LDSPMA

Empowering Latter-day Saints to spread light and truth by connecting them at the intersection of faith, creativity, and professional skill

Editing

How I Learned Not to Loathe Revisions

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We’ve all been there. We just put the finishing touches on our creative piece. After hours of work (and perhaps a few tears), we submit it to a professional for review. Often, we receive feedback that requires considerable revision and makes us question whether we should be engaging in this work at all.

I write historical romance novels, so this feedback usually comes in the form of substantial content edits from an editor. Unfortunately, I haven’t had the best mindset when it comes to editing my work. In fact, the word I often associate with editing is “loathing.”

My first novel will be published by a small publisher this September. The first thing I wanted to do when I received the content edits? Cry. I had already hired a developmental editor and made significant changes based on her feedback and input from other readers. I even rewrote the entire ending! And still more edits? 

I know, I know. I should be open to feedback that helps me grow and improve as a writer. But still, I couldn’t get my brain on board with that idea until I applied a few simple principles to my thought process. You might already be familiar with them because they align with the counsel we receive in the gospel. Here are a few simple ways I’ve found to shift my mindset and develop a healthier attitude toward feedback.

Recognize the True Potential in My Work

At least fifty—that’s the number of “no’s” I received from agents and editors when querying my manuscript for almost a year. I didn’t handle the rejection well. Remember those tears mentioned above? Yes, there were lots during this phase.

I had the idea for my novel for more than a decade, but I put off writing it until three summers ago. My degrees and licenses in business and law don’t exactly translate to writing love stories, but I couldn’t ignore the prompting to embark on this creative journey. My work is not what I’d consider gospel centered. I write clean historical romances that don’t typically include characters with a faith arc. I like to call them “kissing books.”

So, why did every attempt to put that work out into the world lead to a dead end? Even now, despite a contract with a small publisher (the only one who said “yes” instead of “no”), these doubts still manifest themselves. Why isn’t anyone buying or rating my self-published novella? Why do I have fewer than 200 followers on my social media accounts after eighteen months of effort? Why did 2% of my newsletter subscribers unsubscribe after my latest message? The list goes on.

When “numbers” and “quantities” start niggling at my mind, it helps to view my work’s potential the way Heavenly Father views us—with an eternal perspective.

Focusing on the quality of connections I make in this industry realigns my perspective. Reaching one person with my writing is far more important than earning ninety-nine likes on my latest Instagram post.

Removing the “worldly lens” when valuing my work helps me recommit to this creative calling, especially when critiques (and the doubts that accompany them) follow.

Speak with My Heavenly Father

After I received the content edits for my first book, I tried to sit and write part of my current book. No words flowed. It was my worst attempt at writing. I doubted each word, erased more than I wrote, and ended up frustrated, discouraged, and dejected—never a good combination, especially when trying to create.

This pity party lasted far longer than I care to admit. But I had a deadline to meet, so after hoisting myself up by my bootstraps, I decided to act on a thought that had come during the wallowing—pray.

Perhaps it’s even more embarrassing to admit that I hadn’t really prayed much in my writing career. Again, these are just kissing books. Why would I need inspiration about romantic interactions like brushing hands and flushing cheeks?

I gave prayer a go, however, because the idea wouldn’t leave me alone. Did I mention I was stubborn, too? I prayed each time I sat down to edit. I prayed to be open to the editor’s comments and recommendations. I prayed for guidance and inspiration as I selected the right words and phrases while rewriting. I prayed that I would complete tasks by the deadlines. And I prayed for help with my other responsibilities, including being a wife and mom of two, holding down a part-time job, and managing other volunteer roles, such as serving as one of the new vice presidents of LDSPMA.

I’m not suddenly spitting out a masterpiece akin to Jane Austen’s work or tripling my word count, but I can set aside the emotions telling me my work isn’t good enough. I’ve also overcome the feeling of overwhelm that plagued me during the rewriting process. I meet my deadlines, too (I even met one five days early!).

Most importantly, prayer changed my perspective. I now see revision as a way to ensure that my work is the best it can be. I feel the loving support of Heavenly Father, even if the process isn’t easy.

