A couple of editors

I’ve written a post in the past about editors and the work they do in turning a unpolished piece of writing into something ready for publication. I’ve worked with a number of different people over the years, some of whom were employed by a specific publishing companies and others who worked independently. If you’re getting published through a publishing company, that publishing company should handle the editing and get your manuscript in front of people with the right skills (not the word “should” – I once had an editor that kept getting past and passed the wrong way round and changing correct instances to the incorrect ones). However, if you’re embarking on self-publishing, you have to find the people with those skills yourself. An internet search will uncover a mountain of resources but it’s hard to know who can be trusted to do a good job.

Since I’ve been going through edits recently for the next Codename Omega book and the much sillier Technicality Man story, I thought I would mention a couple of people who have done some great editing work for me. Both of these are people I’m happy to recommend.

The first is Ro Smith, who I was once part of a creative writing group with. Since then, she has done work as a professional editor and proof-reader for both philosophy journals and publishing companies. She has been the main editor for two of the Codename Omega books now, including the one which should be coming out early in 2017. Her website is http://www.rhube.co.uk/ and you can find her contact details on that site if you want to work with her.

The second person is David Stewart. He was a former colleague who does work, amoung other things, as a librarian, researcher, and editor. He offers proofreading and copy-editing services, or a combination of the two. He is very flexible in offering what might be needed to check, tweak, edit, or reshape work. You can contact him at stewart_dk@hotmail.com if you want to hire him.

Both of these people do great work at very fair rates.

Line Editors

I have a short story, Reading Between the Lines, which is coming out in the next Mischief Corner Books anthology. It’s spent the last week going through line editing, so I thought this would be a good time to talk about what line editing is.

There are different types of editors who might get involved with your writing, particularly if you get books traditionally published. Two main types are Developmental Editors and Line Editors. I won’t go into detail about developmental editors in this post, but they essentially look at the big picture of a book. Line editors, on the other hand, go down to the details of the writing. They work through the story line by line, looking for any point where word choice is unclear, where the grammar is non-standard, or where the phrasing is clunky. They go through and make corrections or changes to the text.

I had someone ask me once if having editors work on my stories made them feel like they weren’t really my stories anymore, and the answer to that is a definite no. Line editing is a collaborative process. When I got my short story back from the line editor, it was as a document with track changes turned on. I had to go through and look at each change and decide if I wanted to accept it. If I thought the change was an improvement, I accepted it. If I disagreed, I wouldn’t accept it and I would leave a comment explaining my  point of view. One sentence in this story, the line editor and I went back and fourth on a few times before he agreed to stick to my way of doing things. In the first Codename Omega book, I used the phrase, “after an unbearable eternity” which the line editor objected to because eternity is forever so there could be no after. I was using the word as a hyperbole – when someone says, “that line took forever” or similar, people know it’s being used as a metaphor. I was confident that my readers would know I was using the word “eternity” in the same way to imply the character’s frustration at the length of the wait. As the author, I could say that I wanted that sentence to stay as it was.

At other points in a story, a line editor might tell the author that a change needs to be made, but leave it up to the author what the precise change should be. For example, if I use the same word three times in two paragraphs, the line editor would probably point this out and suggest I find a synonym, but not necessary pick the synonym for me. Another time, they might point out a potentially confusing section and suggest a rewrite, but let the author do the rewriting.

At the end of the day, the author still has control over the changes that are made but the line editors polish the story up and get rid of the rough edges. It’s an important part of the publishing process. If you’re self-publishing a book, I would strongly advise that you bring a line editor into your project.