All About the Authors

Helping edit, publish, and market your book.

Category: traditional publishing (page 2 of 3)

What Do Literary Agents Do for an Author?

 

Many of my clients feel overwhelmed by the prospect of book publishing. How is it possible for an unknown writer to access the big, untouchable editors and publishing houses in New York? They worry that you have to know someone in order to get published. Without good connections, it seems, the process of getting a book contract from an established publisher is unreachable.

That’s where literary agents come in. They are the gatekeepers for publishers. The “Big Five” publishers (Penguin Random House, Simon and Schuster, Hachette, Macmillan, and HarperCollins) in New York do not have time to read unsolicited manuscripts from the tens of thousands of authors (if not hundreds of thousands) who are looking to get published every year. Instead they have relationship with trusted literary agents, who are known for their reputation to find great writers and book projects, and match them up with the perfect editor.

Almost every literary agent (except those who are closed to submissions) is accessible to authors through their submissions policies. Query them via email, and if they are interested, they will write you back and ask to see a sample of your manuscript or a whole manuscript. It’s vitally important that your query letter is professional, follows the format the agent is looking for, and is compelling enough for the agent to want to read more.

If you are lucky enough to get an agent, they may or may not help you to tweak your manuscript to get it ready to submit. Most agents prefer books that are “turn-key” – in other words, that are ready to be turned around and sent out the next day. But some agents think that they can improve the manuscript in some small way, and work with you to make the book more marketable (note, this is rare, and more true in the case of nonfiction). Then they will come up with a submissions list of where they will try to sell your book, pitch your book, and hopefully find a home for your book.In my video about this subject to be posted this week, I’ll be discussing many of the ways literary agents help their clients, what to expect out of the relationship, what not to expect, a typical contract they might ask you to sign, and what to do if the relationship is no longer working.

 

 

Eight Tips for How to Take Criticism

If you’re lucky and if you look for it, during the writing, rewriting, and submitting process, you’ll get some feedback and advice. In my video this week, I talk about why agents don’t often give any feedback (or even a rejection) these days. So if you get some, it’s valuable. It can be hard to take criticism, even when it’s constructive, so here are some tips:

1. If you can’t take criticism early and in private, you’ll get it later and in public.
If you have a hard time hearing where your book might be flawed from your friends, beta readers, and your editor, pause, take a deep breath, and vow to dive in and deal with it anyway. Because if you don’t fix those flaws, they won’t magically disappear. It’s much better to hear this feedback now, when you can still address the problems, then to read about them in a review, after your book has been published, when you can’t fix it, and everyone can see the criticism.

2. Take it with the intention it is meant
Editors only want your work to be the best it can be. We have no skin in the game if you don’t take our advice and don’t address your manuscript’s issues, so there is no incentive for an editor to make bad or erroneous suggestions. Your friends and family don’t want to see you be embarrassed. Your writing group just wants to help you improve and to give equivalent feedback to what they’ve been receiving from you. No one is trying to demoralize you or put you down. This isn’t about you; it’s about the story (even if it’s memoir). If someone does make personal pot-shots, cut them out of the loop permanently.

3. Get multiple opinions—do they all agree?
One of us had a client who had a big flaw in his book. He didn’t take her advice. But he mentioned that another reader had pointed out the same problem. So he ignored two readers’ suggestions to fix it. He was later taken to task for this error in a review. Moral of the story: if multiple readers are pointing out the same problem, then it really is a problem and you need to look at it more closely. If more than one person isn’t getting something in your story, you haven’t made it clear regardless of how you meant it to read. Feel free to get a second opinion. Multiple readers are a great idea. What more than one of them points out is something you need to pay particular attention to.

4. Do not respond in the heat of the moment. Do not.
Sleep on it. Sit with it for a few days. The immediacy of hurt will fade and you’ll be able to see the issue more plainly and without the clouds of emotions. This is especially true if the criticism is something in public such as a review or an online comment. Don’t address those at all. They never end well. Everyone is entitled to his or her opinion.

Letters From People5. Do not awfulize.
Criticism does not equal “I hate it.” The longest editorial letters I write are for the books I really love. There’s a thin line between love and hate. The opposite of love is indifference. That’s where the real danger lies. But if I have a hundred issues I pointed out, that doesn’t mean you’re awful or the book’s awful or you’re never going to get published. It just means you have a hundred issues to look at and think over.