Strive to Do Better Each Day

Through what other process do we try to improve little by little and day by day? Repentance. We are often counseled that repentance should be a joyful process. While I still pray to find true joy in editing, I can safely say I’ve made it to the “not loathing” stage. I see the true potential in my work by speaking with Heavenly Father through prayer.

And the best part? I can strive to elevate the gift Heavenly Father has given me every day, even after receiving feedback that requires yet another rewrite. I hope that you, too, continue to strive for true joy in your creative journey.

Headshot of Casey Cline

Casey Cline

Casey Cline collects hobbies and pursuits as quickly as she reads books. She likes to believe her degrees and licenses in business, law, and real estate aren’t entirely incongruous with writing historical stories about the ultimate adventure in life—love. Casey is one of the vice presidents of the Latter-day Saints in Publishing Media and the Arts organization and is a member of the Nebraska Writers Guild. She lives in Nebraska with her husband, two daughters, and three cats. You can connect with her at www.caseycline.com.

     

    5 Reasons You Should Read “Done!” by Don Aslett

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    By Jeremy Madsen   

    Do you perpetually have a dozen too many irons in the fire? Do you struggle to keep your head above the flood of work projects, Church duties, family responsibilities, personal commitments, emails, text messages, phone notifications, laundry, dishes, and prayers? Is your life’s greatest problem that of never getting enough done?

    If so, I strongly recommend reading Don Aslett’s masterpiece on productivity: Done! How to Accomplish Twice as Much in Half the Time—at Home and at the Office.

    From when I was first introduced to Don Aslett’s books growing up (via my mother, herself a model of effective productivity), to when I revisited them this last year, I have found each of his publications inspiring and empowering. Done! has shown me how to get more done more quickly and more effectively, with less hassle, less stress, and less wasted energy. Here are five reasons why you should give Done! a try:

    1. Don Aslett knows what he’s talking about

    Rarely do the credentials of an author matter more than for a book touting itself as being about productivity. In this regard, Don Aslett leaves the masses far behind. The founder of a cleaning company now with over 4,000 employees, author of 40 books, and sought-after speaker and presenter, Don Aslett embodies the principles he teaches. (And he’s a Latter-day Saint!)

    2. Done! is packed with actionable and specific advice

    Done! offers no gimmick, secret formula, or calendar system for productivity—instead it is packed with specific strategies, tactics, and principles for cutting out time-wasting habits, approaching common problems in more efficient ways, and maintaining motivation and momentum throughout your day and week.

    For example, chapter 3 is devoted to listing and describing in gory detail all the activities that rob us time, space, and energy, including three I’m especially guilty of as an editor and writer: interruptions (silence that phone when working!), oversleeping (get up when that alarm goes off!), and “rubbish reading” (ignore those tempting click-bait articles!). This book will help you identify your own productivity weak points.

    3. Done! will make you rethink conventional productivity “wisdom”

    Occassionally, Don Aslett offers advice that runs counter to the standard productivity fare. At one point, he warns against following schedules—at least, schedules that we rigidly stick to. “Schedules will bind and stiffen you if you follow them too closely. People who have become such expert schedulers that they run around with a planner in their hand at all times lose creativity and flexibility—the schedule becomes their master.” He then tells a story of how, when two weeks of solid rain threw off the yard work he had planned (“scheduled”) during a trip to their summer home in Hawaii, he immediately pivoted to use the time to draft an entire book, write some TV scripts, and even fly to New York and back for a business trip—all completely “unscheduled.”

    4. Done! is a fun read

    Done! is a delightful book to read. Each subsection is largely self-contained, meaning I can pick the book up for a three-minute motivational pick-me-up while waiting in a doctor’s office or giving a bottle to my baby daughter.

    Don Aslett shares many anecdotes—from his own life or others’—that infuse life into his book, grounding each piece of advice in a concrete, memorable, and often funny story or observation.

    A warning: Don Aslett’s positive, even exuberant attitude towards productivity is highly contagious!

    5. Done! will teach you the greatest secret of productivity: be early!

    In chapter 5 (my favorite chapter), Don Aslett lays out what he believes is the one great “secret” of getting more done: be early! A task performed one week early (or one day or one hour) can be three or five or ten times more effective than the same task performed on-time or late.

