Tag Archives: editing

Let’s talk about slush, ba-by…

Let’s talk about you and me… Okay, okay, so my flashback to the ’90s is a little sad but kinda on point for this blog post. As one of the editors for the SNAFU anthologies, and with an upcoming submission window opening, Matthew Summers and I would like to talk about stories, slush, and selections.

Disclaimer time. The information provided here does not guarantee Matt and I will select your story for publication – plot, character, and voice will. But don’t send us a romance tale when it’s military monster horror we’re after. We will cut you.

Right then. Let’s kick this baby off with the guidelines for the open sub window for SNAFU: Last Stand (just click that link). While stories subbed to Cohesion Press have specific marks that need to be hit, one thing EVERYONE needs to understand when subbing a tale to ANY market is to not only READ the guidelines but ADHERE to them (the adhering is the most important part). Know your market.

Slush, we’ve all been there. Jostling for position, stuck in the hell that is the slush pile, shouting ‘look at me’ as you push toward the roped-off area that is the shortlist. So how do you get past the cordon? Look, reading is subjective – what I like someone else may not (they’re wrong), but if the past couple of SNAFUs have taught me anything, it’s that Matt and I are pretty much on the same page when it comes to story selection. Not once have we had to fight it out (I’d win because I fight dirty, just sayin’). But your opening line, your opening paragraph, has to hook us and the following paragraphs need to reel us in. Your start needs to be strong, and it needs to build from there.

Stuck in Hell by 13UG-13th

Your aim, at this point, is to get onto that shortlist, and a killer opening scene is just the way to do it. Does that mean exploding out of the gate all guns blazing? Perhaps. We love high-action tales, and that’s bound to grab our attention. But it can also be that one line that sets the tone for what’s to come. One of my favourite opening lines from a story in SNAFU: Resurrection is from Conviction by NX Sharps – ‘On the 152nd day of our posting at Fort Conviction, Private Olyver Bagwell shit himself to death.’  That certainly had us take notice.

But the follow-up has to hold water. If your story doesn’t make good on its opening promise, then you could be in some trouble. Think about the story you’re wanting to tell, of the character(s) leading us through. A tale well written isn’t going to resonate as much as one that has me and Matt fate-invested.

That being said, well-written is definitely going to get you a look-in. We want narrative that moves a story forward, we want wordsmiths who know how to give us those evocative visuals that bring the horror, the fear, the dread. Active voice is your friend here. Spelling and grammar? We got that, but too many errors and we’re pulled from the story – it’s the same for all those babies sitting in slush piles.  

With the theme of Last Stand, characters will need to make their mark here. Interpret Last Stand as you will, there are an infinite number of ways to incorporate that into your story, but make that tale linger, make us think about it long after we’ve finished reading. And give us action. Make our hearts beat furiously, give us those ‘oh shit’ moments, and make your monsters fucking terrifying. Remember, this is horror, monster horror… with guns and shit.   

One of the best and hardest part of this process is the final selection from the shortlist. Matt and I have passed on some truly great stories, which is always a difficult thing to do. And we don’t take these decisions lightly – a lot of time goes into decision-making, a lot of discussion and back and forths until we have the mixture just right. We don’t make acceptances as we go; something we love early on may not make the cut because a later story in a similar vein resonates more. Our aim here is to provide our readers with a variety of kick-arse tales, where you don’t know what’s coming but you’re hanging for it just the same. The overriding theme that ties them together, obviously, is ‘last stand’. Make it count.

So while I hope this helps you to understand our process, I also hope it helps you to understand the process for any slush pile you find yourself in. Writing truly is the best gig in the world, and rejections are a part of that. We know. Matt and I both sit the other side of the table, we’ve had stories accepted and we’ve faced that sting of rejection. We understand the work, the effort, the time and the angst that goes into getting those words onto the page, of wrangling your imagination into narrative. We salute every one of you.

