Tag Archives: Critique

The Things I’m Learning: Working With an Editor

In this series of posts, I’m sharing a few of the things that surprised me about publishing a book, as well as things I wish I’d known before I started. This is all personal experience and personal opinion, shared in case it helps someone. Your mileage may vary.

This is going to be a long post, and not of interest to everyone. Feel free to skip this one and join the party next week, or skip to the TL;DR version at the bottom. And again, this is about my choices and experiences. My way is not the only way. You can do it your way, and I respect that. We all cool?

I get a lot of questions about my editor: why I chose to use one, how I decided who to work with, how much it cost, what the process was like, and whether the decision has paid off. I think it was one of the best decisions I made for my book, so I thought I’d answer some of those questions today.

…And then I really need to get back to my real work, which means getting Torn ready for beta readers, who look at it before my editor does (more on that later).

So. Once I made the decision to publish independently*, I knew I wasn’t going to put out anything that was less than the best, most professional work I could produce. I know there’s a popular school of thought that says do your best, publish and move on, and then pay for editing later if there’s enough interest in the book. I can’t do that. My perfectionism will not allow do-overs, so it had to be right the first time.

In my case, that meant hiring an editor.

I had done my research already. I knew I wanted developmental editing, because though the story was as good as I could make it, and my beta readers were AMAZING, I knew it still had weak spots. I knew it needed line edits, because no one can catch all of his/her own errors. Also, the number one criticism I see on indie/self-pub books in reviews is “this could have used an editor,” and I didn’t want to put my readers through that.

(For anyone wondering, developmental editing = critiquing the story, finding plot holes/character inconsistencies, pointing out missed opportunities for kicking things up a notch… whatever. This can be done any time from the planning phase through edits. Line editing is fixing grammatical errors, changing sentence structure to be clearer or flow better, probably changing that string of three consecutive “ing” words up there, noting confusing sentences/blocking, etc. Some people call this copy editing, and define line editing differently, but this is what I was looking for.)

I had a list of a few editors to check out. There are a some whose blogs I follow who seem fantastic, and who are on my list for future projects, but I had one more item on my list: I wanted someone with experience in Fantasy. That narrowed the list down. While I would trust many professional, experienced editors to do line edits, I needed someone who knew world-building and magic systems.

Enter editor Joshua Essoe.

I’d been listening to the Hide and Create podcast for a few months, and knew that he knew his stuff. I liked what he said about those issues I mentioned above. I liked how he described his approach to editing. People seemed pleased with his work. I went to his website, looked things over, and decided to send my sample pages in and get an estimate.

I was so nervous. I hate sending my work out for critique, and this was the real thing. Someone was going to tell me how my work sucked so I could pay him money to tell me MORE about how my work sucked. Sweet deal, right?

Anyway, it was fine. He actually thought the first five pages were pretty good, but he made some line edits. I changed things, read it through, and knew I’d found my guy. He didn’t mess with my character’s voice, just made things smoother and clearer, and asked questions that helped me make the setting and character movements clearer.

The next question, of course, was money. I don’t like to talk about money. Monsieur Joshua Essoe charges an hourly rate (posted on his site if you’re THAT curious), and gives an estimate based on the sample and how long he thinks it will take to edit the full book. The estimate is subject to change, of course. If a mechanic gives you an estimate on changing your oil, then opens the hood to find the engine plastered in cat crap and roadkill (not to mention the parts that are falling off), your price is going to go up. Likewise for an editor who charges by the hour.** My estimate came in at something just north of 50 hours.

So yeah, it was a big decision. I had to talk it over with AJ, and explain that there was a good chance that this book wouldn’t earn that money back. Most books, especially first ones, don’t “earn out,” and any profits would need to go toward the next book’s production costs***. We’d have to think of it as an educational expense; I wanted an editor more than I wanted to take a few courses or try to go to a convention. More than just getting this one story fixed, I wanted to know where my writing needed to improve, and I knew I’d get that. It was an investment in me and my business, and (may all the gods of Tyrea bless him forever), AJ voted that I should go ahead with it.

I was shaking when I hit “send.” I may have barfed. Wait, maybe that was when I published. In any case, for the two weeks My Editor (yes, it’s fun to say that) had the book I was tense, jumpy, nervous… a joy to be around in all respects. He sent an updated estimate half-way through (not much change, but considerate of him nonetheless).