    In the last week alone, here are ways I’ve seen earliness or lateness affect my life for good or ill:

    1. Early: My wife was assigned to prep some Father’s Day card assembly kits for a family reunion. She finished the kits more than a week in advance, and she also made extra. When I needed a Father’s Day card on short notice three days later, it was a cinch!
    2. Late: For a teacher council meeting, the Sunday School counselor in charge didn’t finalize or announce the topic until an hour before church, meaning no one had time to study the material beforehand.
    3. Early: When our temple opened to phase 3 during the 2020 pandemic, I jumped online within the hour and reserved our family a session on the best day for our calendar. Later that day, every available reservation for the next two months had been filled.
    4. Late: We invited a couple to join us for the sealing session we had scheduled, but the husband had let his recommend expire during COVID, meaning he’d either have to miss the session or scramble to set up two recommend interviews in a week’s time.
    5. Early: On a vacation up to Idaho, we reserved a hotel in Pocatello several days in advance. When we got to the hotel and checked in, we learned from the desk staff that every hotel in Pocatello had since sold out for that night!
    6. Late: My wife and I were planning a cross-country move and began apartment hunting about a month out. But by then, many of the places we called had no available units until two or three or even four months after our moving date, decreasing our options and multiplying our stress.
    7. Early: I gave myself plenty of time to arrive at an unfamiliar airport. After taking 20 minutes to navigate security, I looked around—and realized I was in the wrong terminal! I had to go back out of security to another corner of the airport and pass through a different security checkpoint—but I had arrived two hours before boarding time, so I never felt stressed or rushed!
    8. Late: On a trip I took this week, three out of my four flights were delayed almost two hours beyond their original departure times. I have seen one long round of stressed passengers, tired booking agents, long help-desk lines, and missed connections. The shockwaves of those late flights disseminated outward like ripples, delaying and postponing everything in their path, from vacation plans to babysitting arrangements to other flights—and the vicious cycle of lateness rolls on.

    Think about your typical workday. How many projects do you stress about because they’re behind schedule? How many emails do you get asking you to solve a problem caused by somebody being late? How many opportunities do you lose because you respond to them three days after hearing about them, instead of three minutes or three hours? How much prime writing or editing or brainstorming time do you lose in the morning because you sleep in? Take a page from Don Aslett’s book—be early!

    Still not convinced? Listen to this endorsement from the Lord Himself: “He that seeketh me early shall find me, and shall not be forsaken” (Doctrine and Covenants 88:83, emphasis added).

    Get more done with Don!

    If you want to reach more of your goals, if you want to win the fight against your endless to-do lists, if you want to make a greater impact on the world—I cannot recommend Don Aslett’s book Done! more highly. A delightful read packed with time-tested tactics and unforgettable anecdotes, Done! will forever change the way you approach your workdays and weekends. You don’t even need to read the whole thing—just mine it for all the five-minute nuggets of wisdom it contains. Then put away the distractions, ignore the diversions, and start doing!

    Jeremy Madsen is a fantasy writer, freelance editor, and biblical scholar. With his three siblings, he runs the website Atrium of Light, a repository for scripture songs used to memorize scripture passages through music. Jeremy is the founder of Universal Cape Day (March 10), a day to wear a cape, look epic, and feel heroic. He currently lives in Columbus, Ohio, with his wife and kids. He is also the operations manager for LDSPMA.

    A Quick Primer on Starting Your Own Home-Based Business

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    By Amy Collett

    Entrepreneurship is a lofty goal, but one many aspiring business owners can easily reach by starting small with the home-based business. By getting your venture established in this manner, you can maximize flexibility and minimize overhead. But how do you get started? Is it really possible to market yourself and make money? Answers are found below.

    In the Beginning

    One of your first steps before applying for your business license or putting up a website is to determine what you want to do and what type of business structure you’ll have. Most home-based businesses are run as sole proprietorships. However, if you need to protect your personal assets, you may want to establish yourself as an LLC.

    Next, take a look at your funds. When you do not want to dip into your savings, you have plenty of options from the Small Business Administration Bridge Loan program to raising funds via friends and family. Financing your business venture can give you working capital to buy inventory or equipment. Further, by not dipping into your personal nest egg, you won’t be quite as stressed out about money, and you’ll have cash in hand to reach your professional goals. There are non-governmental funding sources available as well, and Zen Business notes that many larger companies have even taken it upon themselves to provide grants for SMBs.