And for those of you who make it to that final ToC, just a note here to let you know the work has only just begun. There will be edits. We may ask for tweaks, we may ask for rewrites, we may cut a little, we may cut a lot. Thing is, we’ve been doing this a long time, we know our audience and we know what they like. Be professional, not precious. Co-operation is key here. That’s a two-way street, and we have cut stories because of bad author behaviour. Don’t be that person. Keep communication lines open and listen to us as we’ll listen to you. Our aim here is to get the most out of your story, and we will work hard to make it so.

But just before I go, as you may have seen, the introduction for SNAFU: Last Stand will be written by Tim Miller (yes, of Deadpool and the new Terminator fame). As such, we understand the slush pile may well be large – Tim will be reading the final tales. And if that isn’t a reason to send us your very best, I don’t know what is.

Submission window for SNAFU: Last Stand opens April 1st, 2019. (No, that’s not a joke. Yes, we are laughing.)

Finding the right editor, and when to run like hell

This post is brought to you by a Twitter thread I came across yesterday about the importance of editors. I recently wrote a post on just such a thing. If you’re disinclined to read that, I’ll break it down quickly: YOU NEED AN EDITOR.

Right then. Within this Twitter thread was information that needs to be addressed, so I’m chucking on my ranty-pants (they’re fabulous, by the way), and I’m going to give you some insights into what to look for in a good editor, and how to help find the right editor for you. Yes, not all editors will be the right fit. (I had a whole thing about editors being like pants, but it just got… weird.)

Aaaanywho, what had me don my ranty-pants was a writer explaining they’d been quoted $10,000 for an edit. I’ll just let that sink in. Ten grand. For an edit. Of one book. Oh, hell no. HELL NO. I don’t know who the so-called “editor” was who thought this was a reasonable quote. If I did, I would call them out on their bullshit. Because bullshit it is. I can’t even fathom an instance where quoting or even charging someone this amount is even within the realm of possibility. That, folks, is a scam. Run far. Run fast.

On the flipside, if you’re quoted say, $200 for a full edit of a novel – run far, run fast. No editor worth their salt would charge this little for a full edit. There’s a lot of skill that goes into editing, and most editors study to gain qualifications, to understand the nuances of English and its building blocks that go into great storytelling. Their qualifications and experience are worth more than two hundred bucks.

imagination

So, let’s break down the two types of editing (I’m not including manuscript assessments as that’s a whole different ball game). Deciding which is best for you depends on where you are with your book.

Developmental (substantive/structural) editing: This is detailed editing for structure, plot and sub-plots, story arc, characterisation, character arcs, and chapter arrangement. It’s your ‘big picture’ side of editing that looks deeply into motivations and conflict, agency and forward movement of both story and character(s). Story elements are broken down to ensure there is cohesion and clarity, as well as looking at pacing, premise, and world-building.

Copy (line) editing: This concentrates on style, tempo, language, spelling, punctuation, and grammar. Copy editing goes through line-by-line to ensure syntax is on point, passive vs active voice, run-on sentences, and dangling participles et al. It checks the mechanics of the writing to ensure it’s on point. (Note: copy editing is not proofreading.)

Now, depending upon where you are with your story, it’s a matter of deciding which type of editing is best for you at this stage of your draft. You can ask for a combined structural/copy edit, but be aware that this would cost more as you’re asking for two separate types of editing to be applied – it’s a bigger job, therefore a higher charge.

Once you’ve decided which type of editing you’re after, how do you find an editor? A good editor. Nothing beats word of mouth. Those writers who’ve worked with good editors will happily sing their praises – ask around. However, this doesn’t mean their editor will be the right fit for you. And it is about fit. The author/editor relationship can be magic when you find the right person. It should be. It’s a meeting of minds to work toward a common goal – making your story the best it can be.

Your other option is to put out a call on social media for editors, but understand you’re probably going to be slammed with offers. And not everyone who says they’re an editor should be calling themselves such. I’ve heard horror stories of “editors” putting errors into work. It drives me to become Sweary McSwearface, as it gives those of us who love what we do, a bad name. Fuck those guys.