6. Listen to this podcast about dealing with criticism

7. Read this book about hate mail: Letters From People Who Hate Me by Steve Almond 

8. Rone_star_amazon_reviewsead these scathing reviews of books that are now classics.

Appreciate that there are people who want to help your writing improve. And it will. Writing is a skill and it gets better with practice, and with coaching. No one is born writing like Shakespeare, not even Shakespeare himself.

Serving authors both together and within our own businesses

All About the Authors’ founders and partners know the book business. Not only have we joined to launch an explosive new site for authors that offers tips and guidance on editing, publishing, and marketing their books, but we are all business owners within our own book niche.

IMG_2417

Betsy and Carin

Carin Siegfried, owner of CS Editorial, offers a wide variety of services including developmental and line editing, academic editing, and query letter and synopsis writing. She began her business five years ago after leaving Charlotte-based book wholesaler Baker & Taylor.   Carin’s extensive credentials include working at St. Martin’s Press in New York City and Ingram Book Group in Nashville before moving to Charlotte. She is the author of The Insider’s Guide to a Career in Book Publishing and National President of the Women’s National Book Association.

Betsy Thorpe is the owner of Betsy Thorpe Literary Services. Betsy’s impressive credentials include working as an editor at many of the big publishing houses in New York City as an acquisitions and developmental editor. Betsy specializes in developmental (big-picture) editing, book consulting, and ghostwriting.  She has co-written many books, including the best-selling book 365 Nights, and her first novel just attained an agent. She is the former Vice-President of the Women’s National Book Association-Charlotte.

IMG_2583

Priscilla

Priscilla Goudreau-Santos owns Priscilla Goudreau Public Relations & Marketing. She began specializing in book and author publicity two years ago after an amazing, highly successful, twenty-plus-year career as a marketing and public relations consultant, publicist, writer and ed
itor. PGPR&M offers campaign, content and digital strategy, event coordination, writing, editing, and press relations. Priscilla is the current Publicity Chair for the Women’s National Book Association-Charlotte.

AyersNicole Ayers, owner of Ayers Edits, shares her editing expertise with writers interested in self-publishing or traditional publishing. She offers developmental editing, line editing, copyediting, and proofreading. She is available on a consultative basis for others services, such as assistance writing query letters. She opened her freelance editing business two years ago after more than a decade of experience teaching writers and working with a National Writing Project affiliate.  She is currently Events Chair for the Women’s National Book Association-Charlotte. Nicole is also an assistant editor for The Bookwoman, the WNBA national newsletter, and is a member of the Editorial Freelancers Association.

IMG_2600

Karen

Karen Alley owns Karen Alley Writing Services.  She began work as freelance writer and editor 10 years ago, after a publishing career that included work as an assistant editor in book production for Digital Text Construction, and serving as editor of two separate magazines, the IGA Grocergram and Carolina Gardener. Karen spends a lot of time writing for various clienets, as well as keeping her blog, Blending it Up, updated. Her editing work focuses on developmental and line editing, and she loves working on fiction, especially romance novels, as well as non-fiction projects.

Working within our own businesses and joining forces as a partnership is all about achieving the All About the Authors’ mission: to better serve authors. And between us, we have a tremendous depth of knowledge. Combined, we’ve worked with authors whose successful books have included a New York Times bestseller, a Barnes & Noble Discover Great New Writers selection, a Kirkus Books Best Indie Book, an iBook Pick of the Year, a Red City Review Book Award Finalist and a New York Public Library Best Books for Teens.

Find out more about each book pro at Meet the Team. And, join the All About the Authors’ author community to learn how you can achieve your goals and dreams.

Is a Small Publisher Right for You?

Most writers, when they think of publishing through traditional channels, think of the big guys: DalkeyHarperCollins, Random House, and the like. And to get in those doors, you do need a literary agent. But what happens when you start hearing a lot of “No” from agents? Or hearing nothing at all? Is your reaction, “Well, then I guess I need to self-publish!” Hold off, because there is a vast area in between. In my video this week, I talk about three reasons you should very seriously consider going with a small press before turning to self-publishing.

There are an estimated two thousand publishers in the United States. Many of them belong to the Independent Book Publishers Association (which is why it has been confusing for self-publishing to John F Blairstart calling itself “indie publishing.” There already have been independent publishers around for decades.) Many if not most small publishers do accept unagented submissions. Many have very targeted publishing focuses, which can make it easy to find the right publisher for you. They can take more risks, and you can be a big fish in a small pond instead of the reverse. Small presses might haveMilkweed a regional bent, might be not-for-profit, might be affiliated with a university, or might be on the verge of growing into a major player.