    Getting Started

    Now that you are ready to go and have the funding to do so, you may want to look into hiring a helping hand as you establish yourself as a leader in your industry. The type of assistance you need will depend on what you do. If you are a book writer, for example, you’ll want to find an experienced editor, and the Latter-day Saint Publishing and Media Association notes that you can start by looking for recommendations from other writers.

    You might also need help with administrative, technical, or other tasks outside of the scope of your expertise. In this case, hiring a freelancer may be a smart choice. First, an independent contractor will cost you less overall, even if you have to pay slightly higher hourly rates. But more importantly, you will have access to a global platform of people with the types of experience you need. There are downsides, however, and it makes sense to review the pros and cons of hiring freelance help before you recruit.

    Customers Are Key

    One of the most intimidating aspects of running your own business is putting yourself out there and finding customers. It requires a high level of confidence, and you have to be ready for rejection. Start by developing a plan, which might include scouting for potential clients on social media or sponsoring local events to draw attention to your business. Make sure to price your products or services competitively, taking into account everything from your local economy to the value that you bring. You do not necessarily have to be the least expensive option but the one that provides the very best for the money.

    Once you begin bringing in customers, remember the importance of customer service. No matter what you do, there will always be competition, and if they are perceived as more customer-centric, you can bet that is where consumers will go. Focus on quality, and remember that getting things right the first time is the best way to make a good impression. This, in turn, will convince your customers to tell their friends and family about you, which equates to more revenue.

    The above tips can help you get started. Ultimately, however, the success or demise of your business is something only you can determine. It might be a daunting endeavor, but entrepreneurship is one that comes with many benefits—ones that you have to experience for yourself to appreciate.

    7 Steps for Hiring a Good Editor

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    By Victoria Passey

    1. Understand the different types of editing.

    There are several types of editing: content/developmental editing, substantive/deep-line editing, copyediting, and proofreading, as well as edits for style guides and fact-checking. Together, they create a funnel of sorts, progressively narrowing down to your finished, publication-ready manuscript.

    Since there are many different terms for the different phases of editing, we’ll simplify them into four major categories so you can determine the type of editor you need for each phase of your project. 

    • Content editing takes a big-picture look at your manuscript. This stage reviews your manuscript’s major strengths and weaknesses regarding plot issues, organization, pacing, structure, etc.
    • Substantive or deep-line editing looks at your writing. The primary goal at this stage is to address the artistry, clarity, word economy, voice, and emotional impact of each sentence and paragraph (which can include any last little issues with the developmental points above, like pacing, dialogue, and rhetoric).
    • Copyediting is that final, fresh set of eyes where the editor catches any last issues that might trip up readers. This stage includes all the fine details, from clarity, to grammar and mechanics, to consistency issues and typos. Generally, it’s also concerned with style-guide issues, like bringing things in line with The Chicago Manual of Style.
    • Proofreading is a second quality control round and, depending on whether you are traditionally or self-publishing, will happen before or after a book is in the galley stage—when the interior layout is completed and it looks like a “real” book. You may also want a separate or related galley proofread, which addresses the aesthetics and consistency of your book’s typography.
    • Understand your budget and goals.

    Your budget, goals, and publishing path will drive what kinds of editing will serve you best and how many rounds of editing your manuscript will go through. Sending your manuscript through each of the phases is the ideal for traditional-pub quality, but if you can’t afford it, at a minimum, you’ll want a developmental edit, followed by a solid copyedit. An experienced developmental editor can discuss the industry, market, and which editing phases would make sense for your genre and individual work. 

    • Search within your community.

    Though it may be tempting to rely on online searches to find an editor, word of mouth is your best bet. Ask your writer friends (writing groups or other communities you’re a part of) for recommendations for editors.

    Your editor should be vetted by the writing community. Look for strong reviews and community recognition or involvement.

    • Know the qualities of a good editor and of good feedback.

    Your developmental editor should have a solid understanding of writing craft, particularly story structure, pacing, and character arcs. 