Here’s a checklist of things to do/ask when you want to engage an editor:

  • Seek out at least five editors to find the right one for you. Can’t find them in that first five? Contact another five then another five until you find the editor you click with. You’ll know. Trust me.
  • Try to find editors experienced in your genre. They’ll have a better feel for not only the market, but for what works (and what doesn’t) in the story you’re telling.
  • Ask for their qualifications, what formal training they’ve had and where they studied. Don’t be afraid to ask these questions; this is your baby they’re working on, and your money you’re parting with. Note: some fantastic editors don’t have formal qualifications, but their industry experience is beyond reproach, so don’t rule out every editor who isn’t formally qualified, just be discerning.
  • Those who edit for a living will have a website. Check the projects they’ve worked on, then mosey on over to Amazon and hit that ‘look inside’ option and see what you think. Do your research. It will pay off.
  • Ask for a sample edit. This allows you to see if the editor knows what they’re doing, if you like the way they edit, and if their editing style would work for you. If an editor says they don’t provide sample edits, walk away.
  • Cost is the main reason some writers choose not to engage an editor, and I get it, I do. But a lot of editors are quite happy to discuss and work with you on a payment plan. You won’t know if you don’t ask.

The above points are going to help you weed out the charlatans from the true, but trust your gut. If something doesn’t feel or seem quite right, then move on. There are plenty of good editors out there, you’ll find them.

As mentioned at the beginning of this post, charging ten grand for an edit is egregious. It makes me want to find that person and slap them upside the head… a lot. Charging too little for an edit… well, you get what you pay for.

So what should you expect to pay? Well, it depends on the type of edit you want, the word count (or page count, editors price either way), and the amount of work involved. If we’re basing this on a novel of approximately 100,000 words with no excessive work involved, you should be looking at anywhere in the vicinity of $800-$1500. And even low-balling at $800 is a stretch. That’s a lot of money, yes, but it’s an investment in not only your story, but you as a writer.

Editing should be a teaching experience, and I like to use it as such. If I can explain to you why active voice works better in a high-action and/or high-tension scene, you’ll employ that in your next story. If I explain that shorter sentences convey tension better than longer, drawn out sentences, you’ll take that into your next tale. If I can show that the bloody mist spattering your protag’s face as their enemy chokes on their last, gasping breath craps all over ‘dying in their own blood’, then I’m doing my job right.

So don’t be afraid to ask questions, don’t be afraid to say ‘thanks, but no thanks’, and don’t be afraid to walk away, because when you find the right editor, you’ll find the magic.

TO EDIT OR NOT TO EDIT? (A STUPID QUESTION ANSWERED.)

To write is human, to edit is divine. ~ Stephen King.

You need to edit your work. Let me say that again, just in case you missed it the first time:

YOU. NEED. TO. EDIT. YOUR. WORK.

It’s not a difficult concept to grasp – even the above words are simple, but it appears a lot of writers believe this is a stage that can be skipped or is entirely unnecessary (I shit you not). They’re wrong. So very wrong. Like, drowning in oceans of wrongness. I recently saw someone proclaim they didn’t need to edit their story before subbing; they’d written it in one sitting and it was good enough to sub without an edit.

No.

Just no.

And fuck off.

There’s a certain level of arrogance and ignorance tied into believing your work, your stories, don’t need another set of eyes to go over it. Forget the fact that you might have misspellings, verb tense issues, punctuation and dialogue anomalies; that your plot isn’t on point, your character is inconsistent, or, hell, that the story just doesn’t make sense. How do you know the tale you’ve visualised has transferred to the page? Do you just not care? Or, are you so sure of your own “perfection” that no other input is necessary? That’s some high-level cognitive dissonance right there.

