The

Editors Eye

A PRACTICAL GUIDE TO TRANSFORMING YOUR BOOK FROM GOO


STACY ENNIS
FOREWORD BY MARYANNA YOUNG

Night Owls Press

The Editors Eye: A Practical Guide to Transforming Your Book From Good to Great.

Copyright 2013 by Stacy Ennis.
First Edition May 2013. All rights reserved worldwide.
Printed and designed in the United States of America.

Published by Night Owls Press LLC, San Francisco, CA, 94119, U.S.A., www.nightowlspress.com.

Editor: Genevieve DeGuzman
Production Editor: Andrew Tang
Cover design by Stacy Ennis

Practice good karma. No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without the written
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contact admin@nightowlspress.com.

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Library of Congress Cataloging-in-Publication Data:
Ennis, Stacy.
The editors eye: A practical guide to transforming your book from good to great/ Stacy Ennis
p. cm.

Paperback ISBN-13: 9781937645052
E-book ISBN-13: 9781937645045

2013932407

For Doug and Lily, who make everything worthwhile.

The Editors Eye

A PRACTICAL GUIDE TO TRANSFORMING YOUR BOOK FROM GOO

FOREWORD
BOOKS make a difference in our lives. The late Charlie Tremendous Jones, one of the best
motivational speakers to have ever lived, said, You are the same today as you will be in five years
except for two things: the people you meet and the books you read.
Books can create shifts in mind-set about how we view the world, relate to others, and work and play.
Some books entertain us or encourage us to see things from a different perspective; others help us solve
problems or understand new concepts. Because each reader processes the words in a book through unique
filters based on life experiences, each reader can find individual meaning within the same pages.
The desire to create and share meaningful content and stories is what calls writers to write. When
writers answer this calling, readers benefit from their craft.
Statistics show that more than 80 percent of individuals would like to write a book at some point in
their lifetimes. So, why dont more people do it? I believe there are two reasons: They think they will
have to write the whole book on their own, and they dont understand the power of the editing process. A
while ago, I didnt understand it, either. Unfortunately, these fears keep many people from writing
altogether.
What I have experienced in my last decade of giving workshops and speaking with literally hundreds
maybe thousandsof students, writers, and those new to the publishing industry is they dont understand
the positive power of editing and how its a necessary part of the writing process. The majority of newbie
writers and authors fear editors, thinking they will be like their former schoolteachers, marking up work
and returning it with no explanation. This lack of understanding and deep-seated anxiety keeps many,
many potentially great authors from ever even beginning to writelet alone getting published.
Dont get me wrong: There are some editors who are a little intimidating and make me want to
reconsider whether I can write anything at all. Since I was a mediocre English student at best, I once had
the same apprehensions toward having my writing editeduntil I realized how much great editing could
make my work far exceed my own natural skill level.
Youre bound to hear many colorful analogies about what editors do and how editors can help writers.
I like to think of them this way: Editors are like angel investors in the business world. They are willing to
invest their time, heart, and soul into making your work sound good, feel powerful, and reach deep into
the minds of your readers. And they do all this for a moderate amount of money and a small amount of
recognition.
So, I will make my point very clear.
Good editors can make all the difference in your ability to thrive in the world of writing and
publishing. Inevitably, there is a gulf between a raw manuscript and a published book that all writers find
intimidating to cross. That gap is widest during the first draft, but gradually closes as a book gets edited
and revised by the author and editor. Editors can be your very best advocates in helping you close the gap
between draft and ready for publication. Editors can help you take your writing from good to great.
And they will help you get there in less time and with less stress than if you were to do it on your own.
Editing is a very critical step in getting a work ready for publication. Regardless of the skill level of an
author, it takes the eyes of a strong editor or team of editors to polish a book to the point where it can
match any other in the marketplace. Without good editing, a project is an epic fail and the book never
reaches the readers for which it was intended.
When I met Stacy Ennis a few years back, I quickly identified how her personality and professional
skill could powerfully impact the authors we work with at Aloha Publishing. A majority of our authors

are busy professionals and leaders in their areas of expertise, which range from health to parenting to
business. With her background as both a creative literary professional and teacher, Stacy has a unique
way of getting the best content out of first-time authors and refining the work of more seasoned writers.
Many of the books she has edited for Aloha have helped establish authors as nationally recognized thought
leaders.
The Editors Eye will open up a whole new world for you in your understanding of the different types
of editing, how you can improve your writing process, how to find an editor, how to sign a contract with
an independent editor, and how to effectively use the editing available through your publisher. Most
importantly, youll learn how your extraordinary ideas, given the touch of a powerful wordsmith, can turn
you from an unknown into a best-selling author.
Gaining insight into the many editing options available to authors helps individuals recognize that their
ideas and stories have the power to change lives, entertain, and provide new insights about the world.
The Editors Eye gives you this understanding and more. Drawn from Stacys experience as a
professional editor and packed with interviews with writing and editing professionals, this book will
ignite a fire within you to write, write, and write moreand then turn it over to your editor.
You may have picked up this book because you want to start writing a book of your own, or you may be
a seasoned author hoping to gain a greater understanding of the editing process. I am convinced that if you
can do your part by getting your best ideas from your brain to paper, a highly qualified editor can help you
take them the rest of the way. I encourage you to be fearless with your writing ambition and spend the time
to find a great editor; if you do, you may discover that your writing can exceed your highest expectations.


Maryanna Young
CEO of Aloha Publishing and author of Blank to Book: Idea to Amazon in 150 Days

INTRODUCTION:
A Book to Help You Write Yours
The Inspiration
A while ago, I was scheduled to talk to a group of writers at the Idaho Book Extravaganza, a regional
gathering of people in the publishing industry, including many aspiring authors working toward the dream
of publishing a book. As I set up for the session, Write Your Best Book: The Writing and Editing
Process, I remember looking out at the large, empty room and thinking there were too many seats to be
filled. After all, my session was the first slot of the entire conference (and an early one at that), and there
were three other classes taking place at the same timeone put on by a best-selling fiction author, another
by a successful CEO of a social media firm, and one by a sought-after memoir writing coach.
With those choices, who would be interested in editing? Writers usually take classes on writing; editing
is an afterthought and a dreaded one at that. But, as I finished setting up, I was surprised to see that the
tables were nearly full. By the time I was ready to introduce myself, the room was packed. People sat
shoulder to shoulder with their notepads ready and pens poised, eager to learn. The class went
wonderfully, and the audience was engaged, inquisitive, and genuinely interested in everything I shared
with them. There were a lot of questions about the types of editing out there and how to hire and work
with an editor, and some people even voiced their concerns and fears about the editing process. The
conversations I had afterward reinforced connections Id already made through my experiences as an
editor and led me to several realizations.
When it comes to what writers generally know about editing and how it relates to the writing process,
there are three things Ive observed:

#1 Most writers dont know much about the book-editing process.

Over the years, Ive worked with a wide range of authors across a variety of fiction and nonfiction
genres, helping each one through different stages of the writing process. Each time, Ive been surprised to
learn that most authors have a limited understanding of the editing process. Most of the time, they see
editing as a vague, unpleasant, and slightly mysterious step that happens along the way.

#2 Most writers dont realize that editing is an integral part of writing.