    Your line or copyeditor should be very familiar with The Chicago Manual of Style and Merriam-Webster’s Dictionary because these are the standard guides for style and usage within the publishing industry. It’s also important that your copyeditor respects your authorial voice and has an impeccable understanding of modern grammar and usage.

    The ideal editor will provide firm, honest, kindly phrased feedback—not just empty praise.

    As an author, you want feedback that helps you improve your manuscript by giving you a candid look at its strengths and weaknesses. Empty praise may inflate your ego, but it won’t help you grow and improve as a writer.

    • Understand a developmental editor’s genre specialty.

    It’s important that your developmental editor understand your chosen genre, especially as you progress in your writing career.

    Any good content editor can edit and give feedback on general story structure and craft, which can be beneficial for writers who are just starting out, but as you progress in your writing career, an editor who understands your genre is increasingly important.

    An editor who understands your genre also understands the tropes, audience expectations, and what’s already been done (what you’ll look cliché for doing) within that genre.

    For example, if you want to become a well-known romance author, an editor who isn’t an expert in romance plot structure and doesn’t know the difference between romance subgenres isn’t the right fit for you.

    • Get a sample edit before moving forward.

    Before you decide on an editor, ask for a sample edit of a short selection from your manuscript. A sample edit will help you understand the editor’s skill level, as well as how they’ll approach your work and your feelings as an author. Make sure to compare the different sample edits you get from all the editors you are considering. Price is not a good comparison point—if you don’t get a quality edit, you’ve wasted your money, regardless. 

    By the way, most editors use Track Changes in Word to record their line edits and comments. Understanding this feature will ensure that you can view your editor’s notes and accept or reject their changes.

    • Discuss details.

    Once you’ve decided on an editor, be sure to discuss the details of your project. Laying out the details (in a written contract) early on will save both of you many headaches later.

    Some of the details you’ll want to discuss are deadlines, costs, payment arrangements, and a work-for-hire contract where your work is protected and the editor is under an NDA (nondisclosure agreement).

    You should be able to discuss these details over the phone—either with someone in the company you’ve hired, or the editor themselves if they are an individual freelancer. And make sure you get it in writing!

    Getting a manuscript ready for publication is a collaborative effort based on a mutual love of books, respect, and creative effort. If you and your editor respect each other’s time, effort, expertise, and vision, the resulting product—and partnership—will amaze you!

    A few editorial recommendations to get you started:

    • Eschler Editing: This award-winning, experienced team of editing and publishing/promotion professionals has editors for most every genre and every type of editing—specializing in fiction and nonfiction (plus poetry, dissertations, essays, web content, etc.) Find them at EschlerEditing.com.
    • Joshua Essoe: Joshua is a skilled content editor who does sci-fi, fantasy, and horror, YA and adult, and their subgenres (but no lit fic, romance, or children’s/MG). Find him at JoshuaEssoe.com.
    • Suzy Bills: This editing professor works with all genres. Find her at [email protected].
    • Josh Vogt: Josh is a highly experienced editor who can work with most fiction genres (though maybe not super-literary fiction, as he prefers plot-driven works); he also does gaming lit and loves speculative fiction. Find him at write-strong.com or [email protected].
    • Precision Editing Group: This experienced team of editors and best-selling authors tackles many genres. (They just don’t do poetry or dissertations.) Find them at PrecisionEditingGroup.com or [email protected].
    • The Manuscript Dr.: A team of story-savvy fiction editors. Find them at  TheManuscriptDr.com.

    10 Common Mistakes Your Editor Wants You to Fix

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    By Lessa Harding

    By a show of hands, how many of you still have emotional scars caused by the red pen your English teacher used to grade your writing assignments? Come on, raise your hands. I’m definitely raising my hand. Fifteen years after graduating from high school, I still appreciate it when a professor uses a blue pen instead of a red one. I’ve always struggled with where to use commas, how to use modifiers, and how to properly cite sources. So, to help us all out, I asked Suzy Bills and Marianna Richardson, who teach editing and writing courses at BYU, to list some of the most common mistakes they see in university writing assignments and professional publications. Here’s what they shared:

    Mistake 1: Using a comma after a conjunction when it links two dependent clauses

    Rule: If or, and, or but links two phrases that couldn’t be complete sentences on their own, then don’t use a comma before the linking word.