There are some stories that do just flow from your fingertips onto the page, but that doesn’t mean they don’t need at least a beta reader, someone to give you feedback, to ask questions of plot or dialogue or story direction. Things that will make your story better. Why would an author not want that? Why would you not want to improve not only your story, but your writing?

I’m a professional editor (yes, got the certificates and the industry experience to prove it), and I’m also a writer. Do I edit my own work? Of course I do. Do I send it to others to beta read? Damn straight. Do I have someone else edit it? Hell yes I do. Why? Because I’m too close to the story to see any issues it may have, because I want to know whether it makes sense, because maybe a question or note will make the story stronger, clearer, more kick-arse. Because I want MY BEST WORK out in the world, not just my: ‘fuck it, this’ll do’ work.

Of late, I’ve seen a surge in this ‘fuck it’ submission process, the belief that you just write and your subs will be accepted. Sure, there are places that will accept that “work”, and if ‘for exposure’ markets or ‘contributor copy only’ markets are your thing then… well, okay. You keep doing you. But why not aim higher? Do better?

It comes down to how you value what you do. How you value your readers. Writing is a craft, it needs to be honed, practised, built upon, and you never stop learning. EVER. If you believe you don’t need to edit, that you don’t need beta readers or those rejections that make you look again at your story and better it, then stagnant you will be, stale your stories will become.

edit all the words

Look, I can’t make you engage beta readers, I can’t make you use an editor or hell, even make you edit your own work, but I can guaran-damn-tee you, you won’t hit any of the success you’re wanting. Having a bibliography of pubbed stories in mags or anthologies no one’s heard of doesn’t up your author profile as much as you’d like to think it does. Give me a story published in Nightmare Magazine, or Grimdark Mag, Apex or Clarkesworld over multiple stories published in markets even Google would have trouble finding.

Writers are readers, we know the markets that accept only the highest possible standards, and those are the markets professional writers want to crack – and by professional, I mean those who take the process of writing and all it entails, seriously. Who know there’s more to writing than just words on a page.

It all really comes down to choice:

Be the writer who wants their work to be the best it can be, who wants constructive criticism for the sake of the story, who wants to be better, do better, and to break into those pro-paying markets who have the high standards for which you strive. To have publishers ask you to sub to them because they’ve seen your work and want it; to have readers search for your work because your tales resonated with them, because they love your storytelling.

Or…

Don’t.

So many words…

So April must have knifed the previous three months in the back and leapfrogged ahead. That’s the only explanation for me to be looking down the barrel of the first school holidays for this year. It’s been a busy three and a half months editing wise, and after being offered the role of lead editor for the SNAFU series, and editor for Cohesion Press’ upcoming releases, it’s been a whirlwind of amazing words crossing my screen.

What hasn’t been happening is reading for pleasure (although, conversely, the stuff I’m reading for Cohesion is brilliant indeed). But I’ve had the same novel sitting on bedside table, untouched, for going on three months. And it’s a novel I’m truly invested in – City of Wonders, the third in the Blasted Lands series by James A Moore. However, by the time I head to bed after a full day of editing, my eyes feel like someone’s rubbed them with sandpaper, and I know picking up the book will do not only me, but the story itself a disservice.

Last year I read a total of twenty-five books (novels, anthologies, collections and graphic novels), and that doesn’t seem a lot for the average avid reader, which I’d definitely class myself as. So why wasn’t I reading as much as I thought I should (or wanted)? I’ve often said I read a lot for my editing business, but had no real idea what ‘a lot’ was, so I decided to quantify ‘a lot’ and started keeping track of the word count of all I read for “work”. Yes, those are deliberate quotations – see previous paragraph about the brilliance of what I read.

SNAFU Future Warfare  Into-the-Mist-194x300  American Nocturne  Jade Gods

Now anyone who knows me, knows that not only do I totally suck at math, but math totally hates me back. It’s giving me the finger right now. But even I can’t deny the numbers, and believe me, I’ve tried. From ‘That can’t be right’, to ‘Stupid fat fingers must be hitting the wrong buttons’. But no. The numbers definitely add up. It’s a believability thing.