When looking for a small publisher that might be right for you, keep these three questions in mind:

  1. Who does their selling and distribution? There are a number of distributors for small presses, and those distributors are very important in allowing the small presses to get appointments with and sell into the bookstore chains, major independent bookstores, and libraries. Their warehousing and shipping consolidation makes your publisher seem more like one of the big guys. You want to be sure your publisher’s relationship with their distributor is strong and firm—and not likely to change right after your book has released.
  2. What other books do they sell? Who will be the other books in the catalog next to yours? What books will your book be next to? Is their publishing philosophy one your agree with acrCoffee Houseoss the board? This isn’t the time to get desperate and go with the first offer that comes your way—check out their other books and see if you think the editorial and production values are what you want, that the website is up to snuff, and that they give the professional feel you are looking for.
  3. Is this a stepping-stone or are you looking for a lifelong relationship? Plenty of authors stay with the small publisher that believed in them and gave them a chance, while others move on to greener pastures when they have the clout to do so. Which future you prefer should affect the contract you sign with the publisher. If you will be unagented, read carefully the options clause and see if you’d like it to be more narrowly defined. Or you can try to get a two-book deal. When you don’t have an agent you need to read up on the aspects of a publishing contract and fully understand the various clauses and what they will mean for your career.Forest Ave

So before you give up on your dream of being traditionally published, you need to fully understand everything that falls under the umbrella of traditiGraywolfonal publishing. This is not a business for the impatient; keep submitting, keep researching, keep trying, as there are hundreds more options than just The Big Five. Small press publishing just might be right for you.

Ghostwriters – Not Just for the Infamous

You might know about ghostwriters from when a famous reality star has her fifteen minutes of fame, and is asked to write a book about her life. Remember Snookie? The naked guy from 51eHkxgZWNL._SX413_BO1,204,203,200_Survivor? A Real Housewife? Most of these people are not writers.57cadcd00ab945ecb4d1722a3518c132.1500

 

How about the football star who is the winning quarterback in the Superbowl? Everyone wants to know his story, how he went from scrawny eight year old to multi-talented (and super-model-esque) to seemingly invincible hero.

Or, you may have heard that when a politician is running for office, he signs a deal to write a feel good story about his all-American upbringing hi51DV+gcn-6L._AA160_s rags to riches tale, his manifesto of how he wants to make America right again. Most politicians are not writers, or they simply don’t have the time to sit down and write it.

What these scenarios have in common is that the “author” needs to hire a ghostwriter. But ghostwriters aren’t just for the famous (or infamous). A lot of my clients are doctors, psychologists, retired professional athletes, nutritionists, people who have overcome adversity and have a tale to tell, or people who have a great idea that they want to share. Many are speakers and businessmen and women who want to share their ideas in book form, and leave the listeners at conferences where they speak a lasting reminder of their day with them.51HvjG7mukL._SX331_BO1,204,203,200_

Many people on the speakers’ circuit actually need a book in order to get bookings. Businesses and charities who book speakers like to have books as a give-away (ensuring sales) and it gives the speaker cache that they are published authors.

So many dream of writing a book, but do not have the time or ability. Enter the ghost-writer. We come from various backgrounds, but many of us come from either journalism, or have always been authors, or are former book publishing editors, like me. We work in a variety of ways, but generally we spend time interviewing the author, read their papers, listen to their speeches. We try to capture the voice and the vision of the author and turn it into the best it can be.

To find out more about the costs of a ghost-writer, the time you need to spend with the ghost-writers, and tricky topics like who gets credit and where, become a subscribing member, and watch my video, which will post this week.

The Worst Advice We’ve Heard About Book Publicity

megaphone-kid-cropped1You must do a book tour

Ask a handful of published authors or better yet, go to a local book signing and discover why book tours aren’t a must for most authors. Unless you have an established following or are part of a larger group such as a YA panel, a book signing may be a bust. Bookstores depend on authors to bring in a crowd and often underestimate attendance.  I represented a Nashville author who wanted help arranging his book launch. The large-chain bookstore underestimated attendance and had to ask him to bring an extra box of books for the signing. If not for his personal following and our combined publicity efforts, he might be like the majority of authors who show up to only a handful of dedicated fans.