Was I nervous that I was wasting my our money? You bet. Terrified, in fact. What if it wasn’t worth it? What if Señor Joshua Essoe thought it was horrible and told me to change everything? What if he didn’t get what I was trying to do, and wanted to make the tone less modern and more TRADITIONAL, MEDIEVAL FANTASY? Ick. I mean, there’s nothing wrong with that, it’s just not what I like to read or write. What if it turned out my work was so horrible that I couldn’t publish, and had to give up writing, and had wasted our tax refund, and…

Sometimes having an over-active imagination sucks.

So then, on an evening in April, my phone binged its e-mail notification as I was getting ready for bed. By that point I was jumping to the ceiling every time that happened.

And there it was: Bound Edit Complete! And an attachment!

Nausea. Excitement. It was like Christmas morning, if we’d had the turkey the night before and it gave me salmonella.**** Obviously I wasn’t going to wait until morning to peek. AJ was working, the kids were in bed. Screw sleep, I had reading to do!

The editorial critique letter came in around 20 pages. This was the developmental editing, the big picture stuff, the things that would lead to revisions and scene re-writes.

And it was FANTASTIC.

That’s not to say it was all positive. Nooooooo sir.

The first paragraph was kind and wonderful. He said I was a good writer, that my characters were well-drawn and engaging, that he enjoyed the story right through.

The second paragraph said this: “If you feel like throwing things as you continue to go through the edit, come back and read that first paragraph again.”

Cue my nerves.

It was a fair warning, actually.

  • He critiqued my magic system, which seemed too broad and open, and allowed problems to be solved too easily. It wasn’t well-defined enough; that was my fault, as I’d accidentally edited much of the explain-y stuff out when I was trying to get the word-count down to trad-pub acceptable levels.
  • He reminded me that I had the ability to time-travel, to go back and set up important details early in the story so that they didn’t seem a little too convenient when they showed up later, or slow pacing when I had to explain them during exciting moments.
  • There were big issues with Aren’s character and motivation. Not surprising, given that he wasn’t even supposed to be a viewpoint character when I first came up with the concept for the story, or through most of the first draft.
  • The climax needed to be re-written, as it was too melodramatic.
  • He thought I should change the ending, and **SPOILER** suggested I not let certain aspects of the romantic storyline reach a conclusion until the next book.

There were other things, but I won’t list them all here. The letter concluded with another lovely paragraph about the book. More importantly, the body of the letter gave suggestions about how to fix the problems. *insert choirs of angels singing* And not only that, he had respected the story that I wanted to tell and the way I wanted to tell it.

So yeah, it was hard to hear there was so much room for improvement, but it made me sure I’d made the right decision in hiring my editor. I fell asleep that night with a huge grin on my face. It was going to take a lot of work, but this thing was going to be goooooood.

I read through the line notes the next day. These were done using Track Changes in Word– not my favourite program, but effective for this. There were changes to wording that I would accept or reject later. SO many of those. But more importantly, there were notes EVERYWHERE. Why would he do this? This statement doesn’t make sense. That concept needs to be explained sooner. Redundant. She wouldn’t be this comfortable with him yet. Cut. These characters are too stereotypical. There were also little notes that indicated personal reactions to the story, and those made it easier to get through the tough stuff: **cool!  **nice **this is awesome

My personal favourite correction.

My personal favourite correction.

Maybe it’s silly that I needed them, but those little bits of encouragement really made the whole thing a lot more pleasant. Yes, there were times when I made faces at the screen. Yes, in my sleep-deprived immaturity I may have giggled at the phrase “needs deeper penetration.” Yes, I did occasionally want to throw things.

In fact, what came next was the hardest work I’ve ever done on anything. I took the advice. I planned changes. I accepted most suggestions, and rejected a few (see aforementioned romantic conclusion and ending– truth is, I hate cliffhangers and unresolved romance as a reader, and I didn’t want to use them in this book. Not bad advice, just a personal decision. This is one of the reasons I went indie, after all). And at the end, I had a book I was truly proud of.

Was there anything I would change about the experience? I guess doing developmental and line edits separately would have been nice, though it would have been a LOT more expensive to have him take the time to do two passes. It would have allowed me to make the big changes and address major issues before he fixed up the smaller things. But keeping costs down was important at the time, too. And Joshua was great with follow-up stuff. I asked for clarification on a few points, bounced a few ideas off of him in e-mails, was probably a little annoying, and he was great about answering everything. He offered a wrap-up phone call, but I don’t really do phone stuff. E-mail it was. And he took a quick look at by cover copy and corrected a couple of grammatical/punctuation errors there, too.

Was it easy? No. My skin’s not as thick as it should be, though it’s getting tougher. But it was absolutely worth every dollar and every minute.