    Example: I went to the store and then went to the park.

    Mistake 2: Following for example or for instance with and so forth

    Rule: When a list starts with for example or for instance (or e.g.,), the list should not end with and so forth (or etc.) because for example and for instance indicate a finite number of examples will be listed, whereas and so forth indicates the list isn’t finite.

    Example: For example, you can use red, orange, blue, and green.

    Mistake 3: Using unclear and weak pronouns

    Rule: Beware of weak pronouns (e.g., it, there, this) since they can cause confusion in meaning or can lead to being wordy or using the passive voice.

    Examples:

    • The Book of Mormon focuses on Jesus; this emphasis changed how I live. (Not: The Book of Mormon focuses on Jesus; this changed how I live.)
    • Some people don’t like to run. (Not: There are some people who don’t like to run.)

    Mistake 4: Misplacing modifiers

    Rule: The modifier should be placed right before the word it modifies. Pay particular attention to the word only.

    Examples:

    • Only Steve likes the team when it wins. (Meaning: No one but Steve likes the team when it wins.)
    • Steve likes the team only when it wins. (Meaning: Steve doesn’t like the team when it loses.)

    Mistake 5: Using i.e. instead of e.g.

    Rule: i.e. means “that is” or “in other words,” whereas e.g. means “for example.”

    Examples:

    • Please, wear nice clothes (i.e., a suit and tie).
    • Beware of weak pronouns (e.g., it, there, this).

    Mistake 6: Using that instead of which

    Rule: Use that when what follows is essential to the meaning being conveyed in the sentence. Use which when what follows isn’t essential to the meaning being conveyed.

    Examples:

    • I went to the beach, which is my favorite vacation spot. (Meaning: Beaches in general are my favorite vacation spot.)
    • I went to the beach that is my favorite vacation spot. (Meaning: One specific beach is my favorite vacation spot.)

    Mistake 7: Using lead instead of led

    Rule: Led is the past tense of the verb lead. The noun lead refers to a metal. People often confuse the verb led with the noun lead because the words have the same pronunciation.

    Example: I led him away from the statues, which was made of lead.

    Mistake 8: Using less instead of fewer

    Rule: Use less when the object you are referring to is uncountable. Use fewer when the object is countable.

    Example: I have less water and fewer pieces of candy than you.

    Mistake 9: Using who instead of whom

    Rule: Use who as the subject of a sentence. Use whom as the object of a verb or preposition.

    Examples:

    • Who spilled this milk and didn’t clean it up?
    • To whom did you address the letter?

    Mistake 10: Using a hyphen instead of an em dash

    Rule: Use a hyphen to join two words together. Use an em dash to set off a statement that is parenthetical or that signifies a break in idea or sentence structure.

    Examples:

    • I love my mother-in-law.
    • You think you have to go to the party—the biggest event of the year.

    In case you want even more guidance, here are some resources suggested by Suzy, Marianna, and a few of our readers:

    • HBR Guide to Better Business Writing, by Bryan A. Garner
    • The Chicago Manual of Style, by the University of Chicago Press
    • Style: Lessons in Clarity and Grace, by Joseph M. Williams
    • Chicago Style Workouts, available at https://cmosshoptalk.com/chicago-style-workouts/

    Happy writing!

    Book Review: The Subversive Copy Editor

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    By Jonathon Owen of ArrantPedantry.com on Carol Fisher Saller’s The Subversive Copy Editor. Read the original post here.

    Disclosure: I received a free copy of this book from the University of Chicago Press.

    I have a terrible editor confession:1 Until now, I had not read Carol Fisher Saller’s book The Subversive Copy Editor. I also have to take back what I said about But Can I Start a Sentence with “But”?—this is the best book on editing I’ve ever read.

    The book, now in its second edition, has been revised and expanded with new chapters. In the introduction, Saller explains just what she means by “subversive”—rather than sneaking errors into print to sabotage the writer, she aims to subvert the stereotype of the editor locked in an eternal struggle with the writer or so bound by pointless rules that they can’t see the forest of the copy for the trees of supposed errors.

