Tip of the week: editing services, spot the unprofessional

I'm really pissed off. Yes, you gathered, this is a half-rant, turning into a tip. I just read the opening of a book which apparently has been edited by an editing & proofreading service. Now, I've seen post of the person behind that editing service who regularly leaves out the commas before names when addressing another person, which lead me to conclude the person doesn't know that there belongs a comma. And promptly, in said book, there are no commas before names in dialogue. That book also has an overuse on italics, almost every paragraph contained one -- to emphasise words, which is not wrong, but unnecessary and an editor should know that. I also found an incident of  'Running down the stairs, she pulled on her jeans.' Other situation, same principle. An editor should pick up on that and correct it. In addition to that I came across a lower case letter in direct speech when it should have been upper case, etc. Not happy, I'm not happy at all. You know why?
Because people have their doubts about my being able to edit their ms because I'm not an English native, while that editor is an English native and does it wrongly! I don't offer copy editing and proofing for that reason, I'm still learning, but I'm a damn good editor when it comes to story line and characters. And I know all the things listed above! There! I said it.

As you know I've been criticising self-published authors/books for a while because of the poor quality. A good quality book has everything correct: the characterisation, the story line, the pace and the grammar -- and that with consistency. With all the complaints left, right and centre from readers, authors finally realised they have to work harder and get outside help. But what use is an outside help if they just can't do the job properly? It doesn't help the reputation of self-published book either. The problem is, that everyone can call themselves an editor or proofreader. I did it, too. Editor, that is. But I know my limits and will not go beyond them. Others do and will announce they're proofreaders when in fact, they only spot some typos, but are clueless regarding the real proofreader's job. It angers me that those people take advantage of authors who don't know better.

My advice: learn as much as you can yourself. Let someone knowledgeable check the editor/proofreader, if they have done a good job. Or even better: test them beforehand. They should be able to correct all the things I've listed in the first paragraph. I have a feeling that most authors are just too lazy to learn the tools themselves, shrug it off, saying, but that's why I hire an editor/proofreader. To me, that's not the right way to go about it. The problem is that if you don't know how it's done right, you'll walk into the trap of paying money to an unprofessional. Plus, the more you know, the less an editor/proofreader has to do. Especially the latter should mainly pick up on a few typos or other errors you've made. The basics should be learned by the author and come as naturally as breathing while writing.

Here are some post I did in the past for you to learn the basics every author should know. That would sort out half the complaints readers make:

Dialogue attributes Part 1

An important comma that makes a difference

Possessive apostrophe Part 1

A rant about the impossible, authors, editors...

The pains of rewriting

There's not one book I can't fix. I'm an editor, in the end and no matter how terrible the book, I can see clearly where it needs improvement; be it on the character or plotting front, I'll have suggestions on how to make it better. Not one book! Except the one I finished writing a year ago and despite going back to it several times in an attempt to fix it, I seem to be unable to do it. It not that I'm totally clueless; I know exactly what I need to do and how I want it to be done, but somehow I can't translate it on to paper. Being the Universe's slowest reader doesn't help much either. The problem is that the book has no chapters, and deliberately so. It's also not a plot driven novel, which means everything relies on the character, to whom I'm trying to give more depth, make him more edgy and have him struggle a bit more. I'm adding a dog, a neighbour, another hobby, something that wasn't planned in the first place and they need to be added very carefully as they interrupt the flow otherwise.The book mainly lets the reader follow the main character's thoughts and life. There's hardly any dialogue in it and it's all written in second person point of view and no, I will not change any of those 'broken rules'. If people complain, sod them. It's not your average book and I never intended it to be. The feedback I had so far was overwhelmingly great. Readers said they felt like something pulled them in, they couldn't stop, had to read on, mesmerised, which, I think, is good, but I'm still not happy, because that special something is missing. To me, that is.
It's not that I have been rewriting and editing like a manic -- far from it. I gave it a proper go and got totally confused and muddled up, then left it alone. I haven't even touched the second half yet. The main character's life is so boring, repetitive and uneventful, it's hard to make heads or tails of it. I also need to make it more commercial, more general. Which means, rewriting huge parts of it, deleting minor characters. At the moment, he works, writes, reads and sleeps. Every day the same. Only the 'online-relationship' he encounters shakes up his world. A bit. It's also a story based on a true event, so I stick to what happened as closely as I can.
I deleted huge chunks that didn't work and they made space for the additions. My problem is that I can't find the ideal places on where to put the additions. Something I never had before. I'd happily add scenes to other books I wrote, but this particular one makes me want to shoot myself. I know it'll be like Marmite; people will either love or hate it, but to get it to the point that I can actually release it, seems a very far cry from what I'm standing at the moment. I'm determined to get there and if I can't fix that book, nobody can. I have an idea on how to make it easier for me, but if it works, remains to be seen. I'd like to publish this masterpiece some time this year, so I better get going, eh?