In January of this year, I read a total of 300,200 words; February was a doozy, reading 568,100 words, and March? 392,350. In the first three months of this year, I’ve read: 1,260,650 words. That’s right – one million, two hundred and sixty thousand, six hundred and fifty words.

If we break that down to novels – at a word-length of 90,000 – that’s …. (hang on, doing math, this may take a while)… okay, that’s 14 novels. Fourteen novels in three months. That’s more like it! That’s more me.

The beauty of reading for editing is that you sometimes get to read stories that you may not normally pick up at a bookstore or buy online. This year I’ve read horror, military horror, regency romance, crime, fantasy, YA, children’s books, non-fiction on refugees and Human Rights Law, eating disorders, and corporate planning. It’s a funny ol’ world.

City of Wonders

I used to feel guilty about not reading as much as I used to, but not anymore. Sure, my ‘to read’ mountain grows ever-higher. And yes, I’m still buying books to read – really, that wasn’t ever going to stop. But now I look at the novel sitting on my bedside table and think: Soon, my pretty, soon. And when we are once again reunited, it will be bliss.

Here’s to Women

I’ve been noticeably absent from my blog – not through choice but rather time constraints – I thought it fitting to return to it today. Just past Women in Horror Month, and it being International Women’s Day, what better time?

I am a woman working in horror, I am a woman writing horror, I am a woman raising a young woman… I am woman.  There are some, though, who don’t approve of that fantastic mix of women and horror (I’m not linking to any of that shite), and refuse to read any horror stories penned by women.  Hell, there are those who won’t read anything written by a woman, and while this might surprise some, it doesn’t surprise me – not in this world we find ourselves in.

Elitism exists in the publishing world, and has long-since been an issue for women who love the horror genre – those who write, read, act, direct, edit, et al ­– have faced criticism, ridicule, anger, disdain for daring to venture into horror. We’ve been mocked, derided, ignored, threatened, doxed, we’ve been made to feel unwelcome, our passion for the genre belittled because we don’t swing that Y chromosome. Get out of our man-cave!

Fury Road

I’m here to tell you that Y chromosome means squat when it comes to writing horror; the X chromosome means squat, too. You see, writing horror isn’t about chromosomes, it isn’t about being a man or a woman or neither of the aforementioned. It’s about writing a good story, a great story. It’s about making good art.

Unfortunately, there are those who believe horror/dark fiction is the bastion of men, and that’s why Women in Horror Month was born; to break down those walls, those prejudices, the ignorance. Women can’t write horror because they don’t know it? We don’t understand fear? Terror? Subjugation? Do my ovaries automatically signal my inability to dissect, disembowel, decapitate, dismember a character? Can I not create a world only to destroy it with impunity? Look away, uterus, there’s gonna be blood…

I’m not the only one who sees the ridiculousness of this. I’m not the only one who sees the disparity of the perceived belief of a woman’s “place” within the horror genre; within any publishing medium. If you think women are fairly represented, then take a look at this video and tell me this is right.

There are women writing amazing horror, women are editing, acting in and directing kick-arse horror movies and programs. Don’t limit your reading and viewing; horror and dark fiction is the greatest genre you can indulge in – a wide variety of voices and styles only enriches us all. Find storytelling from women, people of colour, from diverse backgrounds, from those who identify as LGBTI, from those with disabilities, from all walks of life, culture, religion and the non-religious. Open your scope and take in the wonder of diversity.

So as I sit here writing and drinking coffee from my Wonder Woman mug, here’s a small list of women writers and editors you should be reading:

Lee Murray, Silvia Moreno-GarciaKaaron Warren, Rivqa RafaelChristine Morgan, Nalo HopkinsonKirsten Cross, Sophie Yorkston, Angela Slatter, Octavia E Butler, Joanne Anderton, Catriona Sparks,  Rose Blackthorn, Zena Shapter, Paula R Stiles, Maria Lewis.

