy mysteries can be purchased at
FATAL ENCRYPTION, http://tinyurl.com/ddzsxl
TAXED TO DEATH, http://tinyurl.com/czsy5n

Editing Progress Report #5

It’s been an intense three weeks as I juggle editing demands with the day job and family responsibilities, but that’s all part of the challenge a writer’s life. With eleven days left before deadline, I’ve revised two thirds of the book, and the last third should be go smoothly. My editor was right: the hardest part of editing a novel is the first half where most of the changes take place. The second half is a matter of making sure I’ve followed through with those changes.

Still, I can’t help changing words or sentences here and there, and I’ll probably do so right up until the end. My editor assures me that we’re still on track to meet the July 1st deadline without any problem, so I feel a bit of relief over that. But I won’t completely relax until the book is finished and submitted.

I had my publicity photo taken by a wonderful photographer, so another prepublication task is now done, but there will be more things to do. There always is in the making and selling of a book.

As always, my amateur sleuth, Vancouver-based, Alex Bellamy mysteries can be purchased at
FATAL ENCRYPTION, http://tinyurl.com/ddzsxl

TAXED TO DEATH, http://tinyurl.com/czsy5n

Top 10 Tips for Editing Your Book

Here is a list of the top 10 tips for editing your book, once you have completed the first draft:

1. Run the manuscript through your computer's spell check and grammar check. Use spell and grammar check, but DO NOT RELY ON THEM to catch everything. That is NOT the end of your editing. It's only the beginning.
2. Read your work and edit it, chapter by chapter. Start from the beginning and edit each chapter, looking for issues with plot, characters, continuity, typos, grammar and more. This is your first main edit.
3. Do a synonym check. Go through the manuscript and look for synonym errors (too/two/to, your/you’re, their/there/they're, rode/road, where/wear, its/it's, etc). If you’re using Microsoft Word, you can use the Find button to help you search for these terms. As you come across synonym errors, make a list for future use of the ones that seem to catch you up most frequently.
4. Do a tense check. What tense are you writing in? No matter what tense you use, make sure it's consistent throughout the book. “Look especially for tense errors in dialogue tags,” I said. “I will,” she says.
5. Do a ‘was--ing’ check. 'She was walking down the road...' should be changed to 'She walked down the road...' or 'She strode down the road...' We want the action NOW. There are some exceptions. If something else happens as a result, then you can use ‘was--ing’, such as in ‘She was walking down the road when a car appeared out of nowhere, heading straight for her.’
6. Format your manuscript like a published book. Copy your file and title it "final edit". Format it so it looks like a book you'd find in a bookstore, one of similar genre. Single spaced. Sized according to trade paperback (5.5 x 8.5 or 6 x 9). 1/4 to 1/2 inch margins. Then print it out. Seeing your work resemble an actual book is the first stage of your final edits. You need to see how it physically looks. After you’ve completed ALL editing, you can reformat the layout and size.
7. Look at the whitespace/text ratio on the printed copy. Whitespace is where the reader's eyes take a quick break, where they absorb what they've read. Our eyes instinctively search out whitespace. Being able to recognize a good balance is almost an art form. When in doubt, find a book you really enjoyed reading and examine the balance. You want a flowing mix of both whitespace and dark text. Too much whitespace on a page means too much dialogue or one-liners and not enough "meat" or description or information. Too much dark text means many readers will start skimming. Paragraphs should be broken into manageable chunks. Keep individual paragraphs to less than 1/3 of a book page and make them random in length.
8. Mix up the chapters and edit again. Take out individual chapters at random and edit them without the benefit of the preceding or following chapters. This helps you focus on the actual writing. You can also pull random pages and edit them out of order. This gives you a bit of a break from the story, so you can focus on technical issues.
9. Read your book aloud. Reading your work aloud, chapter by chapter, helps you focus on the rhythm of your words, not just the words themselves. Think of it like music. A well written book has a natural flow. If you find yourself hesitating, that usually is an indication of a problem area. Mark it with a highlighted dot so you can return to it after you've read the entire chapter. Edit all highlighted areas, then review it (aloud or silently) again.
10. Find at least 2 editors who know HOW to edit and 2 readers to evaluate your work from a reader’s perspective. Have the editors edit your work, preferably people who know HOW to edit. Professional editors and English teachers/professors/majors are your best choice. Once they’ve gone through your book, really weigh their suggestions. If what they say improves the book, make the changes. The trick is to be able to remove yourself from the personal attachment of your work so you can recognize when someone else’s suggestions will make it better. Sometimes you’ll need to think on their feedback for a day. Once they’ve given you their feedback, make changes and go through the manuscript one final time.