Why bother with a social media campaign?

Today’s industry standard includes a social media campaign. I know, I know, you’re a writer not a Facebook positor of trivialities or a “Tweeter” of the banal. But, believe me when I say that publishing contracts are sometimes awarded to those who have built a large fan base proving that people are interested in them and what they have to say. Start with social media that you like and that makes sense for you. Make sure you’re targeting your audience – Facebook is known to be popular with women, Google+ with men. Today’s book publicity is fueled by social media. Try it – you might like it.

Media outreach isn’t important

Let’s face it – it’s hard to sell yourself. Everyone (or almost everyone) has trouble with self-promotion. But if you’re self-published or even if you aren’t, media outreach is a crucial part of standing out in your community and in the larger book world. Not only should you seek stories about yourself and your book or books but also the crucial reviews that can help launch you onto a larger platform.

You have to be on Oprah to achieve success

This is a famous battle cry for wanna be top-selling authors. The gold stamp of approval is being endorsed by Oprah and it is, of course. It’s just really, really hard to achieve and an unrealistic goal for a beginning or modestly successful author. Yes, it’s important to reach for the stars but keep your feet on the ground, too. Look for media opportunities in your local community or groups. Branch out from there with targeted outreach to media in ever widening circles and don’t give up. It’s usually just when you want to quit that you get that exciting phone call from a journalist or radio show host who is interested in interviewing you.

Garner book reviews by badgering reviewers

Reviewers are people, too, and usually very busy people. Treat these contacts with respect similarly to journalists who have limited time to find out about you unless you and your book are interesting to them. Find out if the reviewer covers your genre and work to develop a relationship with him or her. Send a personalized email asking if he would like a copy of your book (and in what format) and then follow-up. It’s a waste of a good book if you send it to a reviewer who isn’t interested or just doesn’t have time.

Book publicity isn’t selling

As an author, especially a self-published author, you are an entrepreneur with a product to sell. What you need to do is become comfortable with the process. Whether you’re promoting your book through social media, media outreach, with a book tour or signing, or by giving talks in your community and at conferences, you’re selling. And, the best part is that it’s something that you’re passionate about. Get out there and have fun!

 

When Do You Know You Need an Editor?

You’ve spent IMG_2233months, perhaps years, writing your manuscript. You’re revised, rewritten, edited, heard criticism from your writers’ group and beta readers. Isn’t your book done? Can’t you send it off to publishers now? How can you tell if you need to hire a professional editor?

One sign of needing an editor is if you feel that the manuscript is “the best I can do.” That’s not the same as knowing it’s great and really a wonderful novel. If you think, “It’s okay, but I don’t know how else to improve it,” that’s a big sign that a professional editor can be of help.

Another sign is if you think it is wonderful but… there’s that one little thing. Maybe it’s a plot hole you’re hoping readers will ignore, or a character you know just isn’t gelling or a climactic scene that falls flat. All of these are issues an editor can help with.

Is the book too long? If you’re considering trying to get a contract with one of the big traditional publishers, your manuscript must be a certain length. If it’s falling short, an editor can suggest more content that she thinks is missing from the plot. But we find the opposite problem to be true for most novelists: the book is running thousands of words long, and the author has tried but can’t find any more cuts to make from the book. A professional editor is not wedded to your each and every word: we are wedded to making the best, most compelling story, and if there is extraneous material, we can find it and excise it.

And of course if you’re planning to self-publish, you definitely need an outside editor. After all, you’ll be missing out on the advice from both a literary agent and a publishing house editor that you would have gotten in the traditional route. But there’s no reason that means you have to put out a book that’s flawed. Independent editors are here to fill that gap. You might not know what it is you need help with—after all everyone has their blind spots—but editors can help with so many concerns, big and small. A fresh pair of eyes can notice things you overlooked or had always planned in your head to include but forgot to actually type in.

After all this book will be out in the world with your name on it. Do you want it to be anything less than perfect?

 

Building your fan base means more readers!

writing-with-pen-3Where are you in your author journey? Did you know that marketing your book begins about the same time as writing your book or at least one year to six months before launch? Many authors are faced with this conundrum: if no one knows who you are, how will they buy your book? Traditional publishers also look to their authors to develop a following on their own. And, having an established following may be part of why an author is chosen for publication.