Is it for everyone? Probably not. I know I was lucky to be able to afford to do this (see aforementioned tax refund), and not everyone can. Many authors get by just fine without developmental editing, and line edits are usually cheaper. Some writers don’t work with editors at all. I’m sure people will read this and tell me I spent too much. That’s fine, if that’s your opinion. But my book came out of that editing so much stronger than it went in. It’s not a perfect book, but I’m confident that it’s the best I could make it.

Okay, there’s one typo. I need to fix that.

And yes, it has paid for itself already. I don’t like to talk money, but my fears about that were unfounded.

Before anyone asks, yes, Mr Essoe has agreed to work on Torn. If Bound hadn’t made enough money, I’d have had to find a cheaper route, but we’re good for now, and I’m thrilled about that. When my lovely, wonderful, and honest beta readers are done ripping it apart critiquing it, I’ll fix the problems they identify, and then send it off. Fewer problems = less for mister editor to fix = less expensive for me. I highly recommend doing it this way if you’re using an editor.

TL;DR VERSION

Why I decided to use an editor: The book was good, but I needed professional help if I wanted it to kick ass.

How I found mine: Heard him on a podcast, was blown away by the sample edit.

How much it cost: More than my first car, less than my current one.

Holy crap, really?: Yes.  This is a good post on what they do, and average rates. There’s another FANTASTIC post out there on why they charge as much as they do (taxes, business expenses, non-billable hours, etc), but I can’t find it. If anyone knows the one I’m talking about, please drop a link in the comments!

What the process was like: Amazing. Humbling. Uplifting. Inspiring. Confidence-boosting. Challenging. Grey-hair inducing. SWELL.

Has it paid off: In my case, absolutely. Your mileage may vary. This is all personal experience.

So I hope that helps someone, and now I have a post I can refer people to when they ask. WIN-WIN, guys.

*No, I don’t like the term self-published, because it has a stigma attached to it and because I don’t do it all myself. I operate like a micro-press that works with freelance editors, cover artists, and formatters. It just happens to only represent one author.

**Many do charge by word-count. I consider them brave souls!

*** General advice is to expect to release 3-5 books before you’re making much money, so that’s how I planned it.

****Sorry for that visual.

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Oh, Happy Day

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Eight pages, guys.

Eight pages until I’m done this *expletive deleted* round of revisions. There are still a few changes to make in the last chapter, but the end (or rather, The End) is so close I can smell it.

And folks, it smells goooood.

I can’t type fast enough to keep up with all of the exciting that’s happening right now. I know how it ends, and I’m still getting all twitchy. It’s a great feeling.

Know what else is a great feeling? This:

Last night, my brother called me. This doesn’t happen often, but wasn’t entirely unexpected, since we’re staying with him and his adorable family when we visit Ontario later this month. But one of the reasons he called this time was to inform me that my sister-in-law had got a hold of my book. It was an old version, the first one I sent out to volunteer victims readers for feedback, but which my brother hadn’t had time to read (true fact: no one in my family had read it up to this point). I got quite nervous when he said that.

Verdict?

Apparently I have two weeks to finish the next book so she can read that one, too.

Yaaaaay! I mean, that’s impossible for me, but that’s a great reaction!

Gotta love when that happens. It wasn’t just that someone said that they enjoyed the story and wanted more, but that it came out of the blue, from someone who had no obligation to read or to give me feedback. I wasn’t waiting to hear what she thought, because I didn’t know she was reading it. If she’d hated it, she could have said nothing and told my brother to chuck it in the garbage. Instead, he’s going to read it. I told him to wait for the revised version, but he’s thinking about reading both and letting me know what he thinks of the changes.

Wow.

So that’s one more person who’s going to beta read for me when this thing gets wrapped up. For anyone else who’s waiting, the plan is to finish what I’m doing now (probably tomorrow, if I can sleep tonight and not get up to write), then go through backwards to polish everything up right nice n’ shiny, and then I’ll be in touch to see if you’re still interested and to find out what format you want it in.

And then I’ll hyperventilate until people get back to me, and then I’ll probably cry a bit, and then I’ll get back to work.

Sounds like a plan?


Stop Being Awesome. Stop it NOW.

Seriously, guys. I go away for the weekend to the Land That WiFi Forgot, and I come back to an impossible number of tempting blog posts in my WordPress reader. Even being selective has left me with over a dozen open tabs waiting to be read.

WHAT ARE YOU DOING TO ME?

Knock it off with the insight and the encouragement and the sharing of links that I then have to click on and read because they are ALSO useful or delightful. Stop making me happy to see your names on those posts and your smiling faces beside your re-blogs.