If you’ve done all of the above, your work should be quite polished by this point. There are, of course, numerous things to watch for when editing a book, but this tip list will at least point you in the right direction and get you off to a good start. While editing is work, it can also be inspiring. This is the time when you see your work pulling together into a creation that will be more marketable and more acceptable. There are no shortcuts with editing. Not if you want a career in writing books. Happy editing!

**************

Cheryl Kaye Tardif is a bestselling suspense author and book marketing coach living in Edmonton, Alberta, Canada. She has been featured on TV, radio, in newspapers and magazines. Cheryl has presented at writers' conferences on the topics of book marketing. Her next release is Lancelot's Lady, her debut romantic suspense written under the pen name of Cherish D'Angelo. http://www.cherylktardif.com/

Editing Progress Report #2

Timelines, timelines, and more timelines. I suppose I’ve come a long way in two weeks. Today, I finished charting, on an Excel spreadsheet, a detailed timeline of all events in my mystery novel. I’ve also compiled a chapter-by-chapter outline, a list of editing changes to make, and a list of characters. The character list includes their purpose in the book and their relationship to my protagonist, Casey. Now I’m creating another spreadsheet that will show me and my editor exactly when Casey meets these people. As mentioned last week, it’s a lot of work and given that I’ve worked on this task every day, except one, over the past fourteen days, I’m feeling a little punchy.

Oh, but there’s more. My publisher’s publicist (isn’t it good to know that some publishers still have one?) has requested an author statement and a synopsis of my book. By the way, I’m not mentioning the title because that might change too. Anyhow, I thought the author statement wouldn’t be too much work because I’ve written my biography before. So I nearly fell off my chair when I discovered that the document she sent me is ten pages long and filled with much more requested information than the biography. Of course, I see the relevance, but I hadn’t anticipated detailed questions regarding sales and marketing strategies, and contacts, etc. this early in the process. Still, a big kudos to the publicist for getting the ball rolling. Mercifully, I finished this task today. I also had to spruce up my synopsis because it was written quite some time ago.

So, now I have 59 days left to get the revised manuscript to the publisher. Tonight, I just received the first two chapters with editorial suggestions, though I haven’t had time to read them. And so it begins. Here’s hoping things go smoothly.

FATAL ENCRYPTION can be purchased at http://tinyurl.com/ddzsxl
TAXED TO DEATH can be purchased at http://tinyurl.com/czsy5n

Editing Progress Report #1

A week ago, my editor sent some general suggestions to improve my novel. One involved charting characters’ relationships to my protagonist, Casey, to determine their importance and relevance to the story. I thought I knew all about these relationships because I compiled something similar after starting the book way back when. So it was startling to realize that after all those drafts and a newly critical pair of eyes, some relationships now don’t seem as necessary as they did during earlier rewrites. In fact, two characters are now banished forever. You’ll never know who they are and it’s not important that you do because they simply didn’t matter much, which is the point of the exercise.

The second task I’m still working on involves charting a timeline for every event that happens in the book. Again, this is something I did at the beginning, but rewrites changed things. When I started the timeline this week, I quickly realized that the timing of some events doesn’t quite work anymore. Needless to say, I’m happy, if not downright relieved, to be going through this process, but I tell ya, I have my work cut out for me.

NOTE: This is the last week that Taxed to Death and Fatal Encryption are on sale in ebook form for only $3.98. Check them out at
Fatal Encryption at http://tinyurl.com/y9k4hjl
Taxed to Death at http://tinyurl.com/yzbhu95

Preparing for the Editing Process

I have a 72,000 word mystery novel to edit in less than three months. I’m not even asking myself if I can do it because failing is not an option.

This week, I met my publisher’s editor via email and was asked to send a detailed sketch of my main character, which wasn’t hard to provide since I developed one ages ago, then added bits and pieces over time. It was good to finally update my notes into one organized document. One of the great things about writing a series is that you can explore depths to your main characters that you never imagined when you first started writing. Characters might start off being composites of people you’ve known, yet they evolve into unique beings that seem just as real as your friends and co-workers. Whether you’re writing a stand-alone or a series, I definitely recommend preparing a detailed character sketch which should be updated once in a while. One day, an editor might ask you for it, and wouldn’t it be great to have a polished one ready?

