Editors Put the E in E-Publishing

The topic of discussion at this week's Ridgefield Writers Guild meeting was e-publishing — whether to, how to, when to — you name it. One take-away was the importance of selecting an e-publisher that offers good editing services. E-publishing author and expert Shawn Wilhelm (aka Tarah Scott) made the point that at some stage in a writer's career — probably the earlier the better — it's important to work with an editor whom the writer is not paying directly. And you're hearing that from someone who makes a living editing.

The point is that an editor whom you're paying, who's not part of a publisher's stable of editors — freelance or otherwise — instantly has a vested interest in making you, the writer, happy. That usually means the editor is less likely to be completely impartial about your work — and your mistakes. E-publishing authors listed having a good editor as the most important facet of their writing.

Whether you opt to self-publish, e-publish or traditionally publish your work, the same principle applies — a good editor is worth her weight in gold.

Happy writing — and editing!

Resources: Preditors and Editors and Manuscript Editing   

"On a Clear Day: Editing for Clarity and Publication - Part 2"

This is the second in a four-part series on editing for clarity and publication. For clear communication, it's best know what you want to say and how to say it. Today we describe, diagnose and provide fixes for the second of four common problems that keep writers from publication: wordiness.

Problem: Verbosity comes in variations. Words can be unnecessary, overabundant or repetitious. Repetition can also present as recurring text or scenes that don't add meaning or depth.

Diagnosis: Several ways to spot this problem are confusion, annoyance and, ultimately, avoidance. Readers will lose interest in descriptions or scenes that feel familiar and skip them altogether. If they really get annoyed, they'll walk away. If your trusted critique group or writing buddy has these responses, there's a problem.

Cure: Cut unnecessary words, use contractions, and expand your vocabulary by reading widely and using a thesaurus to make one word count for more. For sections or scenes that recur without added meaning or depth, ask yourself: What is this scene or story really about—why did you create it? How can it be revised to reveal character and advance plot, preferably both at once?

Betsy Lerner, literary agent and editor par excellence shares her knowledge of the subject at Betsy Lerner, Forest for the Trees.

Working With Editors: The Working Relationship

Here's the next post in the series on working with editors. Today's entry is on the working relationship between writers and editors, and how to make the most of it.

First, it's best to send your best work to an editor, otherwise you waste time and money. Once you polish the draft, here are some tips:

• Referrals are preferable, even in a nonpaying arrangement.
• Problems will arise, so professionalism, even with friends, is key.
• Don't react immediately when you see the corrections, which are likely to be more extensive and different than you thought. Instead, put the manuscript aside for a day.
• When you come back to it, review all the observations before passing judgment. Then test the changes by implementing them. Most often, you'll see improvement.
• If you're still in doubt, write out your questions and review them before sending them to your editor, making sure to use the opportunity for clarity and not to sni
• Each writer-editor relationship is unique, so don't be surprised if your experience differs from that of others even when you're working through a referral.
• At some point the honeymoon will be over, but this can be an opportunity for the relationship to mature. How you handle it sets a precedent for how you'll handle other aspects of the writing life, like reviews and publicity.
• Remember, this is a business — for both of you.