Sometimes, it's just tough

There are days when even all the positivity and love for writing gets a real kick in the teeth. Today is one of those days for me. I sent Winn, a friend of mine, a short story I had written for my writers' group. The point was to test her proof-reading skills as she's thinking about doing it in her spare time to help others. Because it's such a difficult job to look out for all the errors that may occur and also correct grammar and dialogue attributes, I wanted to help her find out if she's cut out for it. Funnily enough, apart from grammar, I'm pretty good at picking up on typos, spaces, etc. myself. Just not my own, at least not without a certain amount of time between reading.

Well, I inserted eleven errors, all of which she found. What I didn't expect, though, was the amount of corrections she made on things I didn't put in on purpose. Which means I had a  pretty colourful document to look at. Now I thought that after over five years of living and breathing English and writing for the past three years, I should be able to produce an almost error-free piece, seems far from it.
Certainly, my English is better than most English people's German, but that's not the point. My goal was and is to be as good as, if not better than many natives, which means impeccable grammar, including punctuation and the local tongue.I I have to admit, my mood sunk quite a bit as I hate asking for help, but by the looks of it, I'll still rely on it a tad longer. To be clear: it's not Winn's fault and I'm absolutely grateful for her corrections; it's my own expectations I didn't meet. Yes, I'm proud of the level of my English and the ability to speak almost accent-free (unless I'm really tired or angry), and sure it's an achievement to write in a language other than my mother tongue, but for me it's simply not enough.

Which means, I really have to knuckle down and most important: read even more.

One day....

If you need help with proof-reading, check out Winn's site for UK writers.

Or Pauline Nolet's site for the US.

Hi, I'm Stella and I'm an editing addict

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Editing

So, you might now declare me officially mad, but it's true: I love editing. And I will even tell you why. 

Well, to begin with, I always loved helping people. Editing is basically helping writers or author see their manuscript from a different angle. Things they don't see, for they are too close to their books, will most certainly jump at me, in addition to others. 

Take my friend, for instance. He's an experienced and skilled writer, even had been published with a small press many moons ago, He's trying to land an agent and received many rejections. For he's too blind to see what's wrong, he turned to me. And because I'm a good friend, I helped him with one of the books. I'm harsh, I'm strict and I can be rather pushy, but he took it on the chin and reworked. We never 'worked' together and he was rather surprised how much I picked up; on voice, on pace, on character and plot inconsistencies. His words were, "I'm impressed, you really have a talent for editing."

Made me go all fuzzy, because it has just been a couple of years since I actually found my calling as an editor. Luckily, most of clients think the same, which is a good sign. Of course I made some mistakes by taking on clients who weren't 'ready' yet, but we all make mistakes and learn from them.

My friend was so taken, that he now has come back with the next book. Working with more seasoned writers has the advantage that you can dive straight in, they know the basics, they know the techniques, in short, they just need someone with a keen eye to do the dirty work for them. I rather enjoy that, and in addition, I get to read an exciting book. 

Working with new authors has its perks, too. I love to teach them the basics, to see them adopt the suggestions and slowly getting better; some take longer, some are quick to learn. It's wonderful to see them grow, their writing season and their confidence increase. Although it's often more difficult to edit a new writer's work; many are not used to be criticised and are hurt easily. In many cases, I will try to comment on the first few chapters to give them some sort of guidance so they can take the suggestions and rework their manuscript, learning as they go. A service, by the way, I'll offer soon: first 10k for a certain price and if the person doesn't feel confident enough after that, we can agree to do the whole book to a fixed price. Ideal for new writers who need a quick assessment of their skills. Some return with their revised version and it always makes me proud to see how much it has improved and that I was part of it.