The other piece of information I’m providing is a timeline of events that we’ll be referring back and forth to during the editing process. Again, a great idea and one I also prepared while writing the book to help me place events at the right place and time. Knowing when things happen in a mystery helps me keep sight of the big picture, and makes it easier to refer back to events when my memory inevitably falters. I can’t wait to start the actual editing. After all, it’s ninety percent of what I do as a writer.

NOTE: Now that it’s tax season, you might need a fun, quirky break from all those pesky tax forms. To help you with that, my mystery Taxed to Death is now on sale in ebook form for only $3.98 until April 30th. Also, the sequel Fatal Encryption will also be on sale at the same low price. Check them out at
Fatal Encryption at http://tinyurl.com/y9k4hjl Taxed to Death at http://tinyurl.com/yzbhu95

"I Read About You in the Bathroom"

Back in 2006, I had an interesting experience, one I'll never forget. It taught me that readers and fans were to be valued above all else in this industry. Without readers and fans, I'm just someone with a lot of crazy ideas who happens to type them out.

On this particular day many years ago, I packed up my laptop and headed for my favorite haunt, a local coffee shop. I got there in the morning, sipped four jumbo mugs of cinnamon hazelnut coffee, had lunch (the Cheryl's Special Quesadilla), then later had a slice of lemon poppy seed loaf. I didn't leave until after 10:00 PM.

Talk about buzzed!!

I worked on Children of the Fog, my new suspense novel that asks, "How far would you go for your child?" (It's now in the hands of my agent.) I wrote in a frenzy, finishing 2 chapters, plus some editing. I was lost. Lost in my world--the one I had created for Sadie and Sam, the mother and son in my novel.

Then a small voice brought me back to reality.

"Are you Cheryl...T?" a young girl asked hesitantly.

"Yes," I answered. "Are you a friend of my daughter's?"

The girl shook her head. "I read about you in the bathroom."

I smiled. I had two posters on the bathroom walls of the coffee shop--one with the cover of The River, one with the cover of Divine Intervention.

"Do you have any of your books here?" the girl asked me.

Without a second thought, I put aside my laptop and searched the canvas tote bag, coming up with one Divine Intervention and the very last copy of The River (it had sold out across Edmonton by December 20th).

"I have both," I said.

She immediately raced off. "I'm going to tell my mom!"

A minute later, she reappeared with her mother in tow. The girl's enthusiasm was contagious and for a moment, I forgot they were here to see me...and not some rock star. :) The mother introduced herself and asked about my books. A minute later, Julie was writing me a cheque and I was signing her new books. Her daughter smiled all the while, then made my day all the more special by a simple request.

"Can I have your autograph?"

"Of course," I said, happily signing one of my bookmarks for her.

Julie walked away with her 2 books, while her daughter skipped away with her treasure--the bookmark.

I had to smile. The simplest of things and a few minutes of my time had made two people happy.

It wasn't until I got home that I recalled the girl's words: "I read about you in the bathroom." How funny that seems now.

Back then, I was confused. I realized that my posters couldn't possibly have indicated who I was. After all, they showed book covers, not ads saying, "Look for the woman with red hair typing maniacally on a laptop. That's Cheryl Kaye Tardif."

So how had she known?

When realization hit me, I began to laugh. You see, earlier that day I had switched the cover posters in the men's and women's washrooms. And I removed two smaller signs that announced a past book signing event. On the bottom of those signs I had mentioned that I could often be found in this coffee shop. There was even a small photo of me. But I had folded the signs in half and tossed them in the garbage can.

THAT'S how this young girl knew who I was.

Bless her heart for being so interested! :)

~Cheryl Kaye Tardif,
author of Whale Song, Divine Intervention and The River

A Couple of Things

This summer, I’ve been editing the first book in my new mystery series. This is draft number ten, but I have good reasons for tackling it again. First, the training I received for my current work in security has offered some deeper insights into policy and procedure changes for people working in this field. Since my protagonist is a transit security cop, it was important for me to update the way she handles certain situations.