My name is Priscila Goudreau-Santos and I’m a Publicist and Marketing Specialist now living in Charlotte, NC.  I also specialize in book and author publicity. My background includes working as a journalist, public relations specialist and communications expert for a number of clients. I started my own business in 1996 and since then have been approached by many authors — both published and yet-to-be published writers who are asking for help in getting the word out about themselves and their books. How do you begin crafting your message and marketing strategy? It’s all about building your fan base…including social media networking, websites, blogs, and traditional press releases and media contacts.

First of all, how do you brand yourself? How do people find you or see you as different from others.  Set yourself apart from other authors by asking these questions:

  • How am I unique?
  • Why did I write my book?
  • Who is my market (including age group, gender and preferences)?

These are just some of the questions you should ask to find out who is your target and how do you reach them.

Next, formulate a marketing plan targeted to your audience. It sounds overwhelming task but it’s a lot easier to do it in steps. This centers around your Author Platform or (brand or position) where you chose your key message: religion, conservation, healthcare, intrigue, Sci-Fi, etc. What are you trying to say?

Then, make sure that you do what marketers of products do best by branding your image or message with colors or photos. If you use the same color, picture and message in all of your marketing and publicity, your fans will begin to recognize you. In the Carolinas, when you see a black panther with bright blue trim, do you think of the Carolina Panthers? And, the catch phrase says it all: Two States. One Team.

Next, choose the way that you’d like people to connect with you by choosing to create a website or blog. There are different websites that allow you to create your own website free of charge such as Wix.com or WordPress.com or you can hire a professional to help with the technical and creative aspects. You’ll want your vision to portray you and your book in a unique way that you like. If you like it, chances are your followers will like it, too.

Then, use this platform to launch social media that will further connect with your followers. It’s all about connections. Again, choose ones that you like and use and that your followers use. Using all the tools in the toolbox, start to think ahead to using traditional media like press releases, social media and other elements and how they all work together. For example, if you send out a press release announcing your book launch, make sure that you make this announcement on your social media as well. There’s so much competition for everyone’s attention that you have to repeat your message often and on as many channels as possible.

Be creative and have fun. Use videos to set your campaign apart that you can post on your website, in your blog or send via link to your fans. If pictures are part of your message, then set up a Pinterest site and ask your followers to join and pin pictures to your boards. Make your campaign as interactive as possible. There are so many creative ways to set yourself apart and get noticed.

Traditional v. Self-Publishing

Whether or not to self-publish is a big decision as you can’t undo it once it’s done. Yes, there are always stories about wildly successful books that started out as self-published but later were traditionally published, such as:

What Color is Your Parachute by Richard Nelson Bolles

The Christmas Box by Richard Paul Evans

The One-Minute Manager by Ken Blanchard and Spencer Johnson

The Joy of Cooking by Irma RombauerLife's Litt

Life’s Little Instruction Book by H. Jackson Brown

Juggling for the Complete Klutz by John Cassidy (actually this author then started a publishing company, Klutz Books)

Fifty Shades of Grey by E.L. James

The Shack by Wm. Paul Young

But what is rarely noted in these stories of amazing self-publishing success, is that the prize at the end of that road is: traditional publishing. Like Amanda Hocking has said, running a publishing business is not for the faint of heart or for those who want to focus on writing, even if it is financially successful. (She started publishing with St. Martin’s Press once her books became bestsellers.) There are both pluses and minuses to both routes that ought to be fully considered before making a decision. And the fact that traditional publishing is a slow process shouldn’t be the deciding factor (have some patience!) Many books were rejected a lot and went on to be huge hits, such as:

Chicken Soup for the Soul by Jack Canfield and Mark Victor Hansen was rejected 140 timesZen and

The Help by Kathryn Sockett, 60 times

Zen and the Art of Motorcycle Maintenance by Robert Persig, 121 times

Carrie by Stephen King, 30 times

The Eyre Affair by Jasper Fforde, 76 times

A Wrinkle in Time by Madeline L’Engle, 26 times

Gone With the Wind by Margaret Mitchell, 38 times

And to Think That I Saw It on Mulberry Street by Dr. Suess, 27 times

So you may have to have persistence and you will certainly need a thick skin in this business.

Where to Self-Publish

The hows of traditional publishing will be covered in a later podcast and video, but a few details about self-publishing for now. First of all, Amazon is not the only game in town. And you really need to think twice before going with Amazon as that will exclude nearly all other book outlets, even if you don’t do an exclusive deal with Amazon (independent bookstores and chains like B&N do not like to purchase from a competitor, which Amazon is, and frequently will refuse to carry books printed by them.) There are a lot of companies to look into with a lot of options, here is a sampling of some of the larger ones:

Many of these companies offer package deals that may include editing, copyediting, ISBN, cover design, and marketing.