The above list only scratches the surface of women writers making their mark, and I encourage you to source more – diversity of voice will open worlds that ignite your imagination and take you to places of wonder.

And really, we’re all welcome in this place of storytelling.

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Festivus Book Pimping – SNAFU series

For your military horror dining delight, I bring you a big, fat course of SNAFU for your Festivus feast. Sit down, strap on (easy) your kevlar, and lock’n’load – it’s about to get messy. SNAFU (Situation Normal All Fucked Up) is the series put out through Cohesion Press that covers different takes on the military horror theme.

I’ve been lucky enough to be involved from the start as one of the co-editors of the series (with Geoff Brown), and having the pleasure of working with some truly amazing storytellers, both established and up-and-coming, and from here and overseas.  But more than that is the calibre of stories on offer.

Cohesion has four SNAFU anthologies currently on the market – two print/ebook and two ebook-only offerings. All of the anthologies have brilliant Dean Samed cover art, with internal art supplied by the wonderfully-talented Monty Borror. This is seriously good monster art – you won’t want to miss it.

SNAFU 1

Let’s begin with the first in the series, the entre: SNAFU: An Anthology of Military Horror. War is hell, and this offering was Cohesion’s first foray into the military horror theme, and garnered a Bram Stoker Recommended Read and finalist for the Australian Shadows Award (edited publication), thanks to the talented writers.

Next up for tasting in the series is SNAFU: Heroes, which offers novellas and short stories from Jonathan Mayberry, James A Moore, Weston Ochse and Joseph Nassise. As the blurb says: ‘From demons to horrors from the deep, the battles keep on coming. Fight or die…’

SNAFU Heroes

SNAFU: Wolves at the Door, is the next to the table, where you will share your meal with… my, what big teeth you have! This ebook tells the tales of soldiers fighting against all manner of were-animals – wolves take precedence in this instalment, but the diversity is staggeringly good. Stories with bite! (How could I not say it?)

And check out the cover art…

SNAFU Wolves

But wait, there’s more! The next in the print series is SNAFU: Survival of the Fittest, which was released in August this year. This is survival horror where every bullet counts. Low on ammo, this is about soldiers trying to make it out alive against nightmares made real. And damn, if these authors don’t know how to wrangle some nasty enemies for their squads.

SNAFU Survival

There are two more in the series on the horizon; I’m currently working on SNAFU: Hunters (think Grimm, Van Helsing, ‘Supernatural’s’ Sam and Dean), which will be published early next year. This SNAFU is all about the hunt, the thrill of the chase, and the uncertainty of outcome. Then there’s SNAFU: Future Warfare – military horror with a sci-fi bent (yeah, you know you want that!), which is due around mid-year. So keep your eyes and ears open for these, kiddies… well not literally kids, ‘cause unless you’re willing to shell out cash for some serious therapy, these books aren’t for them.

The beauty of the SNAFU series is that stories cover the gamut of historical to modern warfare; from Viking raids, the World Wars, Vietnam, Korea, Afghanistan… and all time periods and locales. And if you think you’ve read of every monster out there? Think again, my friend, oh yes, think again. There’s a diversity here that will keep you (or those you’ve gifted these treasures to) turning the pages.

Recommended for anyone who loves military stories, military horror, supernatural horror, straight messed-up horror… you get the picture. They’re brutal, they’re bloody, they’re awesome.

Editors Aren’t Your Enemy

I don’t hate you. Really I don’t. These are phrases that often go through an editor’s mind as they work through your manuscript. We don’t hate you or your story; we’re not evil trolls ready to destroy your work. We’re not monsters who hack and slash at your words with wild abandon, our red pen dripping with the life-blood of your characters.

bloody pen

We’re not the enemy. We will, however, be your story and your characters’ advocate – devil or otherwise. That’s our job. And editors love their job. I know I do. We get to help a writer push the limits of their storytelling, to advise and collaborate to bring out its best. We question plots and sub-plots that aren’t cohesive, characters that appear to be acting out of character. We see what you don’t. Why? Because we’re not as close to your story as you are.