When I ran a high school English program in the Dominican Republic, I had the opportunity to see
students work on their compositions through waves of revisions. It was from teaching and editing that I
began to understand the greater nuances of writing and the critical role editing plays in the evolution of an
idea, an image, those first words on paperinto a finished, coherent piece.
Later, when I was the managing editor of a local magazine in Boise, Idaho, which I helped found, many
of the writers I worked with didnt really understand the necessity of self-editing when writing their
articles. I often encountered disconnects between what the writers wanted to write (or were assigned) and
the final articles they sent me. In essence, they had trouble evaluating their own work. Furthermore, many
saw editing as something separate from the writing process. In the course of managing the magazine, I also
started noticing some similarities between book and magazine editingthings that all writers can do, no
matter the medium, to streamline the writing process and make editing a part of the creative process.


#3 Most writers really do want to learn more about editing.

The moment I began my talk in front of that crowded room at the Idaho Book Extravaganza, I knew
there was an unaddressed need among writers to learn about editing. I also recognized that the drive
among writers to improve their craft and write their best books could only be realized through mastering
the art of self-editing and taking advantage of professional editing.

So, this is where my book can make a difference: It addresses those three concerns and explains how
editing can help you write a better book. And not just a good booka great one.

How to Use This Book

Whether youre an already published author who wants to better understand the editing process, a
would-be author considering self-publishing or pursuing the traditional publishing route, or a writer who
just wants a better grasp on refining your own work, this book is for you. The Editors Eye is your indepth introduction to the self-editing and professional editing processes. Youll learn how to transform the
way you write, gain insight into how to hire and work with editors, and master each stage of the bookediting process. Everything you need to know to get your book into best-selling shape is in this book.
Each chapter touches on an important part of the editing process. Chapter 1 starts by debunking all of
the old myths about book editing and gives you the truth about the editing process, including the idea of
killing your darlings and more. Chapter 2 covers editing fundamentals, including a detailed look at the
four stages of editing and important terminology you should know.
Chapters 3 and 4 take a fresh look at the entire writing process from planning to publicationfrom an
editors point of view. Youll learn how integrating editing into your writing early on can dramatically
improve your drafts right from the moment you add words to a blank page.
Chapter 5 details how to hire and work with an editor, including important questions to ask prospective
editors; it also gets very specific on what you can expect to pay, how to work with an editor in another
city, and other essential information about working collaboratively and productively with your editor. I
draw from my experience working across distances to help you understand how to work digitally and why
its not so hard. In fact, the first book I edited was for a client in Boise, Idaho, and I edited it from my
apartment in Ho Chi Minh City, Vietnam. If I can do that, you can definitely work with an editor in a
different U.S. city, and Ill show you how.
But, perhaps most importantly, each chapter in this book is as practical and hands-on as possible, with
real examples of tools, tips, and strategies you can actually use as you write your book. Youll also get
templates for outlines, examples of how editors can improve your writing, and samples of a reader
feedback form, an editing checklist, an agreement letter, and a manuscript style guide.
While my experiences inspired me to share my expertise with you, I didnt stop there: I interviewed 20
industry leaders in publishing, including editors, owners of publishing houses, and authors. Full
interviews are included throughout, too, from several important names: ghostwriter, coauthor, and book
doctor Tim Vandehey; independent writer, editor, and author Christy Karras; commercial freelancer,
business coach, and author of three award-winning books, including The Well-Fed Self-Publisher, Peter
Bowerman; freelance writer and author of My So-Called Freelance Life, Michelle Goodman; and number
one international best-selling fiction author Vincent Zandri. These are people who really know their stuff
and have a following because of it, and many of them also happen to be my colleagues, people Id trust
with my own work. If youd like a list of all the people interviewed, please see the Acknowledgments at
the back of this book.

There are several ways to use this book, and its designed for authors at many stages. If youre new to
book writing and editing, you should read this book cover to cover, especially the section on the writing
process and self-editing. If youre reading this book with a completed manuscript sitting next to you, it
might be a good idea to skip the sections on self-editing for now (Chapters 3 and 4) and instead focus on
hiring and working with editors (Chapter 5). Whatever your situation, The Editors Eye will be an
invaluable part of your book-writing process.
But this book isnt really about me or the experts I interviewedthis book is ultimately about you. Its
about helping you get to where you want to be, whether its starting or finishing a book, taking control of a
draft that keeps escaping your grasp, or another equally important goal. Its about helping you reach your
dreams and enjoy the process of writing and refining your book. Because, as Ill show you over the next
few chapters, editing can be just as enjoyable as writing.
Lets get started.

ONE:
Rethinking What You Know About Book Editing
I once asked a large group of writers, What is the definition of editing? The room was still, no one
daring to speak. Finally, someone said, Painful. Everyone chuckled, but nodded, all seeming to relate to
this description. After some more prompting, a woman in the back of the room slowly raised her hand,
then offered, Cleaning up written copy. A few more ideas bubbled up around the room, most of them
dealing with some sort of revision after writing is finished.
Were they right?
Well, yesaside from the pain part. They were right, but not totally. Editing does include those things,
but it is also so much more.

Editing by Spell-Checker Alone and Other Misconceptions About

Editing
For the purposes of this book, editing * is defined as all of the things done to a piece of writing to get it
to its final state. (* Note on the text: Throughout this book, the first instance of terms included in the Terminology section at the end of
Chapter 2 is bolded.) That means editing takes place at all stages of the book-writing process, from conception
to print, and is an integral part of the creation of a manuscript. After all, how good would a book be if its
final version was based on the very first draft of an outline, included the first ideas that popped into the
authors head, and was printed immediately after the first draft was written, without anyone reviewing it?
The quality would be questionable at best.
In fact, you can hire an editor before you even start writing your book to help get your outline
organized, do some of your research, and keep you motivated. An editor also helps you shape the
manuscript as you write by offering feedback and suggestions. Genevieve DeGuzman, the managing editor
at Night Owls Press, says editing is about figuring out the writers intentions, what he * is trying to say,
and helping him say it in the best way possible. (* Note on the text: To avoid using the clunky construction of he/she or
other variations, I switch between male and female pronouns throughout the book.) Editors do more than just fiddle with
punctuation and correct typos, she explains. The editing process is less about putting semicolons in the
right places and more about engaging with the authors content and ideas.
More than just a sieve to filter surface errors, editing is a special kind of alchemy that prepares a draft
for reader scrutiny. Editors do this by diving deep into your work, pushing against your stylistic fences,
prodding the walls of your research, and testing the integrity of your ideas. And in the end, they push you
to become a better writer. The important thing to remember is this: Editing is an intrinsic part of the
writing process, taking place before a book is written, while writing, after the first draft, and before and
after a book is sent to book design.
Writing and editing go hand in hand, and trying to write without any consideration of the various stages
of editing and revision shortchanges your manuscript. One of my favorite quotes about the interplay of
writing and editing comes from Lois Johnson Rews Editing for Writers: Editing and writing are not two
separate and parallel paths to [an] end. Editing and writing should converge on one path.
In fact, many times, great writing emerges from the trial by fire of several editing rounds; its rare to
see a first draft thats pitch-perfect. Theres always room for improvement, and an editors comments get
you thinking about your book in a new light. Furthermore, a close rereading of your own work prompts
you to reexamine narrative elements you once thought invincible. When editing, you might find yourself

asking, Oh, why didnt I think of that? Approaching editing as what it isan integral step in writing
your bookwill vastly improve the way you write and develop ideas, narratives, characters, and plots.
What about you? How do you perceive the editing process? Does it feel like a necessary evil, like
taking out the trash on Sunday nights? Does it make your stomach churn to think about handing over your
manuscript to an editor? Do you worry that your editor will hate your bookor make it worse?
Im here to tell you these feelings are all normal. Its natural to fear the unknownthe uncertainty of
what an editor will do to your work. You may ask yourself, How will my work change in the hands of
another? The creative passion that started you writing in the first place suddenly gives way to fear of
scrutiny. After all, many of us have very little experience with the editing process, with much of that
experience limited to college or high school English classes or writing workshops, in which a fellow
student scribbled some unhelpful comments about your dangling participles or misplaced modifiers.
Heres a cold dose of reality: The editing process is long and involved. Its more than just having a
peer read through your work, and its definitely more than running spell-check or making sure you put
commas in the right places. It requires an investment of time and money, and most importantly, it demands
that you shift your thinking and approach your work with fresh eyes and an open mind.