As editor you are a teacher, a motivator, a bringer of bad news, a tough hand and often go out of your way to help the person whose book you are trusted with.

Tip of the week: an important comma that makes a difference

I'll make it short this week; nevertheless it's something I wanted to point out as I've read quite a few self-published books or edited a lot of manuscripts where this particular comma is missing.
For many it might not be important, but it's rather interesting 5o see how the meaning of a sentence can be altered, just by inserting this tiny little punctuation mark. It's used mainly in dialogue, or when the character writes a letter/e-mail; in any case, one person is addressed by name or nickname.


"Could you please explain what you're talking about, love?"
"Hi, lovely blog visitor."
"Hello, everyone."
"I know, Stella, what you mean."
"Stella, it was you, wasn't it?"
"Good morning, reader."
"Thanks, dear buyer of my book."

Here is an example about altering the meaning:
"I don't know Stella." (Someone has no clue who Stella is.)
"I don't know, Stella." (Someone tells Stella that he or she has no clue.)

Okay this should be the small editing tip for today. I wish you all a happy Sunday.

The problems with conflicting advice

I've discussed this issue on a writers' forum yesterday. Though I think editing, rewriting and tweaking is essential, I see a lot of writers having difficulties with conflicting advice. Thinking back to my early days, I had comments on my book on what to change, what to delete, what to pad, etc. I personally was relatively sure what I wanted and didn't get confused; my story hasn't changed one bit, but I see others change their ms after each comment they receive, often until it's beyond recognition.
The problem is: it's all down to preference. Someone doesn't like first person, present tense, don't go and change the whole book into past tense. Some think a particular scene could be deleted, some don't. I guess what I'm saying is that you have to stick to your guns, trust yourself, listen to the advice and ponder, but don't change everything that someone suggests, unless it really makes sense and you love it even more after the changes.
Many beginners are insecure and listen far too often to others than to their instincts. People talk differently, in different speech patterns, the more you try to please those who criticise, the more you're losing your voice. 
I, for instance, have sent out my literary fiction novel to five people. Two only wanted to do me a favour, but it was clearly not for them, one got back with suggestions that would alter the whole concept of the book, one got back with excellent suggestions and the confirmation for what I had the feeling might be wrong: it lacks 'excitement' in the middle part, and one loved it so much to actually pass it on to an editor who loves it equally.
I've had men and women reading the book and I got valuable feedback from all five readers. It helps to know your writing, your voice and to see where the changes might affect it. Step back from your ms and think as a reader for a while, would you be excited by the book or do you think it could be improved? Get advice from a hand full of people and take every comment into account. I've once posted an excerpt on facebook and someone went to rewrite the whole scene. Though well-meant it wasn't my voice anymore.
What I look for are suggestions that make the story stronger, not the voice. Some people who mean well, but don't know how to critique will start fiddling with your wordings, change your vocabulary and the way you write in general and they will start correcting each other; if you start listening to those, you'll easily lose your voice by changing it back an forth. 
Same goes for the so-called 'rules' in writing. Some people will try to edit everything out of your manuscript, adverbs are not bad, you just need to keep them under control. I see those 'rules' as guidelines, not as set-in-stone rules to follow. Though you should know the 'rules' to break them. 
Best is to have mentor who will teach but doesn't influence you.

Boy was I in for a shock!