    I find Saller’s views on editing absolutely refreshing. I’ve never been a fan of the idea that editors and authors are mortal enemies locked in an eternal struggle. Authors want to share their ideas, and readers, we hope, want to read them; editors help facilitate the exchange. Shouldn’t we all be on the same side?

    Saller starts with a few important reminders—copy editors aren’t the boss, and the copy doesn’t belong to us—before diving into some practical advice on how to establish good author-editor relations. It all starts with an introductory phone call or email, which is the editor’s chance to establish their carefulness, transparency, and flexibility. If you show the author from the beginning that you’re on their side, the project should get off to a good start.

    And to maintain good relations throughout a project, it’s important to keep showing that you’re careful, transparent, and flexible. Don’t bombard the author with too many queries about things that they don’t know or care about like arbitrary points of style. Just make a decision, explain it succinctly if you feel the need, and move on. And don’t lecture or condescend in your queries either. Saller recommends reading through all of your queries again once you get to the end of a project, because sometimes you read a query you wrote days ago and realize you unintentionally come across as a bit of a jerk.

    Too many editors mechanically apply a style without stopping to ask themselves whether they’re making the manuscript better or merely making it different. Sometimes a manuscript won’t perfectly conform to Chicago or whatever style you may be using, but that can be okay as long as it’s consistent and not wrong. (If you’re editing for an academic journal or other publication with a rigid style, of course, that’s a different story.) But there’s no reason to spend hours and hours changing an entire book manuscript from one arbitrary but valid style to another equally arbitrary but valid style. Not only have you wasted time and probably irritated the author, but there’s a good chance that you’ve missed something, introduced errors, or both. Rather than “What’s the rule?” Saller suggests asking, “What is helpful?” or “What makes sense?”

    And Saller doesn’t have much patience for editors who get “hung up on phantom issues and personal bugaboos,” who feel compelled to “ferret out every last which and change it to that”2—if you’re still relying on your high school English teacher’s lectures on grammar, you need to get with the times. Get some good (current!) reference books. Learn to look things up online.

    I also appreciated the advice on how to manage difficult projects. When faced with a seemingly insurmountable task, Saller recommends a few simple steps: automate, delegate, reevaluate, and accept your fate. See if you can find a macro or other software tool to save you from having to grind through long, repetitive tasks. Delegate things to an intern if possible. (Sorry, interns!) Ask yourself whether you really need to do what you think needs to be done. And if all else fails, simply knuckle down and get through it.

    There’s also a chapter to help writers navigate the copyediting process, along with chapters on learning to use your word processor better, managing deadlines, working as a freelancer, and more. And throughout it all Saller provides sensible, practical advice. Some of my favorite bits come from a chapter called “The Zen of Copyediting,” which aims to help editors let go of the things that don’t really matter. When faced with an apathetic author, one of Saller’s colleagues tells herself, “You can’t care about the book more than the author.” Saller herself dares to suggest that “some of our ‘standards’ are just time-consuming habits that don’t really make a difference to the reader.” And finally, one of Saller’s former mentors liked to say, “Remember—it’s only a book.”

    Whether you’re a seasoned editor or a novice just breaking into the field, The Subversive Copy Editor provides sage advice on just about every aspect of the job. It should be a part of every editor’s library.

    The Subversive Copy Editor is available now at Amazon and other booksellers.

    Notes

    1. ↑ You can choose to read that either as a terrible confession for an editor or as the confession of a terrible editor.

    2. ↑ I saw this happen once on a proofread. Remarkably, I don’t think the author used a single relative that in the entire book. The proofreader hunted down every last restrictive which and changed it to that—and missed a lot of real errors in the process. And changing that many whiches to thats surely would have wreaked havoc with the copyfitting.

    The Different Faces of Editing

    By Leave a Comment

    By Christopher Kugler

    The term editing covers a wide variety of responsibilities. Some editors provide general services, covering many aspects of the field, while other editors specialize in specific types of editing. When you’re shopping around for an editor to polish your manuscript, it’s vital to ensure that both you and the editor understand what level of editing is expected.