The Misunderstood Editor

Part of why writers feel ambivalent toward the editing process is that they mistakenly see editors as
adversaries. Many authors secretly think of an editor as a warty witch hovering over the computer,
delighting in the annihilation of a manuscript. Or they see editors as grim, dictionary-wielding dictators
you know, the kind that uses the word catachthonian in everyday speech and culls precious paragraphs?
I even had an author once end an e-mail with the words, With some nervousness, rather than Best or
Sincerely. There is real apprehension about the editing process, as if editors are waging creative
assault on authors books.
Some writers opt away from using a professional editor, arguing that fellow writers in their peer
workshops provide all the help they need. But a skilled editor usually offers much more than any group
can. Lets face it: The people in your writing group arent getting paid to pore over your manuscript with
a critical eye, and though they probably do care about your manuscript to some extent, at the end of the
day theyre mostly there to improve their own work, not yours. Other writers are also likely not trained in
the specific stages of editing, which well discuss shortly.
On that note, youll notice that I often say you should look for a good or highly-skilled editor; just
like anything elsedental work, car repair, home remodelinghiring the best often results in the best end
product. If you scrimp on editing, it will show. And just like a botched car repair, bad editing will have to
be fixed sooner or later, and theres no sense wasting money and learning the hard way. When all is said
and done, investing more money at the outset of a project is usually the best option; but dont worry, well
get to how to hire and work with editors in Chapter 5.
While these warnings are all very true, there is good news: A highly-skilled editor can make this
otherwise bewildering process a pleasant one, and she can help influence your manuscript in incredible
and substantial ways. And I really do mean substantial. An editor reads a manuscript with a very specific
eyean editors eyeputting on both the editor hat and the reader hat, looking for areas in a
manuscript that are confusing, dont speak to the intended reader (more on that later), and somehow miss
the mark. An editor can take a book from good to great by identifying these areas and, most importantly,
offering suggestions and solutions. More than just revising at the sentence level, an editor can impact a
book at the idea level, even at the concept level, too.
I tell the authors I work with that Im there to bring out the best books that already reside within them,
to help them share the stories they want to share. The writer-editor relationship should never be an

adversarial one. In fact, we are working toward the same goal: to bring out the authors voice and
transform a book into something great.
What else can an editor do besides rework your prose and help you refine your ideas? Lots more. If
youre going the traditional publishing route, she can help you get the manuscript ready to send out and
offer hard-won expertise in crafting a book proposal and cover letter. If youre self-publishing, whether
its to help build your brand or career, realize your dream of writing a book, or just because you love
writing, an editor can help guide you through the publishing process and connect you with other quality
vendors, like cover designers. When you think about it that way, its actually a pretty rewarding
relationship, right?
If you are writing a book to achieve a specific purpose (say, to attract publicity and then go on the
public speaking circuit), consider this: If a developmental editor can help you finish a book two years
earlier than you would have on your own, how much will you gain in the time saved? Is it worth
struggling through a process you dont understandand perhaps having to do it over againjust to save
some money? Moreover, think of how much money you could have made or publicity you could have
garnered if your book had been out during those two years.
Basically, when it comes to writing a great book, an editor is a trained professional who knows what
shes doing. All writers could use someone like that.
Now, before we get into the book-editing particulars, we need to have a candid talk.

Kill Your Darlings and Other Truths About Editing

Heres a universal fact: Most writers tend to be resistant toward editing, whether its out of fear,
anxiety, lack of confidence, or a protective stance toward their work. Lets say youve spent months,
possibly a year or more, writing your manuscript. Perhaps youve spent four hours every Thursday
morning crafting your book, putting everything you have into it, sacrificing free time and time with your
friends and family. You think your book is pretty darn good, and youre sure your editor will think so, too.
Then you get the manuscript back from your editor.
As you look through the pages, you see your manuscript seemingly butchered in red ink or electronic
marks. You then read her detailed e-mail, including some shocking feedback: Chapters one, two, three,
five, six, and seven are very strongbut chapter four seems a bit off topic. You might consider cutting it.
Suddenly, your beloved writing pen becomes a shield, your nostrils flare, and you find yourself breathing
fire. Your mind reeling, you think, But, but, butI spent weeks on that chapter!
This might happen. The editing process is going to feel frustrating at times. As a writer, you are going
to be as naturally protective of your work as a parent would be of her child. Having a good attitude
toward editing can be difficult, especially when authors are tied to the traditional notion of editing as just
fixing errors. If you can view editing as an integral part of the writing processan extension of itthen
youre well on your way toward adopting a more collaborative approach to editing (more on this in
Chapter 5). Douse the fire breathing: Your editor really does have your best interest at heart. Keep an
open mind, and be willing to change your work.
My favorite quote on keeping an open mind to editing comes from Stephen Kings On Writing: kill
your darlings, kill your darlings, even when it breaks your egocentric little scribblers heart, kill your
darlings. 1 If you need to, write this quote on a piece of paper and tape it to your desk or somewhere in
your writing space where youll see it regularly. And always be ready to kill your darlings.
Here are a few tips for adopting a good editing attitude:

Remember that manuscripts are organic. When you started your manuscript, it was just a blank
piece of paper. Just because you added words to it, that doesnt mean its done; its an ever-growing,

ever-evolving document that can always become something better.

Dont be afraid to kill your darlings. Its okay to let go of something thats not working, whether its
a few words or an entire section. Maybe that deleted section or chapter can be repurposed into a
blog post or an articlebut it just doesnt belong in your book. Learn how to let it go. In the article
Let us now praise editors, Gary Kamiya puts it this way: You have to let go of your attachment to
the specific words youve written and open yourself to what you were aiming for. You need enough
confidence in yourself to accept constructive criticism, some of which can feel like your internal
organs are being more or less gently moved around. 2

Dont take edits and feedback personally. James C. Wilson, Ph.D., professor of English and
journalism and the author of six books, says, My advice to authors: Be adults. Editing will improve
your product. So grow up. Your editor isnt hired to be your friend; his job is to make your
manuscript better. A heavily marked-up manuscript doesnt necessarily mean youre a bad writer. An
editors job is to take into account a lot more than your writing skill, and he is also considering other
factors, such as the intended audience and purpose of the manuscript (more on this in Chapter 2).

Allot time for the critical phase of editing and rewriting. I once had an author request extensive
editing just weeks before the book was supposed to go to design. While his book eventually turned
out fine, thanks to several 12-hour days on my part and a lot of work on his part, we both agreed his
book could have been stronger with more editing time. Dont make the mistake of doing rush editing
at the end; give yourself enough time to properly revise.


NOW THAT WE have the truth about the editing process out of the way, lets move into what this
whole book-editing process is, anyway. So grab a cup of coffee or tea, settle in, and lets get going. Its
time to finish that manuscript!