If you're following my blog, you are aware of my opinion about making your book as good as possible and don't publish before you have been through editing and proofing several times. I've been banging on about my book being spotless -- I'm a perfectionist and not to practice what I preach would make me a big fat hypocrite, wouldn't it? Yes. Now I've had three people telling me that my novel No Wings Attached is riddled with awkward sentences that don't make sense on top of the usual errors (spelling, typos, etc.). I was gutted! Of course I was, because I know my grammar needs attention, hence I asked around who can help me smoothing out my Germish, as I call it lovingly. I'm writing in second language and though I'm pretty good, it's far from perfect. I know I need someone native who fixes the syntax. And of course, after correcting the corrections, I know I need someone to pick up the errors that sneak in when you take a sentence apart, add words, delete others, etc., plus the usual errors like quotes, commas, spelling and punctuation. So I've had help for both, but when I received that review, I was in for a shock and quite frankly I was more than annoyed.
Please don't understand this as a post to blame, it's not. It's about my experience and to share what I've learned and what I would advise others, especially if you write in second language. I'm extremely lucky to have friends who kindly offered to help me, both natives and absolutely wonderful people. The first went through my book eliminating my Germish, she told me I would need someone to go through the book afterwards, to which I replied, yes, I've got someone who will do that. The mistake I made was to assume she's done ALL the syntax/odd phrasing, which she didn't. That had a snowball-effect: I went to the next person and said, please only look at spelling or typos, missed commas, etc. A clear instruction which she followed. After that was done, I went through the ms in a 7-hour-session and found some more things (missed quotes, capital/lower cases, spaces, etc.) Then, I was sure the book's perfect. But one reader, a German friend, found about twenty more things, which I gratefully accepted and corrected. Finally, I thought, my novel is error free!

As the recent review shows, it's not, the reviewer said, "as there were a lot of spelling and grammatical errors. If I weren't reading it on a Kindle, I would have taken a red pen to it myself. The phrasing and conversation structure was awkward". I first assumed it's the BE spelling, which concerns a lot of Americans, but after checking with her, that was not the case. I wasn't very happy as you can imagine, neither was I about the 'editor' comment, since I'm only editing plot, pace, voice, characters and steer well clear from grammar, except dialogue attributes or the odd comma, for the obvious reasons. I will explain the process of publishing, editors, proof-reading, etc in a different post as there are still some misconceptions of who is doing what.

After I've re-gained my calm, I'm working with another friend on the issue. This time, I made very clear what I wanted/needed. Since I'm writing in second language I can't control things as I could with editing. I have to trust blindly. If I cook a bolognese and ask someone else to season it, I would be able to say if it's overly salted or needs a bit more. That, I can't do with English. If I knew how it's done correctly, I would've done it myself. What I'm trying to say is to be clear with people, tell them what you want, ask them what they have done and where they think it needs more work. I don't support the need for a professional editor/proof-reader for those things, every educated native English person is able to pick up on awkward sentence structures. I know this because I've done that the other way round. But please make sure you get your book double checked, either by another beta-reader or another friend. And if you have someone who's really good with grammar and knows something about dialogue attributes, that's enough, too.

One person said, just put a note on the book that it's written in second language, which I argued against. I'm trying to sell my book for hard money, and that's not the solution. Same goes for the comment another person made, "What are they complaining about? They paid a low price," to which I argued, that's no excuse! As soon as I sell a book it has to be free of errors. I want my readers to enjoy the story and not to feel tempted to pull out a red pen -- let alone the effect it has on my reputation. For the time being, I've stopped promoting No Wings Attached as I'm rather embarrassed about the whole situation. I can't unpublish it without losing all the reviews; readers love the story, the characters, the romance and the twists and turns. I think I can call myself lucky that someone had the heart to point out the mistakes so I can fix them and give readers the reading experience they deserve: being lost in a world I created witout being pulled out of it by errors.

On writing the first draft

I recently read a blog post from an author who sort of 'insisted' to write a draft in one go before editing it. First, I don't like being told what to do and second, that technique might work for her, but not for me. I've never really been like that, write like there's no tomorrow and edit when you've completed the book.
Even with No Wings Attached, which was my first novel, I wrote at night and edited the next day, then sent it to my friend who returned it with comments, so I could revise. I don't know any different and it works well for me. I still managed to have the 'first draft' ready after 2.5 months. Needless to say that my friend did a light edit and I had to learn a lot about writing, which I didn't know back then. It almost cost me the novel as I wanted to throw it into the Thames after the 10th round of editing. I cut out 40k, changed bits here and there, rewrote complete scenes, etc. I grew very tired of it.
Now, two years later, I still work the same way: I write, then edit the next day. The only difference is that I don't have my friend going through it chapter by chapter and that my writing is much tighter, so I end up with a pretty polished first draft. I also write slower, which means, I think about what I'm writing, I try to avoid repetition, he said, she said where it's clear who speaks, control my use of adverbs and make sure everything flows. That's my way of working on the first draft.
I'm 20k into the sequel and it already took me as long as the complete first book, but then, when I'm done in about two months, I need to go through it maybe two more times and it's ready for proofing. But 4 months writing and 1 months editing is much quicker than writing 2.5 months writing and 2 years of editing.

