The Importance of Being Edited

It's never fun to read a critical review, but even worse than a reader who simply didn't like your book is the critique that says something like "And on top of it the typos and punctuation errors on almost every page really made me cringe." How can this be when we pour hours and hours revising and editing, running spell check and combing through our manuscript searching for mistakes?

 I liken it to housekeeping. Ever walk into someone's house and think, "Oh, my, how many dog/cats do they have?" Walk into your own house, though, and you are far more likely to overlook the dishes in the sink or the Eau de Fluffy because, hey, it's your house and you clean on Sundays and it's only Friday, right? Same with your manuscript, which you know by heart. You know you meant "you're" not "your." But without a fresh set of eyes, one that doesn't already know every plot twist, you will miss things and people will notice. This is where an editor comes in handy. Even if you don't plan to self publish, an editor can be an invaluable tool along with your critique partner and beta readers, in getting your manuscript in the best shape possible.

 Let's define some terms. I conferred with fellow Floridian and freelance editor Becky Stephens to help understand the different types of editing services a writer may use. (Disclosure: portions of the information provided by Becky appeared on my blog earlier this month in an interview format, so I am using quotation marks to ensure her comments are properly attributed) "Although the terms can vary from publisher to publisher and editor to editor, generally speaking, the 'copyedit' editor ensures that the prose is smooth and the style consistent. She provides line edits with the focus on spelling, grammar, punctuation, verb tense, word repetition and usage, and all the minute things."

 But, you say, in the word processing age, won't the almighty spell check will catch all my mistakes? "No. The word processor’s spellcheck is never enough. It can't differentiate between “your” and “you’re” or to spot “in” when “it” was correct, for example." This is where your beta readers comes in handy. And speaking of beta readers, if you use them in lieu of a professional edit, ask yourself what you expect from them. "Do they read simply for overall plot? Will they spot an inconsistency, such as a character walking barefoot on a cold floor, but suddenly is wearing shoes two pages later? Will your betas notice the missing or incorrect punctuation before the closing quotation mark in front of a dialogue tag? If you aren’t 100% sure they will spot these types of things, consider bringing an editor on board."

Back to defining terms. "A 'content edit' (also known as a developmental or substantive edit) starts with the editor helping an author develop ideas. In the case where a manuscript is already completed, a substantive edit is a significant restructuring of a manuscript. The content editor helps an author organize, sharpen, and tighten a manuscript so that the characters and dialogue are believable, the plot is coherent, and the setting appropriate."

So, the big question. How much is this going to set me back? According to Becky, the rates vary considerably from modest to budget busting. Do your homework. The ranges of common editorial rates set by the Editorial Freelancers Association will give you guidance on what to expect.

Once you decide you want to hire an editor, how do you find the one that's right for you? Ask yourself these questions: "Are you looking for someone who follows all the rules laid out in the Chicago Manual of Style, an editor who is willing to bend–or even break–the rules, or someone somewhere in between? What you want is an editor who meshes with your style and genre(s). Don’t hire the first editor that pops up on a Google search. Talk to other authors. Ask your author friends and their friends for references. Find a Facebook group or Goodreads group where you can inquire about editors. Authors who are happy with their editors are willing to brag about them. It’s up to you to do your research. Once you find a few potential editors, get in touch. Ask about her portfolio, what genres she is most passionate about, whether she specializes in content or copy editing, and about her other clients. Due diligence on your part is critical."

I was curious what are the most common mistakes/problem areas that editors see. The winner is: Incorrect dialogue tags and punctuation. Becky provided these examples:

“Maggie, darling. You’re here!” Jonathan cried out. In this case, because the dialogue tag says he cried out, the exclamation point is overkill. A comma is all that is needed.

“Jonathan,” Maggie breathed. In the example above, an incorrect dialogue tag is used. Breathed is a body function, not a dialogue tag. Maggie probably whispered his name.

I admit it. I've had characters "shrug" words. I've used all caps in dialogue. Everyone occasionally messes up putting a comma instead of a period. But with the assistance of an eagle-eyed editor, the world never has to know we didn't get it right the first time.