Secondly, the manuscript is currently being considered by a publisher who generally publishes mysteries about 10,000 words shorter than mine. You see, no matter how finished you think you are with your manuscript, there’s always another draft down the road until the book is finally published. The good news is that I’ve been able to cut over 3,000 words so far. This is a bit surprising because when I submitted that book originally, I was convinced that it was as polished and tight as it could be. A year later, it’s quite clear I was wrong, but it’s also a good thing that so much time has passed because I might not have seen these things if I’d only taken a few weeks. I’m not sure how writers under contract to produce a book every year do it. Maybe they get it right the first or second time, or maybe they’re very lucky and have a great editor to help them peel away the extra layers.

The other thing I want to talk about is my guest spot on a terrific blog called Park Avenue Princess. The blog owner invited me to write a little about myself, and she’ll be posting a review. Four out of five tiaras, no less!! She's also offering a giveaway of Fatal Encryption which I believe goes on until September 17th. If you’re interested in winning a copy of my book, please visit http://tinyurl.com/p5zfpb. Thank you!

To read excerpts of Fatal Encryption and Taxed to Death, visit http://www.debrapurdykong.com/.

Fatal Encryption is available through amazon.com at http://tinyurl.com/ddzsxl and Taxed to Death can be found at http://tinyurl.com/czsy5n

Be Your Own Editor

Today I took a break from editing my fourth manuscript and started to read a thriller. To say I found it less than thrilling is an understatement. I hope in my efforts to become a good writer I do not lose my love of reading, but I can feel it happening. I get caught up in the words and lose the story.

And the authors are not helping.

In this particular thriller, the author described a character as a precise individual who did not use contractions. The writer did fine for most of the first chapter, then forgot what his character's persona was and started contracting all over the place. So, is the character precise?

How do I know if the author does not?

According to Emerson, "A foolish consistency is the hobgoblin of little minds." Some authors must think any consistency is an indication of a small mind, or they do not know the meaning of the word. The only consistency I see is poor writing.

I know I'm getting cynical about books, so I will give the author the benefit of the doubt. Sitting at a keyboard for any length of time can be rough, and one can get so involved in one's own story that one loses track of the words one is typing, but that's why there are editors.

Are there editors, though? I don't see much indication of it. Too many elemental mistakes are being made by authors who should know better.

The moral of today's tale? We must learn how to be our own editors if we hope to master the art of writing. This blog is no place for a tutorial on editing, but you know how to do it anyway. Make sure you use proper grammar (except for when you purposely do not want to use it). Take out all unnecessary adverbs and adjectives, remembering that most of them are unnecessary.

Remove anything, no matter how much you love it, that does not move the story along.

And be consistent.

Pat Bertram is the author of More Deaths Than One, and A Spark of Heavenly Fire now available from Second Wind Publishing, LLC.

Making the Right Editing Match

Here's another great article, printed here with permission and recently featured in my good friend and publishing expert Jerry D. Simmons' newsletter, which you can subscribe to at www.writersreaders.com.

Making the Right Editing Match - By Barbara McNichol

Setting out to find the right editor for your manuscript puts you on the road to feeling confident you’ve got a good match. You want to feel comfortable that your editor understands what you’ve set out to accomplish so you can “polish” it together.

Look for a reputable editor who understands the type of book you have written. For example, if your book is business or self-help, choose an editor experienced in editing these genres. Ensure that the editor you chose has worked with both traditional and self-published books over a number of years. That person’s website should reveal that information and project a professional image. After all, you want your writing to reflect a professionalism that comes from expert editing.

To help in your search for find the right match, use this checklist of questions to prepare you for questions a good editor could ask in the qualifying process.

Checklist of Questions to Ask

Your answers to these questions give a professional editor a better understanding of your project and help you both make a match in heaven. How would you answer these?

· Who is in your book’s target audience (demographics, age group, position, industry, region, etc.)?

· What genre or market niche does your book fall in? What section would it be found in a bookstore?

· What is your expected editorial timeline (e.g., when did you promise to give it to an agent or designer, or have it ready for a conference, etc.) allowing time for your review, peer reviews, and a professional editor’s review?

· How much of your book is written? Have you finished all the content you want including front and back matter (e.g., foreword, testimonials, acknowledgments, dedication, footnotes, resource list, glossary, appendix, etc.)? If your answer is not 100%, what is missing? When would you be ready to send your complete content?

· What is the current length of your book before editing? (number of pages and/or number of words in an MS Word document)

· What is the anticipated total length, including front and back matter?

· If you want to have a foreword, have you asked someone to write it and provided a deadline for delivering it?

· How much are you expecting to spend on having your book professionally edited (excluding proofreading after the design)?