My advice for anyone out there is: do whatever suits you best. :-)

Make your book as good as possible

Writing is hard work. Did someone tell you it's easy? Well, that someone lied. Big time. The transformation from the very first draft to the actual book published is enormous, especially when you're just starting out with your first book. If you are lucky and happy to learn, it will get easier once you've been through the process of rewriting, editing, proofing, etc.

I've read a few self-published books that weren't ready by a long shot and I've stopped reading most of them. Not saying there aren't good self-published books out there, but it looks like I didn't find them yet. I'm self-published myself and I know how hard it is to go through the book over and over and over again until you're sick and tired of the book you once loved, but it's worth it. It's my reputation, my author's name out there and I want the book to be the best it can get. Though, I've learned that I've sold over 1000 copies of the short stories with words missing, stray words and typos I didn't see. I've sort of rushed to publish it, not doing another round of proofing. Luckily, a friend was kind enough to point them out and it's fixed now. He also found quite a few in my novel, even AFTER proofing twice. That said, I can live with typos and missing words, but I can't live with poor character development, continuously use wrong dialogue attributes, plot holes and illogical story lines. Those are things that drive me mad as a reader.

Now, how to avoid things like that, you wonder.

Well, first off, learn the craft. Talent is one thing, but you need the skills to actually enhance your talent. That's what beautiful writing is. See it as a paining with a perfect frame, it will accentuate the painting, if you have a shabby frame it will look odd, drawing your eyes to the ugly frame rather than the painting itself. It's the same with writing, a great story can be disturbed by bad use of grammar or dialogue attributes or plot holes.

I'll take the painting again: imagine you have a person in it and he has an arm where the ear should be, now wouldn't that irritate you? Same goes with writing, when you have plot holes, it disturbs the flow, lets you pause and drags you out of the story, you stop to think where that character came from, where it went and what purpose it might have when it doesn't add to the plot.

Learn as much about writing as you can, try to secure yourself some beta readers, those who are confident in giving feedback. Try not to ask family and friends, unless they know a thing or two about writing and are honest with you. Compare your dialogue with traditionally published books and correct yours. Google is your best friend when it comes to read about 'rules'. Depending on how self-critical you are, you might need three rounds or more of editing and beta-reading. (I went 16 times through my first novel.) Don't ask the ones you've had before, they're now biased. Fresh eyes is what you need.

Be patient, don't rush into it. When you put a book out which isn't ready, you're likely to lose potential readers for your second or third book.

Make your book as perfect as you can. The end customers, your readers, will thank you by not only recommending a book they enjoyed, but also with loyalty.

If you'd like to know more about the journey of my novel No Wings Attached, please read an interview with me here:

On starting with back story

I can't believe I've done it myself! Since ages I told everyone whose opening I read and contained too much back story, not to do it, to web it in, to introduce it slowly and bit by bit, but ignored my own advice.

The reason being is that I've never written a sequel. I'm sure I wouldn't have done it with a new book, but the sequel is a different animal entirely. I created a scene with four people talking to each other, and two people, who are absent, introduced in the first 400 words. Now that's what I call tight writing, tight, but wrong.
I had a feeling it might be too much information and back story crammed into the opening and got the confirmation from a friend I sent it to. Nothing I couldn't fix easily, but something that shows once again, as writers we need feedback, best in the early stages to avoid big rewrites.

Sequels need to be able to stand alone, so while back story is important, it shouldn't have the function of a teaser for the other books in a series. It's a challenge to connect the books without going too deep into what happened in the first one. But you need to introduce the characters to readers who start with the second book.
Since I'm experiencing this now for the first time, I take my hat off to every single author who's managed that effortlessly.