Interview with Tim Vandehey

Tim Vandehey began his career as a freelance writer in late 1994. Since 2004, hes focused exclusively on ghostwriting
nonfiction books and has written more than 40 titles in genres ranging from spirituality and business to sports and
memoir. Hes the author of 15 ghostwritten, coauthored, or book doctored works published with major publishers like
Random House, McGraw-Hill, Hachette, and Simon and Schuster. He currently lives in Missouri with his family.
Tim took time out of his busy writing schedule to answer a few questions about writing and editing.

Define the author-editor relationship and what it means to you. What benefits does an editor bring to the writing process,
and how has professional editing improved your work?

A good editor is a writers best friend. Good ones enforce rigor and discipline on writers, sort of like personal trainers for the
computer keyboard. The best editors Ive worked with have made me more precise and careful in my language, especially with
regard to citing research, quoting individuals, etc. Thats not sexy, but when youre writing nonfiction, it matters.

What is your best advice for new authors just getting started in regard to the writing and/or editing process?

There are reams of writing advice out there (much of it bad), so I wont add to it. Instead, lets talk about working with an editor.
Tims Rule 1: Find a professional editor whose judgment you trust and make him or her your lifelong best friend. Tims Rule 2:
Dont listen to the amateur editors, a.k.a. the people in writers groups. If you want professional judgment, pay attention to
professionals who work in the business.

Do you have an interesting story about working through the editing process with a publishing house?

I have a horror story with a moral. In 2008, I stepped in for another ghostwriter on a book for a celebrity who had gotten a nice
book deal. The first writer had botched it, and my agent got me the gig doing a total rewrite. I worked with the celebrity for four
months or so and turned in the rewrite. The editor (who was with a major New York publisher) hated it.
Only then did she send me the memo she had written to the first writer telling her exactly what she wanted from the rewrite. Id
never seen this memo. For some reason, she hadnt sent it to me. Id wasted the last four months. I went ballistic, but then I sat
down and we rewrote the book again. This time, they absolutely loved it.
Moral: Always make sure you have all communication from your editor, publisher, agent, etc. Not everyone is detail-oriented, so
you have to be.

Do you have any tips, tricks, or ideas to share with aspiring authors?

Dont join writers groups. Most are a waste of time because theyre full of amateurs and wannabes who have never published
but think they know all about the business. Writing is full of delusion and self-deception. If youre going to build a support circle,
populate it with professionals who can give you usable advice.

Learn more about Tim Vandehey at www.timvandehey.com.

TWO:
The Editing Basics
Its All About the Author-Editor Relationship
FOR most editors, the first book they work on is something of a rite of passage, a test of skills, a makeor-break kind of moment. Most writers see their books in a similar way; writing a book is a chance to
show the world what they can do. I can relate to that, and I bet you can, too.
The first book I edited was an out-of-the-box business book meant to help business owners approach
marketing and relationship building in a unique way. I recall opening the manuscript file with hesitation,
skimming over the chapters, and thinking it seemed very, very long. In reality, it was a short book, not
much more than 5,000 words, but, boy, did I feel like that little document was at least 200,000 words long
and sure to be full of complex ideas I wouldnt ever get.
As I started reading, I was surprised to find that revising the manuscript was fairly intuitive for me. I
immediately found areas that could use stronger descriptions, identified places that needed better
transitions, and noted chapters that would benefit from more riveting introductions. The heavens opened,
a light shined down on my computer, and harp music started playing: I was officially a book editor, and I
was good at it!
But that bravado was quickly tested as I wrote the author an e-mail regarding his work, which included
a point-by-point bulleted list detailing how he might strengthen his manuscript. Although my message was
mostly positive in tone, I felt like a bearer of bad news. As I finished the e-mail and attached the revised
manuscript, I sat there for a moment, the pointer hovering over the send button, my finger resting on the
track pad of my laptop. For a moment, I thought about revising my e-mail, removing some of my
suggestions, offering more praise. Softening it. After all, I thought, this is his manuscript. What if hes
offended at my suggestions? What if I just didnt get the book? After some hesitation, I decided not to
reel in my critique. Finally, I sent the e-mail and waited for the authors response.
Lucky for me, the authora highly respected businessman who happens to be a pretty good writer
was open to feedback and really wanted his book to be great. Looking back, I realize now how important
his attitude was. He appreciated the care I put into revising his manuscript, and it helped him write a
much stronger book, a book he was proud to share with family, friends, clients, and the world. In fact, Ill
be editing his next book very soon.
Now, many books and author e-mails later, I know that my initial feeling of uncertainty, even fear, of
the authors reaction was unnecessary. After all, an author has ownership of his work, and my suggestions
can only helpassuming Im doing my best work and putting my heart into editing the manuscript. I now
understand that, as an editor, Im a partner in the writing process, and the authors Ive worked with will
likely say the same.
Here is one of the key things youll learn as an author: The relationship you have with an editor can be
the most important element of your book-writing experience. In our ever-disconnected (or virtually overconnected) society, relationship seems to be the overused catchphrase plastered across billboards,
websites, buses, and television commercials. But in the craft of writing and the business of publishing, the
word is a perfect description of the connection between writers and editors. This relationship is the
cornerstone of the writing and editing process.
Why is the author-editor partnership so important? A manuscript is so personal, no matter the content,
because the author dedicates so much time and passion to the written copy, explains Samantha Tyree, a

freelance copyeditor and writer. Because the editor is so involved in changing and improving the
manuscripts content, it is important that there be a solid relationship between author and editor.
With that in mind, heres my formula for success: compelling and relevant story + skilled editor + good
author-editor relationship = great book. Its that simple.
A Complementary Relationship: Two Approaches, One Goal
While writing and editing are part of the same equation with the same goalto produce a great book
they are also very different. Writing is about exuberance and creative freedom. Some writers may develop
their drafts in excited, hazy bursts, spilling their thoughts and observations onto paper; others write
carefully and slowly, mulling the words around in their heads before committing them to the page. Either
way, its an experience thats largely self-driven. Writers have to be intimately close to their works to
write in a riveting way. Whatever your style, I imagine you can relate to the romantic creativity of the
writing process.
Editing, on the other hand, is more clinical and removed, because editors need that unattached
perspective to make the hard choices of what works and what doesnt. Editors work at a more ponderous
pace, focused on deepening and clarifying aspects of the writers work and improving it as a whole. An
editors approach, while creative, isnt as spontaneously inspired as the writers. Instead, it is careful and
contemplative, focused on how major or minor changes might positively impact a manuscript.
Just as the writing process is a dynamic one, so is the editing process. Editors excavate and refine text,
and this demands not only discipline but also an ability to engage with an author and a book in an intimate
and honest way. Thats a very personal relationship. In fact, the best way to describe the relationship is to
call it a partnership. Sure, the author wrote the book, but the editor is there to make it betterafter all,
even best-selling authors use editors, and many of these authors arent shy in praising how their editors
improved their books.
Take best-selling author Vincent Zandri, who explains it this way: Im lucky in the case of my new
editor, as we not only get along in a creative way, we thus far have been entirely in tune with one
anothers take on the work. Thats something that rarely happens, but when it does, it can be one of the
most rewarding experiences in a writers life. In the end, the writer is the creative part of the relationship,
and the editor, if he is a good one, will work on pulling as much creativity out of the writer as is humanly
possible.
Max Perkins, the legendary editor at Scribner, was described as having the ability to inspire an author
to produce the best that was in him or her. More a friend to his authors than a taskmaster, he aided them in
every way. He helped them structure their books, if help was needed; thought up titles, invented plots
Few editors before him had done so much work on manuscripts, yet he was always faithful to his credo,
The book belongs to the author. 3 In his hands, Perkins transformed classics like The Great Gatsby and
The Old Man and the Sea.
Good editors also have the ability to say enoughas in enough editing. Our training and experience
tells us when to leave things be, and we know authenticity is often more important than textbook-perfect
writing. Nonfiction editors working on memoirs employ this restraint frequently, especially when working
with someone who has a particularly dramatic story to tell. After all, when hearing about a tragic accident
and how the author used the experience to better her life, a reader wont fixate on whether the writing
deviated from The Chicago Manual of Style. In fiction books, especially with dialogue, its sometimes
better for things to sound natural than correct. Good editors know when to employ restraint at the right
moments.
The main point is this: Dont underestimate the impact of your relationship with your editor in
developing your book. A very good relationship between an editor and author is the same as a producer