· What else do should the editor know about your expectations so he or she can do a really good job for you?

An editor who asks these types of questions shows eagerness to understand your project and set up a discussion that gives you a sense of how you’d work together.

Here’s a key question: “Is the manuscript 100% content-complete?” If you answer “yes,” you can expect a project price and an estimated timeline from an experienced editor. If it’s “no,” your manuscript is likely a candidate for a Manuscript Review. This analysis evaluates the ideas and wording to provide direction for changes you’d make before it’s deemed content-complete.

The All-Important Sample Edit

How do you start to find the right editor for your manuscript? First, ask your writer and designer friends for recommendations, check acknowledgments in books you like and contact the editor listed, and search the Internet for editors in your genre. Then request a Sample Edit of your own work—especially if more than one editor is in the running for your business.

If an editor works magic on your writing but you don’t agree with the approach or the kinds of changes made, it’s good to discuss them up front so you both can adjust. Some authors (mostly new ones) fall in love with every word and find it painful to see their prose change. That’s why discussions help a lot.

Here’s a rule of thumb when reviewing the Sample Edit: If you, the writer, can clearly see an improvement from the editor’s work, if you recognize that the words flow better and your writing has more clarity and pizzazz, that’s a green light. If you don’t agree with the changes or find yourself arguing with them, that’s an amber light. Time to talk.

Yes, locating an editor who’s the right match for you requires effort to make sure you’re comfortable with the editor’s approach. Ultimately, you want your editor to be the advocate of those you want to reach—the pro who makes it easier for your readers to connect with you and your message.

Barbara McNichol edits articles, book proposals, and manuscripts. Request a free questionnaire “Getting to the Results You Want” based on the ideas in this article via email at editor@barbaramcnichol.com or contact Barbara at 887-696-4899 (toll free). To help you perfect your writing, sign up for Word Tripper of the Week, a free ezine at http://www.barbaramcnichol.com/.

To subscribe to Jerry D. Simmons' Tips for Writers from the Publishing Insider newsletter, visit http://www.writersreaders.com/.

Guest Post: GumboWriters interviews freelance editor John Paine

Hey, this is Cheryl here, bringing you a great interview full of valuable tips and information, compliments of my friends at GumboWriters.com. Today's interview is with freelance editor John Paine. I feel obligated to add that for some writers, having their work edited can be very "paine-ful" (sorry--it just had to be said), but professional editing is a necessary process that separates great works from mediocre. With that said, please check out the interview. ~ Cheryl Kaye Tardif

GumboWriters: John, you've been in the business for a long time. How did you get started and what is it exactly that you do?

John: Not surprisingly, I started as an aspiring young writer. I decided at age 30 that I really didn't have the talent to be great, and I moved to New York to get an editorial position in publishing. I rapidly rose through the ranks and created a unique position for myself as a manuscript editor, or a house doctor. That's because those years of writing gave me a good intuitive feel for what writers try to get done in their stories. For 20+ years I have been helping authors both with large-scale story structure and with line-by-line, intensive editing. Depending on the project, especially in the field of nonfiction, I have served as virtually a ghostwriter.

Tell us the difference between line editing, copy editing, development editing, and what would you say is your forte?

Actually, the ranking is developmental editing, line editing, and copy editing. Developmental editing consists of helping authors to direct their characters and their plots to become stronger. I usually write page-specific notes that amount to roughly 15-20 pages, giving suggestions for new scenes, what scenes might be cut for better pacing, where more character background might be inserted, and which scenes might be moved around for a solid, building story. Line editing is what it sounds like: using a pencil line by line to prune and add to an author's text so that every sentence is crisp, using action verbs and effective sentence stem-dependent clause structure. As a former writer, I often write in phrases, sentences, or paragraphs to make sure the scene doesn't turn in unexpected directions that lose the reader. Copy editing is much more minor, consisting of a grammar, spelling, and punctuation check. A good copy editor will also help with sentence smoothness.

Why should a non-fiction editor write a book proposal first? And is that something you can help them with?