I'll also have the task to go deeper into some of the characters that played minor roles in the first book, plus I'll add some more characters, especially for the dark side. Keeping the balance between romantic comedy and paranormal will be a lot harder for the sequel, I want to keep the light tone of the first book, the wonderful intimate moments between Celia and Tom, but without repeating them.

Well, something positive came out of it: he liked the writing and the scene itself. Go, me! ;-)

Writing is easy, then comes editing...

I have to admit I had no idea how writing, editing, the industry itself works when I began with my first novel. I asked a friend who said,' You just send an overview and the first few chapters to a publisher and that's it.' Easy, I thought.

My aim was 120k. Why? Because I didn't know better. So every day I typed and typed, edited as I went along and in 2.5 months, my brand new baby was complete. My friend did the cold reading, commenting along, but it seemed I've done a good job plotting and creating scenes and characters, looking back with the knowledge I've got now, she didn't suggest anything major.

Then I went on the hunt for publishers, thinking, well the book is SO great, they'll rip it out of my hands and the editor will fix my Germisch. That's what all my non-writer friends believed, too.
What an awakening when I learned about authonomy and that publishers want a near-perfect manuscript. What? They won't invest their money into me, the raw diamond and future best selling author? Their loss! Rejections proved others were right, I was wrong.

Thrown off the high horse of dreams, I got down to business and learned as much as I could about writing and editing. And there's a lot to know about. With every new thing I learned, I went through my manuscript, cutting out long-winded passages that cost me hours to write, changed dialogue attributes back and forth, comparing published books with my humble scribblings. Went through it again and again and again and.... ended up hating my book.

I tend to read books only once, twice perhaps if I really like it. Imagine to have to read a book up to fourteen times and even being the one who wrote it! It's painful. I procrastinated, I pushed off, I neglected and at some time I plainly didn't want to go near it anymore. I put it aside after the 13th edit and wrote two other books instead.

After a few months, I decided I need to get it over with, because I still believed in this book, it's my baby in the end and I want to get it out there, pretty and entertaining and maybe even successful, it didn't deserve to be hidden away. And somewhere along the process of reading and making small alterations, I fell in love again. Tonight, I've finished the last chapter of a 82.382 k novel and by end of May, it will be available to download on kindle, hopefully also on smashwords and nook. I can't wait!

When gaining editing skills means losing the desire to read

How come, you might wonder. Well, I'm inclined to tell you, because I think you know exactly how it feels like. Since March 2009 I've written three books. Now you might think it's not many, but I'm quite happy with this. I'm also published as a contributor to the anthology Words to Music, which is available on Amazon now. All profit goes to several charities. Yes, that's a hint. :-)
I've just started the forth, a cook book with a theme, but I still need to do the proofing for my second book, which is the most 'ready' to be published.
The first book needs rewriting, for I'm turning it into a series and the third book, which I don't have on show anywhere, apart from some excerpts, will go through its first edit, too. So I have three books that need work to get them out there, one that needs to be written and I've started a venture that will take up most of my time, let alone another book-project that I'll co-author with a dear friend of mine.

What I find peculiar is that I do have trouble to read, I mean really to enjoy it. It's like my editing skills have killed my desire to let go and step out of my life into the story. As a teen, I used to read stacks of books, always brought home half the library. Even as a slow reader, I got through a vast amount of novels. I would forget eating, sleeping - everything around me. As an adult I continued, perhaps not as many books anymore, but still, I read every night before going to sleep. Since I began to take writing seriously, I stopped. Completely. First, because I was busy with editing my own work, then with editing other people's work, I read, but it was still work, second, because I started writing on my next novel.

But I actually began reading again about a month ago. At the moment I'm reading Eats, shoots and leaves and am enjoying it immensely while learning. I don't have the red pen in my head, I don't roll my eyes and I don't sigh over cliches. I only laugh and nod a lot. It's a wonderful book if you want to learn about punctuation, which was my intention. Every night, I will take time out from my day and read. Even if only a few pages, but I really want to get back to loving a good story, because I always have.