 

Kim English - A native Floridian, Kim is the author of Coriander Jones Saves the World and the upcoming Coriander Jones On Assignment at Sabal Palm Academy. She lives in southwest Florida with her family and an ever increasing number of rescue pets. You can learn more about Kim and her books at CorianderJones.com

The Organized Writer: Using a Chapter Framework to Manage Plots and Subplots

I should start by saying, first, I am not an organized writer. And that's part of the reason I'm writing this post. Until I started writing mysteries, I was a proud pantser who sorta/kinda organized plot events as she went along. But no more.

For one thing, mysteries need to be tightly plotted. For another, I'm contracted to turn in an outline many months in advance of a manuscript. And though the outline was helpful, it wasn't enough for me in terms of structuring my story. I needed an extra layer of organization that would help me flesh out and manage the main mystery plot, as well as the subplots. So I tried each of the following, sometimes in isolation, sometimes all together:

• sticky notes
• colored sticky notes
• index cards
• colored index cards
• writers' software 
• highlighting text in Word
• changing the color of my text in Word
• using an Excel spread sheet
• using the table function in Word
• using a large whiteboard with different color dry erase markers
• using a blotter-size desk calendar for the timeline
• making a flow chart of plot events

As you can imagine, my office is a pretty messy place. The index cards kept getting lost and the sticky notes wouldn't stay stuck. Excel, it turns out, will screw with you even more than Word, and I would end up getting confused by my own flow charts. (And I know that one of the QT bloggers uses writing software with great success, but her name is not Rosie.)

 So now I'm down to three main tools: the white board, which is invaluable in terms of scribbling ideas, re-ordering them, or just writing little notes to myself. The blotter size desk calendar serves well for a timeline; the blocks are large enough to write in, and personally, I need big visuals. But the board and the calendar, like my editorial outline, aid me in macro-plotting: where the story is going and how it's getting there. I think of those things as a map. It's the micro-plotting--exploring motivation and showing cause and effect, planting clues and red herrings, both to the mystery and to the personal life of my protagonist, and delineating the interior life of my main character--that I tend to get lost. So my third tool is the table function in Word, which I use to create a compass to go with the map:  

The table function in Word helps me track my main plot and subplots.

While working with Word can be less than rewarding for a writer, I do like the nifty table function. It's easy to use and manipulate. I set up a fairly simple chart for myself; the one pictured here is the one I'm using for my WIP, The Wedding Soup Murder. It uses a chapter breakdown in which I indicate place, time, date, and characters. I use red text for the main mystery plot, and other colors for the subplots. As I draft each chapter, I go back and fill in the chart. The chart, or my story compass, helps me stay on course in a number of ways.

For example, cozy mysteries move at a fairly quick pace. If I look back over my chart and see that the green, purple, and blue text is taking up more space than the red, I go back to the ms and ensure that the subplots aren't bogging down the main story. I can read straight down the red text and isolate the main plot from the subplots, to make sure the mystery arc is swift, tight, and logical without the distraction of my main character's love life. On the other side of things, I can choose a color and follow that subplot, but I can also see how it is threaded into the main story, chapter by chapter. The chart also helps me identify a missing element. My main character has two love interests; I indicate one in green text and the other in blue. When I looked over my chart I realized that the blue ink didn't show up until Chapter Six. Her second guy had gotten short shrift in the story, so now I am working on ways to introduce him sooner. One last reason to love the chart: it makes a nice break from composing. Filling in another chapter is rewarding, and provides evidence of my progress.

Whether we use sticky notes or fancy software, we all need to find our own way through our stories. What about you? What serves as your map? Your compass?

A Jersey girl born and bred, Rosie Genova left her heart at the shore, which serves as the setting for much of her work. Her new series, the Italian Kitchen Mysteries, is informed by her deep appreciation for good food, her pride in her heritage, and her love of classic mysteries, from Nancy Drew to Miss Marple. Her debut novel, Murder and Marinara, will be released October 1. An English teacher by day and novelist by night, Rosie also writes women’s fiction as Rosemary DiBattista. She lives fifty miles from the nearest ocean  in central New Jersey, with her husband, two of her three sons, and an ill-behaved fox terrier.