Stop being such an amazing community of writers, because it’s super distracting. I don’t have time for this many superstars in my life.

*sigh*

Ugh, fine, don’t look at me like that. You just keep doing what you do, I’ll deal with it somehow. Just don’t expect big word count numbers from me until I get caught up. 🙂

(I wish I could say I used the weekend for that,  but I find it hard to get writing done at the in-laws’ house. I did get more editing done on Bound, though, and I’m thinking I need a couple more beta readers for mid-to-late summer. I’ll put up a post requesting those when the time comes, but if anyone wants to volunteer to subject yourself to that, I’m just looking for people who are willing to point out story/character issues, slow spots, unanswered questions that absolutely can’t wait for the sequel, WTF moments… the big stuff, no need for nitty-gritty grammar issues just yet. Raise your hand, shoot me a message at kate.sparkes (at) live (dot) ca, send up a smoke signal somewhere visible from my house, whatever. And bring the awesome!)


The Five stages of Critique

I’ve been blessed with a critique partner. A good one, too. I have no real idea who she is, but she’s beyond helpful. She’s finding little problems I hadn’t even thought to think of before (like asking how many people a single duck will actually feed), passages where I might be trying to fit just a wee bit too much backstory into a scene, and typos that I somehow missed on my first dozen read-throughs.

She gives me positive comments, too- kind of the sugar that helps that bitter, bitter medicine go down. Those I can take. They make me feel happy and warm and fuzzy and kittens and butterflies and rainbows and unicorn farts.

The negative “helpful” ones, though… I might not react so well to those.

This is normal, right? Surely I’m not the only one who reads a comment and goes through the five stages of Critique:

1. Denial

“No. What the hell is she even talking about? Did she READ what was on the page? There’s nothing wrong with that passage.”

“Nope, nope, nope.”

*major WTF facial expressions*

2. Anger

*snarling, bared teeth, increased heart rate*

“Who does she think she is? How dare she attack my precious work like this?”

“Wrong, wrong, WRONG. This is all her, she’s being too nit-picky. This was a BAD IDEA.”

*more snarling and growling and gnashing of teeth*

3. Bargaining

*trembling and/or deep breaths*

“OK. Well, it wouldn’t be so much of a problem if she’d just read what happens 5 chapters from now… maybe if I send that next part she’ll see it differently.”

“It can’t be that big a problem. No, if I just shift around three or four words over here, maybe that will fix this glaring plot hole that she claims to have found.”

*reaching for alcohol and beaucoup de emo music*

4. Depression

“Oh my god I SUUUUCK! I’m the worst writer in all of the history of all of the things! I can’t fix this.”

“I’m going to have to give up. Look at all those notes… I bet all of them are negative. I can’t fix this.”

“I’m a failure. I’ll never get this right. I’m not good enough to fix this. This whole thing was a mistake. I can’t handle this.”

“In case I didn’t say this quite loudly enough before… I SUUUUUUUCK!!!”

5. Acceptance

“Ugh. Let me look at that again. Huh. Well, maybe that does repeat something I said earlier, just a little. And I guess using the word ‘generally’ does weaken that sentence. I’m gonna politely disagree and leave this one alone, but maaaaybe she has a point about these pronouns being confusing…”

*deep breaths*

“One thing at a time…”

*go back to first note*

“Eh, this isn’t so bad. I can do this. It’s going to be so much better when I’m done.”

Maaaaybe I don’t go through all of these over every comment I read. That would be crazy, right? Yeah. But as a whole, reading over whatever chunk of writing just went in front of the judge… well, I may have exaggerated just a wee bit, but this happens.

Tell me it gets better. It must; I can already feel my skin getting thicker. And what I take away from this whole thing is this:

The “I can do this”

The “this isn’t as big a deal as I thought it was. She’s only finding minor issues, here. This is not the end of the world”

The “you know what? This story friggin’ rocks. But I can still make it better in a lot of tiny ways.

And I come away with a massive dose of gratitude, and a new-found appreciation for a critique partner who should be very thankful that she’s a complete stranger who doesn’t actually have to witness the horrible faces I just made at my computer screen.

EDIT: You know, I really should be happy. Not one of my readers has actually mentioned a glaring plot hole (yet), or hated any characters they’re not supposed to hate. People even enjoy reading this. I can only assume that my partner will find bigger things to point out some time, but I can honestly say that I think this book is good. And I should be proud of that.

But I’m still terrified of sending the next chapters. :/


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