Today 95% of nonfiction books are sold through proposals. These are selling documents that give an outline of why an editor should buy the book. They come in pieces that are fairly standard, although proposals do not follow a strict template. They should contain an opening overview roughly 3-5 pages long that should capture an editor's attention right away. An author bio section is necessary, because most nonfiction authors are also speakers or have media contacts that will help sell the book. A competition section, with five or so competing books, lets the editor know (1) there is a market for your book and (2) why your book is different from what's out there. A section that contains a summary of each chapter is a vital part, because that's where you can show what the book will actually contain. Finally, 1-3 sample chapters are provided to provide a glimpse of your style, since a vast difference exists between a popular self-help book and a serious academic work. And yes, I do write (and sell) proposals regularly, as you might have been able to guess by now.

Why should writers work with you when they have thousands of other choices? What makes you so special, John?

I think there are many good editors, at least the ones who have New York publishing experience or the equivalent. My own approach is to keep the author in the driver's seat as much as possible. That means using constructive criticism that is politic in making its points. I like being nice, and I seek a good rapport with an author. I think I give sound advice, both for large-scale plot issues and for character enhancements. I know I'm an excellent line editor, because that's how I established my reputation in the first place. Judging by now many authors come back to me for their later books, I believe I provide a service that genuinely helps them learn how to write books. Finally, a word of caution to authors: Beware of these guys hanging out on the Net; a lot of their backgrounds aren't even close to being acceptable. Everybody is a self-appointed critic in the world of writing, so look closely at their credentials.

Is there anything wrong with having an editor edit your work before you send it to an agent or an editor? Is that cheating?

Seeking help as a writer is a wise decision most of the time. Seeing the forest for the trees in a book is probably the most difficult decision-making area in the arts. There are just so many words. In my profession, what often happens is that a writer who uses me the first time experiences a marked learning curve, one that tapers off in the second and third books as he or she applies the structural/character-building methods that I have taught them. By the fifth or so book, if you've been paying attention, you don't need an editor anymore. I know for a fact that agents like authors who have shown true desire by hiring an editor before they make their submission.

Won't agents and editors be disappointed that you didn't come up with the brilliant manuscript by your own doing?

Publishing is a business, by and large. If you are the next Norman Mailer or Alice Munro, you aren't going to hire an editor anyway. You'll be making those editorial decisions yourself. But that includes less than 1% of all writers. If you're writing for the popular market, an agent or editor is less worried about your artistry than your ability to keep readers on the edge of their seat.

Are there any famous or successful authors who work with editors before submitting their work to their agents or editors?

The more famous the author, the less editing he or she will accept. You could call it the diva equation. That's not to say they wouldn't benefit by editorial help, but they're fawned upon by their publishers, and they're making millions, so why should they bother?

Who are some of the best-known authors you've worked with?

I have worked with dozens of well-known authors. Anyone who is interested can visit my website, johnpaine.com.

How many books or book proposals would you say you've worked on that have ended up being sold? And what are some of your favorites (i.e., most well-known)?

Every year I help roughly 10 authors sell their books. I also work for publishers, so that number is doubled, in terms of published books I edit annually. I take a lot of pride in what I do, and I don't work on books that I don't think have a chance of being published. This summer, on the fiction side, I helped a debut author sell his psychological thriller, and that gave me a great deal of satisfaction, because he is so talented. On the nonfiction side, I helped turn a doctoral thesis into a history book that was bought by Harvard University Press, and that also was a challenge that gave me a great deal of pleasure.

How much do you charge for your services? Will authors have to re-mortgage their house to pay for it? Do you take payments?

It depends on the book. A ballpark figure is $10 per double-spaced manuscript page. I work in phases anyway, so a payment system is already built in. I'll charge for the read and initial editorial letter; then a retainer; the developmental edit; and the line edit. I will work out a payment schedule if needed, but obviously I'd prefer that the invoices be paid in full.

If we're interested in using your services, what is the first step and how does the process work?

The first step is to visit my website: johnpaine.com. That serves as my resume, so an author can check my credentials. The last page on the site has a contact sheet. I ask that an author send a 1-2 page synopsis plus 25 pages of the book so that I can evaluate whether he or she really should be spending money on me. I then call the author for a preliminary discussion of the book, plus my editing procedures, fees, timing, etc., at no cost. If the author decides to go ahead, the first step is my reading the entire manuscript and then a phone call to discuss which directions the editing might take, followed by a written editorial report. Along with that is an estimate for the entire edit, with fixed maximums for the different stages of editing.

Article provided by www.GumboWriters.com

Still Pushing, and the Joy of Writers' Groups

After three weeks and 120 pages into final edits, the light at the end of the tunnel grows a little brighter. Mind you, I have over 250 pages to go, but I'm actually enjoying the process of checking every word, every comma, correcting, and proofreading, and correcting some more. I continue to faithfully read every chapter out loud as I go, and occasionally take troublesome pages to my local writer's group.