and musician/songwriter in the recording studio, says Vincent Zandri. You need to feed off of one
another in a healthy, creative, collaborative way. There has to be a real, almost love between you, or it
wont work. For editing to be effective, the editors partnership with the author must be an active and
dynamic one, full of lively discussion, feedback, and brainstorming. The writer and editor are partners in
making a book the best book possible, and a good editor will care about your book almost as much as you
do.
Weve established that a good author-editor partnership is extremely important to writing a manuscript,
but how do you go about cultivating that sort of close-knit relationship? A foundational understanding of
the types of editing is the first step toward an effective author-editor relationship; later, in Chapter 5,
well talk about the key questions to ask and things to look for while youre choosing your editor.
With that in mind, lets now look at the many ways you can hire someone to collaborate with while
writing your book. Well then discuss some important terminology youll need to know to both use this
book and work with an editor. If you havent already, now is the time to start taking notes.

Deciding What You Need

Wow, I wish Id known that earlier, the conversation sometimes goes when Im talking to a potential
client. I had no idea I could hire an editor before writing my book. At this, said author thinks woefully
about her manuscript, hangs her head, and starts to cry. Okay, so maybe thats a bit of an exaggeration. The
point is this: Sadly, many people have a very limited view of editing, and this misunderstanding ends up
costing them a lot of time and money. Many of the authors I work with are surprised to hear that they could
have hired an editor early in the writing processrather than two years, five revisions, and two bad
editors (ahem, friends who are English teachers) later.
Since editor involvement can vary widely from manuscript to manuscript, the trick is figuring out what
you need. An editor can be involved in a lot of different areas, from writing or cowriting your book to
developing an outline, doing research, offering feedback, performing line editing, and proofreading.
Whatever the involvement, an editor is your indispensable ally to writing your book. Many writers are
unaware that there are many ways to involve an editor, and the degree of collaboration depends on what
you need: Do you need a hands-on collaborator, someone who takes your ideas and vision and directly
transforms them into a book? Do you prefer to write alongside someone or get feedback along the way, in
a coauthor arrangement? Or are you a seasoned author who just needs to be guided through the editing
stages?
The key is choosing the best editor relationship for you.
Ghostwriting and Cowriting: When Your Editor Takes the Lead
Ghostwriting is a service often used by busy professionals, politicians, pro athletes, and celebrities to
tell a story, share unique knowledge, or transform notes into a book. Not everyone is a natural wordsmith
or has the luxury of time to sit down and draft a 120,000-word manuscript, so a ghostwriter is hired to do
the heavy lifting of drafting a work. As Tim Vandehey, a well-known ghostwriter, coauthor, and book
doctor, explains, [Ghostwriters] help great people tell great stories and then we disappear. We craft the
voice and vision of our authors and then step back to let them shine. 4
Now, I do realize the word writer is involved hereafter all, its not ghosteditorbut a
ghostwriter does approach a writing project with an editors bent. Since a ghostwriter isnt necessarily
the originator of an idea or expert in the field, he is editing contentauthors notes, as well as research
and interviews he conductsto write the book; at the same time, he approaches the work with a writers
fervor and creativity, as ghostwriters are typically tasked with delivering the final manuscript.
Cowriting, much like ghostwriting, involves heavy involvement with another writer or editor. While a

ghostwriter will typically shoulder most of the responsibility in writing a manuscript, cowriters often
share the writing load and have similar influence on the final product. Unlike ghostwriters, cowriters are
usually listed as coauthors when the book is published.
Of course, not all cowriting arrangements are the same. While some coauthors choose to work together
because of their unique expertise, others are hired because of their writing abilities. Some coauthors split
up chapters or sections of books equally, while others designate a primary writer who sends sections of a
book at a time to the cowriter (in this case, someone in the role of an editor), who then is tasked with
revising the work and making the book sing. Other times, there are two cowriters and a separate editor
involvedtwo are writing, and the editor helps smooth everything out to make the different writing styles
mesh and work together. Identifying each cowriters role and function should take place at the outset of a
project. Coauthors will typically sign an agreement that states what ownership each person has in the
book, whose name will appear on the cover, and in what fashion the names will appear (for example, a
cowriter can be identified as either an author or editor).
A fiction book Ive been working on reflects this coauthor arrangement. Although I will be listed on the
cover as the coauthor when its published, the primary author really did most of the writing. I edited it
carefully, tweaked the prose, and wrote a few paragraphsworking as an editor in a cowriting rolebut
the primary writer dreamed up the story, brought the characters to life, and created the scenes.
My husband reads a lot of books about running and nutrition, and every so often he reads an
autobiography by a famous athlete. More often than not, a book will be listed with a primary author, the
athlete, followed by with so-and-so or edited by so-and-so. If a coauthor isnt listed, my husband
waits for my all-too-common remark of, Hmm, I wonder who actually wrote that book. Although he
often replies with a barely audible sigh, I like to think he finds my knowledge of the industry endearing.

Book Editing in Four Stages: Getting from Good to Great

If ghostwriting and cowriting arrangements arent what youre looking for, and if youre the sole author
and want complete ownership of your work, you should opt for an editor who will walk you through the
editing process in stages. The editing process takes place over four main stages, which typically occur in
this sequence:

1. Developmental editing
2. Substantive (content) editing
3. Copyediting
4. Proofreading

Each stage of editing acts like a different lens through which your work is viewed. At each stage, a
different aspect of the work is brought into focus and under scrutiny. Think of the different editing stages
as zoom lenses. Big picture editing, such as developmental and substantive editing, are your wide-angle
lenses, while copyediting and proofreading are your microscope lenses. With their macro perspective,
developmental and substantive editing focus on improving content and structure, while the close up
techniques found in copyediting and proofreading fix text and line errors. In general, developmental and
substantive editing take place before copyediting and proofreading.
Understanding the main stages of editing not only helps you make an informed decision in determining
when to hire an editor but also helps you know what your manuscript really needs.
Stage 1: Developmental Editing
Just like the name implies, developmental editing involves the development of a manuscript in its most
raw and green state. While it usually takes place at the earliest stages of the book-writing process, at the
germination of an idea, a developmental editor often works with a book until the final draft is completed.
Amanda Hackwith, editor at Rockable Press and author of Freelance Confidential, describes how she
approaches a work with her developmental editor hat on: I typically give the entire manuscript a onceover, then start trying to break down the purpose for each section of content and determine how to make
the content fulfill that purpose better. That might include suggestions to the author on restructuring,
elimination/expansion, terminology, tone, and more. Just like Hackwith, most editors doing
developmental editing approach a manuscript with the idea that its still developing, whether at the
beginning stage or further along.
In Developmental Editing: A Guide for Freelancers, Scott Norton says that developmental editing
denotes significant structuring or restructuring of a manuscripts discourse. He goes on to explain that
while developmental editors are supposed to be mostly working at the structural level, its sometimes
impossible for an editor in the developmental editing stage to not do some rewriting and heavy editing
along the way, too.
In general, developmental editing can help authors with a wide range of things, including:

Developing the concept or story and maintaining focus while writing
Creating the outline and performing research
Restructuring chapters and paragraphs
Evaluating stylistic elements, such as tone and diction
Ensuring the draft is reaching the needs of its intended audience and purpose

Developmental editing means different things for fiction and nonfiction works, although the objective is
the same: helping you focus on what your book is about and, most importantly, what makes your book a
unique work in a crowded market of similar books. For example, if youre writing a how-to guide on
selling crafts and homemade products online, how will you set your book apart from the many similar
marketing books available? How will you engage your intended audience? What does your book offer that
others dont?
For nonfiction manuscripts, the developmental editor is focused on making sure the writer can answer
three basic questions. Here are some questions an editor might ask, followed by sample responses:

1. What is this book about?

This book is a guide that discusses how to transform a small business into a socially responsible enterprise.

2. How will this book enhance the topic?

Written specifically for the little shop, this book focuses on practical approaches to implementing and tracking social
responsibility (S-R) initiatives. The book also considers the challenges of integrating S-R practices for microbusinesses with
limited resources and offers easy, practical tools for evaluating the associated costs, benefits, and potential impact on customers,
employees, vendors, business networks, and the community. Interviews with successful microbusinesses and solopreneurs
provide readers with real-world advice and insights.

3. Who is the target audience?

This book is targeted toward resource-strapped and busy solopreneurs and microbusiness owners who feel that they have been
overlooked in the discussions on S-R.

Developmental editing can help you extract and refine your thoughts on these core questions, helping
you strengthen your nonfiction book from the ground up. The first question is straightforward; it is
essentially the main topic or subject matter of your book. The second question captures the most crucial
part of the book-development stage and is sometimes difficult for nonfiction writers to understand
because its often confused with the first question. What you are writing about (the topic) and what you
are trying to say (your personal angle and unique contribution to the general discourse about the topic) are
two very different things. Many writers do fairly well in describing what their books are about, but they
struggle in detailing their points of view as the author or authority on a topic. In this regard,
developmental editors can be instrumental in helping authors highlight their expertise and experiences in
the best light, as well as in showing them how to let their unique voice and perspectives come through.
How you develop your book is largely determined by your answer to the third question. Here are two
things to consider:

1. The technical skill level of your readers: Are they experts on this topic?
2. Reader expectations: Do they expect to be entertained or informed? Will they prefer a
conversational or more formal tone? Will they be reading your book with built-in biases that you
need to overcome?

Knowing the answers to these questions will help you approach your topic with the right writing style,
tone, level of vocabulary, and depth of research.
For fiction manuscripts, the editor has similar concerns, though more emphasis is placed on narrative
elements like plot, characters, and reader market. Here are core questions for your novel that need to be
answered in this editing stage; again, following the questions are sample answers:


1. What is the book about?

This book is about a young girl who travels back in time and has life-changing adventures along the way.

2. Who are the main/secondary characters?

Anna Landman is a 13-year-old girl living in modern-day Dublin with her dad and stepmother. While traveling back through time,
she meets Clyde Van Berth, a 15-year-old boy living in a 13th century farming community.

3. Who is the intended audience?

This book is targeted to young readers who have an interest in fantasy fiction, ages 9 to 17.

Sometimes an author is still at the preliminary idea stage and isnt yet ready to answer these questions
in much detail. When I consider working with a new author, I usually like to see how much thought hes
given to the book he wants to write. Depending on the genre and how complete the manuscript is, I ask the
author to describe the book as concisely as possible:

1. My book is about (15 words).
2. My intended readers are (15 words). For help completing this, see the section on audience.
3. My book is like [insert book title here] and [insert book title here], but is unique because (25 words).
4. The purpose of my book is (20 words). When considering fiction or creative nonfiction, think about
whether youre trying to achieve a grander purpose (e.g., to teach a moral, create awareness, etc.) or
mainly writing the book to entertain readers.

Here is an example from my notes when I was first developing the idea for this book:

1. My book is about the basics of book editing.
2. My intended readers are new and experienced authors who want to understand the editing process.
3. My book is like Editing for Writers and Editors on Editing but is unique because its specifically about book editing, written for
authors.
4. The purpose of my book is to give authors the tools to write the best book possible.

Can you answer these questions about your book concisely? Try it now, even if its just in your head. If
not, it might be time to reevaluate your manuscript or topic because you may not be clear on what kind of
book youre writing. In my case, if a potential client cant answer these questions, I might suggest that the
author hire a book coach, rather than a developmental editor.
An outgrowth of developmental editing is book coaching, which involves a more hands-on approach to
guiding authors through each stage of the writing and editing process. A book coach will be your
indispensable guide in every sense of the word, walking you through writing your manuscript from
development to publication, as well as be your cheerleader, organizer, editor, boot camp sergeant, and
connection to other talented people in publishing. Your coach will keep you on a writing schedule, help
you set milestones, meet with you on a regular basis, and massage your scalp when youre having writers
block. Just kidding.
Okay, youre probably thinking, what are the main differences between a developmental editor and
book coach?
Developmental editors, while vital to writing a manuscript, arent nearly as involved in the process.

Book coaches keep in touch with you throughout the writing process, keep you motivated, and will often
stay with you even after your manuscript is completed, helping you put together a proposal and
submission package if youre going the traditional route or assisting you in marketing and promoting your
book if youre self-publishing. They do everything a developmental editor does and then some, and they
also typically work with you until the book is finishedas in designed, printed (or electronically
produced), and released to the public.
If the roles of a developmental editor or book coach dont sound quite like what you need, dont worry
the world of editing is flexible. A fiction author I worked with, for example, had a completed
manuscript that he was revising to shop with traditional publishing houses. He sent me three to five
chapters at a time; I would then perform both developmental and substantive editing (more on that later)
and provide feedback on plot, theme, characters, stylistics, and other elements. I also created a style guide
(see the Appendix for an example), compiled the separate chapter files into one document, and formatted
it the way publishing houses would want it. Since he was an experienced author, he didnt quite need a
book coach, and I was happy to create a scaled-down editing plan that met his needs.
A special note to first-time authors: If youre writing your first book, a developmental editor and/or
book coach can be extremely useful. Aaron Patterson, CEO of StoneHouse Ink and a best-selling author of
four titles, agrees: I think it is smart [to hire a book coach or developmental editor], and every author
should do it; why learn the hard way when you can learn from people that have been where you want to
go?
Hes right. A developmental editor or book coach not only can help you fully understand the writing,
editing, and publishing processes but can also act as a motivator. After all, you wouldnt enter a golf
tournament without taking a few lessons, would you? Think of your editor as a book instructor, the
person who will help you confidently enter the world of already-published books, ready to compete.
You should consider having your manuscript undergo developmental editing or investing in book
coaching if you need help with any of the following, keeping in mind that the last three apply mostly to
book coaches:

Getting started
Brainstorming and developing ideas and concepts
Determining audience and purpose
Developing an outline and planning
Researching
Reordering chapters or sections, often at the outline level (before writing)
Getting feedback on tone and diction (whether a book is speaking to the intended audience)
Rewriting sections
Staying on track while writing the book
Staying motivated and moving forward in the book-writing process
Checking your progress and ensuring youre staying focused

Now that weve taken a look at developmental editing, lets move to the next stage: substantive editing.
Stage 2: Substantive Editing
Substantive editing, also known as content editing, involves an editor looking at how a manuscript is
working as a whole, as well as piece by piece and chapter by chapter; consequently, it usually occurs
after the first draft is complete. Its at this stage where an editor might suggest that sections or chapters
might need to be revised orgasp!the entire manuscript needs to be rewritten. This is also where

authors seem to be most resistant to revision suggestions (see the section, Kill Your Darlings and Other
Truths About Editing, in Chapter 1), as revisions at this level can be, well, substantial.
Brace yourself. This stage is where your book goes through its toughest criticism and often makes its
most dramatic transformation. Even if the writing is good, sometimes a manuscript still misses its mark
and thats where a substantive editor comes in. Especially for first-time authors, this is where your
caterpillar of a manuscript blossoms into a best-selling butterfly of a book. (Of course, thats assuming it
was a caterpillar to begin withand not a worm.)
A substantive editor may help with structural revisions, flow, transitions, clarity, tone, conceptual
development, and overall effectiveness of the manuscript. Your editor reads and screens for content
(credibility, depth of writing, solid thesis) and structure (sequence of ideas, continuity of themes, tone).
Writers often write in a myopic tunnel, writing so that they only see a few feet at a time in front of them. A
substantive editor can help you see your book as a whole and appreciate its structure and content.
With variation by genre, the substantive editing stage focuses on things like:

Structure of the book (clear beginning, middle, and end)
Transitions from chapter to chapter, section to section, idea to idea, and paragraph to paragraph
Clarity and soundness of viewpoint and angle
Flow and movement toward a clear and logical conclusion
Depth of research and background material presented
Areas to be expanded, condensed, deleted, or revised
Compelling points or scenes to be developed

While all the previous items are important to a solid manuscript, an area that is truly indispensable, yet
often overlooked, is proper transitioning between chapters, sections, ideas, and paragraphs. Writers often
underestimate how important transitions are in writing. To have flow and continuity, its crucial to take
into account whats been said and build upon it, rather than jumping haphazardly from one idea to the next.
For example, at the idea level, new ideas that are introduced should connect in some way to the ideas
presented before. At the paragraph level, the endings of paragraphs should complement the beginnings of
successive paragraphs. Writing, when done well, builds in a progression.
To illustrate this, imagine youre having a conversation with a friend, Siegfried:
Hi Siegfried, you say. Nice weather were having, right?
I love baseball, says Siegfried. Its the best sport on the planet.
Oh, yeah, you say, rather startled at the switch in topic from the weather to baseball. Me, too. How
about them Yankees? You laugh at your own cleverness.
You know, I once went to Thailand for two months. Got a tattoo. It was splendid.
At this, you stare at Siegfried, not sure what the heck is happening.
This conversation might seem a little bizarre of a comparison, but youd be surprised how often I see
similarly abrupt transitions in writing. While writers write with the best intentions, its often difficult for
them to see these blunderstheyre just too close to the manuscript, too close to the ideas and concepts.
In addition to transitions, substantive editing is also focused on pacing. Does the piece move too fast in
some sections and slow to a crawl in others? Pacing is often a product of sentence length and variety, as
well as paragraph density. In fact, Ive found that one of the easiest ways to improve flow is to simply
vary sentence length and construction. Paragraphs or sections that dont feel right or arent quite
working are often due to having too many sentences of similar length and style. Your editor can help you
determine where to vary sentence length by alternating long sentences with short ones, or where to differ
construction by leading with an introductory clause or using compound sentences. And its the same with
paragraphs: A substantive editor knows how to break up big blocks of text or break down a complex topic

into bite-size ideas.

Substantive editing is also where your text is streamlined. Dont be surprised if whole sections or
chapters are significantly pruned or (gulp) cut completely. Your editor is checking to see where youve
ramblednot only in the writing but also in your presentation of ideas. He will prune areas with wordy
description or exposition. The job involves selective trimmingremoving vague, foggy, or unnecessary
proseand the process can be painful for writers. But dont worry too much. With a skilled editorial
hand guiding you in this stage, your work will emerge leaner and stronger.
In doing substantive editing, your editor also ensures that you have reached your intended audience. As
Christy Karras, independent writer and editor and author of four travel and history books, puts it: At its
most intensive, an editors job is to help the author define the work and its scope, to develop the work,
and to ensure the work does what its supposed to do. For example, does it educate the reader, if thats the
goal? If the book is fiction, will it find an audience? At this stage, an editor is ever mindful of audience
and whether your prose is reaching your target reader.
Im currently doing a round of substantive editing on a young adult fiction manuscript by a very skilled
writer. Much of the book is beautifully written with evocative descriptions and vivid characters. The
author has received positive feedback from friends, colleagues, and other readers, and for good reason
his writing is solid. But in my editing, I noticed something he could improve: diction. The level of
vocabulary he used in some parts was just too advanced for young readers. In the dialogue, especially
portions spoken by teens in the book, much of the expressions were too elevated to sound natural. In
providing feedback, I suggested he try to become his teenage charactersas scary as that soundsand
use more authentic vocabulary. In evaluating whether his manuscript was reaching its intended reader, I
asked several questions: Will a young reader put the book down after the twentieth word she doesnt
understand? Will a kid have to pause reading, and thereby disengage with the story, to figure out what a
sentence means? More importantly, does the dialogue feel stilted, unbelievable in the context of the
characters and situations?
Nonfiction writers have other things to consider, such as: What knowledge does a reader bring to the
book? What jargon will the reader know? How educated is the reader? Will the intended reader want
straightforward prose that provides information in a no-nonsense way, or will the reader feel more
engaged with a book that includes personal stories, narrative digressions, and colorful case studies?
If youre not sure how to identify your audience, dont worrythere are some practical strategies to
help you. One way to help define your audience and capture the right tone and language in your writing is
to create audience personas. Advertisers and copywriters have done this for decades, and its helpful for
both fiction and nonfiction book authors, too. Heres the idea: Determine three to five types of readers
for your book. Then, create a persona by writing a one-paragraph description about each hypothetical
reader.
For example, a potential reader for a book titled How to Make Money from Home might look like this:

Jennifer Blaylock is a stay-at-home mom to a 9-month-old girl. She loves her role, but her family is struggling financially. If she could
bring in $1,000 a month, her family wouldnt have to live paycheck to paycheck, and her husband could spend more time with the baby.
She has a bachelors degree in art and is adept at computers, and shes been thinking about starting a blog about arts and crafts. She
wonders if she might be able to make money doing the thing she lovesartbut isnt sure how to start a business or if its something
she can do while caring for her child.

Of course, personas will vary widely by genre, but the key is coming up with guidelines to help you
make editing decisions. While writing and editing, use your personas to help you understand your
potential readers; this will help you make decisions, refine your prose, or determine areas that need
expansion. Feel free to write your personas based on my example, and do share them with your
substantive editor; hell know how to use your personas to make sound changes to your manuscript.