    While there are any number of editing specialties (acquisitions editing, fact-checking, indexing, and page design, to name a few), most authors are looking for an editor whose skill set falls under one of three umbrellas:

    • Proofreader
    • Copyeditor
    • Substantive editor

    Proofreader

    The proofreader provides the lightest editing services of the three. The proofreader is primarily responsible for the final pass over a document, checking for spelling issues, punctuation issues, inconsistent spacing, basic errors with grammar, egregious factual errors, and the like. The proofreading pass is usually done just prior to publication, in conjunction with the efforts of a copyeditor and/or substantive editor.

    In many cases, larger publishing and editing firms employ proofreaders. A freelance author often won’t need the services of a dedicated proofreader, as those services will be provided by a copyeditor or substantive editor.

    Copyeditor

    The copyeditor is what most people think of when they think of an editor. Rather than just a light pass like a proofreader, the copyeditor is a master of one or more style guides and is responsible for preparing a draft manuscript for final publication. This includes one or more passes through the manuscript to check for and correct spelling, capitalization, and grammar issues; problems with syntax; noun–pronoun agreement; and the like.

    A copyeditor will also often format the draft manuscript in proper manuscript format, including:

    • Applying proper fonts, font sizes, margins, and line spacing
    • Ensuring headers and footers are correct
    • Ensuring in-text citations, footnotes, endnotes, and bibliographies are formatted correctly
    • Ensuring that elements of the manuscript match the appropriate style guide, such as deciding whether to spell out numbers or leave them as numerals

    In short, a copyeditor takes what you’ve written and polishes it; their job is to make you, the author, look as good as possible.

    Substantive Editor

    The substantive editor holds a somewhat different role than the proofreader and the copyeditor. While the proofreader and the copyeditor ensure that the text and format of a manuscript are ready for publication, the substantive editor focuses on the content—the substance—of the manuscript. The substantive editor’s primary focus is to ensure that your content makes sense, flows well, and is engaging.

    The substantive editor works closely with the author to initiate changes and reorganize the content to help it best fulfill its purpose. While a copyeditor may change words or even sentence structure to correct style issues, the substantive editor may change words, sentences, paragraphs, or more to improve clarity and flow. The substantive editor is responsible for eliminating repetition; correcting instances of passive voice and confusing sentence structure; clarifying central elements such as plot points, dialogue, and flow of action, if applicable; pointing out instances where tone may not match the author’s intentions; fact-checking; and more.

    Despite digging deep into the content, an effective substantive editor will maintain the author’s voice and general style. The substantive editor is not a coauthor; instead, he or she provides a third-party view of the manuscript and points out issues to which the author may be blind.

    Many substantive editors also provide copyediting and/or proofreading services, but not all do. When hiring a substantive editor, make sure to clarify exactly what services will be provided.

    Estimating Time for Editing

    By 2 Comments

    By Devan Jensen

    When authors turn in a new manuscript, they usually want it printed now. How long does it take from manuscript to printed book? We typically plan on one year from the time the rough manuscript arrives to the time it is peer reviewed, edited, proofread, designed, sent to authors for approval, proofread, indexed, and printed.                                                     

    You can estimate how long it will take to edit a manuscript by looking over all its parts. How many typos do you see on each page? How complete are the notes? Does it have an appendix? How many photos will be used? Are they scanned? Will you edit on hard copy or electronic copy?

    The following guidelines also apply:

    The Chicago Manual of Style, 2.49     Estimating editing time. Estimates for how long the job of manuscript editing should take—a figure generally determined by the publisher and agreed to by the manuscript editor—usually start with the length of the manuscript. Because of inevitable variations in typefaces and margins and other formatting characteristics from one manuscript to another, the length is best determined by a word count rather than a page count (though a word count can be derived from a page count for paper-only manuscripts). A 100,000-word book manuscript, edited by an experienced editor, might take seventy-five to one hundred hours of work before being sent to the author, plus ten to twenty additional hours after the author’s review. This rough estimate may need to be adjusted to take into account any complexities in the text or documentation, the presence and characteristics of any tables and illustrations, and the degree of electronic formatting and markup that an editor will need to remove or impose (see 2.77). If in doubt, edit a small sample to serve as the basis of an estimate. An additional factor is of course the publication schedule, which will determine how many days are available for the editing stage. Also pertinent is information about the author’s availability to review the edited manuscript, amenability to being edited, propensity to revise, and so forth.

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