Other Questions to Ask

And a few other decisions you will need to make:

  • Will you be publishing an ebook? A print book? Both? Will print books be printed in a large quantity (offset printing) or one at a time (print-on-demand)?
  • Doing your own marketing and publicity:
    • What are blogs that review self-published books? Should you pay for a book blog tour?
    • What traditional review companies accept self-published books for review? How much does it cost? How much advance time do they need before the publication date?
    • How can you target your audience?
    • What social media outlets work best for you and for your book? How can you raise your level of visibility?
    • Should you hire an independent publicist?

It may sounds like I think everyone ought to go with traditional publishing and that’s certainly not true. I self-published a book myself in fact! It’s called The Insider’s Guide to a Career in Book Publishing. And you can read a post on my personal blog about the cost of that process. I just think the majority of writers make this decision without all the facts in front of them, and it’s a decision that needs to be fully explored and thought over carefully.

What Type of Editing Do You Need?

You’ve written your last sentence and hit save (twice—just to be sure it worked). Time to celebrate! You’re finished, right? Well, no, you’re not. Now it’s time to dig in and get dirty. You still have niggling doubts that your main character isn’t likeable or that your explanation is clear as mud. Maybe you’ve gotten less than positive feedback from critique group members or early readers. And it could be that you still have no idea what a comma splice is, but you know you’re guilty of committing this grammar crime.

The problem is that you don’t know exactly what your problems are or how you can fix them. That’s when you know it’s time to hire an editor. Sometimes you don’t even realize that you need an editor, but you have a wise friend who’s told you that you do. You trust this friend. And that’s good because your friend is right. Having your book professionally edited is one of the best things you can do for your writing career. Without a solid manuscript, you’re dead in the water. A great query might prompt an agent to request your manuscript, but without solid writing, you won’t snag a contract. Same goes for self-publishing. You can’t compete in a saturated market without a well-written book. A professional editor can give you advice that propels you to the next level.

So you fire up Google, search for editing services, and just stare. Who knew there were so many different types of editing? What services do you need?

Let’s clear up some of this confusion. While there are many types of editing available, the basic services you may need are developmental editing, line editing and/or copyediting, and proofreading.

Whether you plan to self-publish or find a literary agent to represent you, a developmental edit is a good idea. Developmental editing, also called structural or substantive editing (those sneaky editors—calling the same service different names), addresses the big picture elements of your manuscript. In fiction, these are character analysis, point of view, setting, timeline, story arc, pacing, and tone. In nonfiction, editors look at organization, style, point of view, pacing, and comparative analysis. The editor will mark up your manuscript, pointing out the good and the bad, with lots of viable suggestions to improve your manuscript.

Line editing and copyediting are often confused and thought to be synonymous. These services do have a few differences though. A line edit is a more intense service, and the editor will provide a hands-on approach to make your sentences crisp, eliminate jargon, or make dialogue sound belietrack changesvable. Sometimes an editor will provide line editing during the developmental editing phase, and you’ll need a separate copyedit after revisions. But if you hire an editor for a line edit only, this service should include a copyedit. So what does a copyedit include? Copyediting addresses manuscript issues at the word level: grammar, spelling, punctuation, capitalization, treatment of numbers, consistency, and repetition. A copyeditor will point out a confusing sentence. A line editor will rewrite the sentence. You definitely need a copyedit (and possibly a line edit) if you plan to self-publish a quality book. However, if you hope to publish traditionally, you can hold off on this service.

If you’re still a little confused about whether you need a line edit or a copyedit and what that should include, you’re in good company. Editors don’t always agree on this either. That’s why it’s important to nail down exactly what your editor is going to do, regardless of what she calls it.

Proofreading is a final look at your manuscript before it is published. A proofreader will catch typos, inconsistencies, and issues with formatting, such as bad line breaks. You should not need a proofread until your book has been formatted and is ready to make its way into the world.

Now that you know what the basic editing services entail, you should be able to decide what service(s) you need. Figuring out the service you need is helpful when you begin the search for an editor because many editors specialize. If finding the perfect editor sounds daunting, there will soon be a video on this very topic, so stay tuned.

Older posts Newer posts