I'm lucky to have found a wonderful bunch of writers to share my work with. Our core group is about ten people, with others coming and going as schedules allow. We meet for two hours once a week and take turns bringing our work for critiquing. I'm the only mystery writer in the group at the moment, but my colleagues are all avid readers and writers, and several have published novels, stories, essays, and poems for presses large and small.

Much has been written about the pros and cons of writers' groups, and there are clearly mixed opinions about their benefits. Having been in at least four different groups, I can see why. Groups are as varied as the people who join them and it can take time to find one that works.

If you're thinking about joining a critique group or forming your own, here's what works, based on my experience. First, make sure that everyone shares a common purpose, i.e. to be willing to give constructive criticism and receive same. Needless to say, maturity and carefully controlled egos are a huge asset here.

Second, appoint a moderator for each session. It's far too easy to drift into social or political discussions that have nothing to do with the piece the writer wants critiqued. Also, if six people want to read during a session, time limits need to be set. In my group, there isn't time for everyone to read each week, but few of us have material prepared every week anyway, so it seems to work.

Third, bring enough copies for members to read, even if some have to share. Spelling and punctuation errors are easier to spot while reading rather than listening, and you'll get far more helpful comments.

Fourth, treat writers and their work as you want to be treated. Respect and patience goes a long way, even if the writing's poor, or the topic or genre isn't to your taste. It takes a lot of courage for someone to read out loud.

I'm sure there are other rules and tips I've forgotten, but these are the main ones. I can't imagine where I'd be without my group. They've helped me polish two novels and more stories than I can remember. Stories that have found their way into paying markets, and for this I'm truly grateful.

http://www.debrapurdykong.com/

The Push Is On

Last time, I wrote about the excitement and apprehension of beginning the final edit of my novel, Fatal Encryption. Well, after reading my editor's insightful comments and taking a deep breath, I'm immersed in the process - or as much as one can be when you have a day job, errands, laundry, etc. Still, I've completed the first thirty pages and even took the first chapter to my weekly writers' group meeting. And here's what I discovered.

No matter how many times I've read my work, whether for pacing, or logic, or grammatical error, I've found something to change or tweak on nearly every page. And, boy, did this become evident while I was reading my work out loud. The group (approx. 13 people and over half are experienced writers) commented on the thrilling opening, the tight writing, but they didn't see what I saw while reading to them (they had copies to read with me). In that opening chapter, I have a character wiping his mouth on his shirt sleeve, but near the end of the chapter, I wrote about his sweat-soaked T-shirt. No one caught it, including my editor, but I did, probably because I read those pages out loud. I recommend this to anyone working on edits. There's something about the process that slows down the brain, makes you look at your work a little differently.

So, I'll be reading every chapter out loud. And while I won't have time to read all 36 chapters to the group, I can still do this at home, feel my colleagues peering over my shoulder, and know my writing will be better for it.

www.debrapurdykong.com

The Final Lonely Push

Writer and former publisher of ByLine Magazine, Marcia Preston, once wrote a wonderful editorial (actually she wrote a lot of terrific editorials) about the feeling that comes when writers finish a manuscript. She talked about hearing from a former writing student who'd published a book, and how he'd spent the summer working on the "un-fun" part of writing -- completing the final edit. But here's the thing. He also confessed how much he actually loved what he called "the final lonely push".

I know what he was talking about. After years of writing and rewriting, and having just received feedback from my editor (who's worked on the book twice) I'm about to start the last and final edit before publication of Fatal Encryption. I have mixed feelings about this. One is excitement. It's been twelve years since I last published a book, and I'd forgotten about the adrenalin rush, the sleepless nights, and the anxiety. How will it be received? Is every comma in the right place? Have I left a tiny, crucial detail out? But I also feel relief and a sense of closure. Family responsiblities, jobs, and other things made writing this novel a nine-year ordeal and it's time to move on. I don't plan to continue this series because I've written two books in another series which an agent's interested in. Still, letting go of Alex, Tristan, and Jillian will be tough.

As I begin this final, lonely push, I'll think of all the other writers who are going through the same thing, and I'll salute you. We've got the bug. There are no others options but to push forward and create, send it out there, and see what the world sends back.