Novel Editing, Plotting Help, Writers Resources

I began editing in the early 1980s when I met writers in the bookstore I owned. Since I'd been a proofreader at an aerospace corporation, several writers asked me to check their manuscripts. I loved helping writers shape and polish their work, so I took a creative writing class at the local community college, a writing course from Writer's Digest, and two courses from Gotham Writers' Workshop. I'm a graduate of The University of Iowa's summer writing sessions. I also became Brainbench certified in Written English.

After those series of classes, I founded my editing service. I've belonged to an international critiquing group and have edited for independent publishers. I'm currently a freelance fiction editor and novel writing instructor in Southern California.

My first novel, Ten Times Guilty, garnered a four-star review from Romantic Times Book Review magazine, January 2006. My agent is shopping my second novel, Beyond the Quiet. A short story I wrote was recently released in a woman's magazine and I've just received notice that another will be published in November in The Talking Stick, a Minnesota Literary Journal. I've also been asked to judge a Midwest fiction-writing contest.

Most editors offer a range of services from proofreading, which involves correcting errors in spelling, punctuation and wrong word usage, to intensive content editing. Content editing is more involved and takes much more time.

When I've contracted for content editing, and because I'm a nit-picker, I go over everything several times. The first time through, I flag errors as I go, but I'm looking for plain ol' readability. Has the writer incorporated the essential elements a first chapter must have to capture my attention? How does the basic structure flow?

I make suggestions as I see them then I go back over it again. That's where the nit-picking comes in. If something isn't flowing correctly, I'll try different versions, rewording, restructuring, moving and sometimes cutting paragraphs to see if it reads better. I use the Microsoft Word Track feature so the clients can see their original as well as my suggested changes, and it's always entirely their decision whether or not to use them.

<<<“…you must show that you are a professional who knows the craft.”>>>

I smiled as I thought about that question, as I could answer in two different ways. The obvious and more professional answer is that no one can see all of his/her own mistakes. As I mention on my editing website, I felt quite smug when I turned my manuscript over to a copy editor, sure that she'd whiz through my perfect document. When it was returned to me with more red markings that I'd thought possible, I was horrified, and my ego took a dive.

The other answer is not so obvious. I've lived in several states and have found that writers tend to structure their sentences according to where they were raised. I've been told I murder the English language when I speak, and I probably do. Thank goodness for those English and grammar classes because now I'm a nit-picker with words on paper. Raised in the South, the speech I heard daily was drawn-out and slurred and the letter ‘g’ was commonly dropped. When I started school, I was shocked to learn there was no ‘r’ in the word ‘wash’ and ‘y’all’ was not a proper word.

When my family later moved west, I was astounded at the different pronunciations of words I'd used all my life. Moving north as an adult was another revelation. When I edited a local writer's work, I found that she inserted local dialect as well. One favorite was the phase, ‘borrowed me’ instead of using the word ‘loaned.’ We all have our favorites, and since we're familiar with them, we don't always see them in our text. Keep in mind that we're speaking about narration instead of dialogue, where almost anything goes. But if you're writing a dramatic piece or if you're setting the scene for a hot romance, you don't want to spoil the mood by saying something like, “He pounced on her faster than a bass on a June-bug.”

A good eye for English and grammar, certainly, but for novel writers, a good editor must also know the craft of fiction writing. That's why it's not always a good choice to have an English teacher, working or retired, edit your work. They may correct your English, which is always a good thing, but will they recognize a point of view drift? Or know that your lengthy flashback should not only be cut, but should be moved from your scene and placed in a different section?

Today's publishers are inundated with submissions, so in order for an agent or an acquiring editor to take your novel seriously, you must show that you are a professional who knows the craft. In order to help you, your editor has to be familiar with the techniques as well. Not only can your editor suggest ways to improve your novel, but a good editor will preserve your ‘voice,’ your style of writing. You want an editor to improve your masterpiece, not change it to where you no longer can recognize your own writing.

I've heard writers say they've interviewed editors as extensively as they would a nanny for their three-year-old child, asking for the educational background, former clients, and anything else they could think of. That's fine if it makes them feel better. After all, editing is a big investment. But I think of an editor as I would a fine restaurant—the establishment may feature a highly-degreed chef, but if I don't like how their dishes taste, I've wasted my money.

When I searched for an editor, I had little interest in anything but what he/she could do for me, so I went for sample edits to see how the editor actually edited my material.

I'm a reader as well as an editor, so I love when a writer with an interesting manuscript contacts me. What luxury to find a story that's well written and interesting; I can't wait to dig in. But the deciding factor is whether or not I feel I can help improve a manuscript—and the time factor involved. Occasionally, because of a deadline, a writer needs editing before I have the available time, so I'll refer them to someone else.

Since I love working with writers, I have only returned a few manuscripts. If the writer has no clue about technique, I'll send the manuscript back and advise the writer to invest in lessons before editing, sometimes suggesting certain books to read.

I've also returned manuscripts when it's obvious the writer has simply pounded something out and expected me to ‘fix’ it. Every serious writer I know has labored over their words making sure each sentence says what it should, agonized over each comma, and even awakened at night worrying about making a dull scene more dynamic. I love working with them, even if the writing isn't quite there. But I have no time for writers who invest very little in their manuscripts. If it's not worth the time to the writer, it's certainly not worth the time to me.

<<<“Every serious writer I know has labored over their words…”>>>

That's difficult to say because each project is different, but it depends on the writer and his/her level of skill. I usually make several passes over each manuscript, flagging glaring errors when I see them, but I try to read straight through the first time. I make notes and go back through the manuscript, checking for structure and other techniques. If a lot of rewriting is needed, I'll contact the writer and we'll confer on the best way to proceed.

The time depends on the length of the novel and what is needed. While I have a copy editor whom I occasionally use for light editing, I mainly work alone, and I'd rather take my time with a project rather than hurry through. I like to allow at least six weeks for editing, and that's not counting a waiting list. Let's face it. Conscientious editors are busy, so sometimes we have to wait our turn. I've had to wait. I didn't like it, but I wanted the service, so I used the time for other things. I've even outlined a new novel or written a short story during the wait.

Other than price, maintaining the writer's voice one of the biggest complaints I've heard about editors, so I read the text before my suggested change as well as what comes afterward to make sure my edits blend. I try to never impose my own style. I may make suggestions, but the final decision is always with the writer.

The biggest problem I've found with the popularity of text messaging is the habit of no capitalization, punctuation, and the use of shortened sentences. If the writer is aware of this potential problem and works to avoid it while writing a novel, then I feel it's okay. Because I'm a creature of habit, I send emails the old-fashioned way.

Brenda, thank you for sharing your insights and so many solid reasons why hiring a professional editor is not a step to skip! I'm going to recommend that our readers take advantage of the wonderful writing tips and resources on your website!

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Annette Fix is a contributing editor for WOW! and can be reached at annette@wow-womenonwriting.com.

Annette is an author and spoken word storyteller based in Laguna Niguel, CA. An excerpt from her e-book, The Hungry Writer's Guide to Tracking and Capturing a Literary Agent!'s September 2006 issue. was featured in WOW

Annette's memoir, The Break-Up Diet will be available in early 2008 from her micro press Orange Curtain Publishing.