Objectivity is what we bring to the table, and it’s why all stories, no matter how they’re published (self or traditional) need another set of eyes (or more) to look over them. We haven’t been in your head developing the character(s), we don’t know the intricacies of their backstory – how they came into being. All we get is what’s on the page. If we question a particular point, or are confused about a character’s motivations, chances are so will your reader.

When going through a manuscript, we’re constantly aware that any edits, questions or suggestions may not sit well with an author; I mean we’re taking their lovingly-crafted baby and making marks all over it. We understand the blood, sweat and tears that have gone into bringing your work to life, especially those of us who are writers as well. We don’t laugh maniacally when we ask you to consider changing something, or deleting a scene altogether – we know it hurts, but we also know it could be the best thing for your baby.

One of my clients had a character she had been living with for a very long time, and about halfway through the manuscript, I noted the character was acting and speaking in a way that didn’t reflect them or their purpose. When I mentioned this to the client, they were surprised they hadn’t noticed it – I had the objectivity the client no longer had. When I saw the next draft of this manuscript, the character was better than even I could have imagined. I couldn’t have rewritten it – that’s not an editor’s job, they’d never be so presumptuous – but I could point out the issues and return it to the creator who knows their character far better than I ever could. Collaboration: when it works, magic happens.

book imagination

I know a lot of writers dread the editing stage of the manuscript, but this is a stage that needs to be embraced and enjoyed – you’re getting down to the nitty-gritty of the publishing process. Yes, if you misuse a comma or your verb-tense is a little off, we’re there to pick those up for you. We ensure your syntax is just right, that your characters and places are consistent in description and spelling, and will explain why.

Editing is a place where a writer can learn those intricacies of the English language, and we’re happy to share our knowledge. Why? Because we’re word nerds. I will happily walk through the reasons why you can or can’t use a semi-colon; why I’m a proponent of the Oxford comma, or how short, sharp sentences convey tension within a scene. I will explain why ‘showing’ works to create a deeper connection to the reader than ‘telling’ ever will, and why the passive voice can make the reader feel like a spectator rather than a participant, and why there are very, very few instances where punctuation exists outside speech marks. (This is usually where you’ll need to tell me to shut up, as I can wax lyrical for hours. Just ask my husband – he’s the one over there with the perpetual glassy-eyed look.)

So yes, editors are an essential part of the publishing process, whether you’re going the self-publishing route or traditional, and perhaps more so with self-publishing as this is a step quite a few SP authors overlook (or, sadly, believe they don’t need). I’m here to tell those authors you’re not only doing yourself a disservice but that of your potential reader. Nothing will piss off a reader more than a poorly written, non-edited book they’ve paid money to read. I know; I’ve been one of them.

bullshit

With the enormous amount of choice out there for readers, it’s getting harder to have your work, your stories noticed among the millions. But what will always help, what will always bring a reader back is when an author takes the care to put their very best work out in the world. Part of that process is to work with professionals. I read a post from a self-published author on this very thing – read it here; it has some great insights about finding a professional. (Yes, I’m her editor, and you absolutely should read her collection of short stories when it comes out – I can’t recommend it enough.)

And a professional is what you need. When sourcing an editor (or proofreader, cover artist, formatter/layout artist), check their credentials! I’ll say it again: CHECK THEIR CREDENTIALS! A professional will have studied, they will have qualifications backed up by paperwork, and they will have experience – all of which should be available to you. Ask. And ask for a sample edit – most will provide one.

There are a plethora of sources to find professional editors, but word-of-mouth is your best bet. Ask other writers who they’d recommend, ask forums and social media. If you can, source someone who specialises in your genre as they’ll have insights other editors may not. And speak to at least five editors before you make a decision. Not all editors will be the right fit, but when you find the one that clicks, you’ll make magic.

magic book