Several months back, I worked on the first draft of a nonfiction handbook, which was meant to be both
informative and engaging, while reaching a very specific audience. The author had a lot of knowledge to
share and the personality to bring the book to life, but something was missing in her manuscript. Some of
the prose was lacking her natural enthusiasm, and certain sections, though informative, werent
particularly engaging. While a handbook shouldnt have over-the-top narrativeafter all, it is a
handbook, not a novelI knew her intended readers would need a little spice to keep them reading.
Furthermore, since she was an expert in the area she was writing about, some of the information
presented was unclear for newbieswhich also happened to be her entire intended audience. That
simple mistake could have overshadowed all of the great information in the book. After doing an initial
round of substantive editing, in which I did some rewriting, moved some chapters, combined and deleted
sections, and offered revision suggestions, I sent it back to the author for review and revision. The next
time I saw the book, it was like an entirely new manuscript: fresh, engaging, clearly articulated, and spoton for the intended audience. Our partnershipmy suggestions and editing paired with her expertise and
personalityresulted in a book that was better than I could have hoped. Her book sales have been
tremendous, too.
Behind every great writer is a great editor, and this is in large part due to the substantive editing that
takes place behind the scenes. Genevieve DeGuzman, the managing editor of Night Owls Press, agrees:
In the creative equation of writing, the writer is the artist, the one with the vision, blueprints, ideas, and
voice. By comparison, the editor is more the craftsman or engineer, armed with a toolbox for probing,
tinkering with, and scrutinizing your text. In many ways, writing is like building a house. Substantive
editing checks the soundness and integrity of your manuscripts structure to make sure it doesnt topple
over under reader scrutiny. Think of the substantive editor as the engineer to the writers architectural
design.
In the previous example, the author I worked with had all of the creative materialthe vision, ideas,
and voicein her manuscript, but I had the tools for making all those fine-tuned changes that brought out
her best book.
With all this in mind, you should consider hiring a substantive editor if you need help with any of the
following:

Making sure the structure and flow are effective
Checking for gaps in logic or reasoning
Ensuring transitions work between chapters, sections, ideas, and paragraphs
Evaluating tone and diction to make sure they align with your intended audience and dont alienate
or confuse readers
Identifying areas that need revision
Identifying chapters, sections, or paragraphs that could be cut or combined
Noting areas in the manuscript that are unclear or could be expanded upon
Evaluating the manuscript for overall effectiveness and making specific suggestions for
improvement

Weve discussed developmental editing and substantive editing, and its now time to move on to the
next editing stage: copyediting. Well look at the sentence-level specifics and how a copyeditor tweaks
your prose to make it stronger and more effective.
Are you ready? Its time to fine-tune your manuscript.
Stage 3: Copyediting

For all the editorial heavy lifting and dramatic transformation that happen to a text in the developmental
and substantive editing stages, copyediting often gets all the credit. When most people think of editing,
they think of copyediting: fixing grammar, punctuation, capitalization, spelling, word use, and syntax,
among other sentence-level edits. A skilled copyeditor strengthens your voice, shapes your text for its
intended audience and purpose, and delivers a close-to-finished manuscript, without distorting your ideas
or changing your intent and meaning. This stage also includes making sure everything in the manuscript
aligns with whatever style guide has been selected and is consistent with manuscript-specific nuances,
like coined words and phrases. The copyeditor isnt really getting into the meat of the bookafter all,
that was already done in the substantive stage. Rather, he is cleaning up the book and making it the most
effective piece of writing it can possibly be.
Copyediting can have a bigger impact on more technical nonfiction works than on more creative works.
Fiction and creative nonfiction tend to follow their own ruleswith creativity as their main style guide
and often dont transform as dramatically during copyediting as other types of writing. Fiction and
creative nonfiction also dont stick as closely to the rules of expository writing, and creative license is
often invoked. Take, for example, the use of slang or dialect in dialogue. This doesnt mean creative
genres cant benefit from thorough copyediting; its just that the copyeditor may be less likely to make
major sentence-level changes.
All manuscripts should go through copyediting at least once, but it often takes place over several
rounds. If youre writing a nonfiction book, the best plan is to budget the time and money for two rounds
of copyeditingone heavy round of copyediting, which youll then review and revise, and then another
round to review and clean up new text and anything that was missed in the first round. Fiction editing
varies so widely that its hard to estimate how many copyediting rounds youll need. But even the most
creative works are vulnerable to awkward word use, grammar mistakes, and punctuation errors. Budget
for at least two rounds, but know that you might need just oneor you might need five. If youre happy
with your copyeditor, you can use the same editor for all rounds of copyediting. Whatever the genre, your
copyediting needs will vary depending on how careful of a writer you are in your drafts and how attached
you are to your unique style of writing.
When you get to the copyediting stage, keep in mind that you might discover you need more intensive
editing than you thought you didor your manuscript might even require more rounds of substantive
editing before copyediting can take place. Throughout my career, Ive found that most authors think their
manuscripts only need light copyediting or simple proofreading, when in actuality they need a deeper
overhaul. A professional editor should not proceed with copyediting if the book sorely needs more
intensive work, and he should let the writer know what editing needs to be done.
The thing to keep in mind is this: Everyones writing can be improved. Just because a manuscript needs
more editing, that doesnt mean the author is a bad writer or somehow inept; it simply means the
manuscript could be stronger. And who wouldnt want to put forth the best book possible? A professional
copyeditor will almost always improve your manuscript; its unlikely that it will get worse (unless, of
course, you decided to skimp on this stage and hired the cheapest editor you could find). As Samantha
Tyree, a freelance copyeditor and writer, explains, An editor maintains your tone of voice and your
message, working with you to ensure that your manuscripts content reaches its full potential. I couldnt
agree more.
You should consider hiring a copyeditor if you need help with any of the following (and really,
everyone should hire a copyeditor, no matter what):

Editing for grammar, syntax (word order), punctuation, capitalization, parallelism, and spelling
Removing extraneous words and tightening prose
Cleaning up errors in the manuscript (for example, typos like its cold instead of its cold)

 Identifying areas that need clarification or revision

Checking for alignment with the chosen style guide
Checking for consistency (for example, between the table of contents and chapter/section titles,
font types and sizes, and use of terms)
Formatting your manuscript for design

Now that weve looked at copyediting, lets move on to the all-important final stage: proofreading.
Stage 4: Proofreading, Proofreading, Proofreading
No, its not a typothink of this as the proofreading, proofreading, proofreading stage. Why? If
youre self-publishing or working with a partner publisher, your manuscript should go through at least
three rounds of proofreading before it hits the shelf (or digital shelf, in the case of an e-book). If youre
shopping your manuscript with traditional publishing houses, one or two rounds are probably enough.
Theres a reason why proofreading is so important. As the last stage of the editing process,
proofreading serves as the gatekeeper between you and the reader. Its the last stop where your
manuscript is reviewed and checked, and its only purpose is to catch errors. At this stage, syntax (word
order), tone, and other stylistic elements should remain intact. Naturally, proofreading follows thorough
copyediting.
When a proofreader picks up your manuscript, he is only looking for true errorsmisspelled words,
inconsistencies, and style guide errors, among others. Proofreading generally takes place over several
rounds, with one or two rounds occurring after the copyediting is completed. A subsequent round of
proofreading takes place after the manuscript is sent to the books interior designer (the person who
designs the inside of the book and places the text and images) and the design proof (the final, print-ready
version of the book) is finished. During this round of proofreading, a proofreader will look for other
elements, too, such as design inconsistencies, textual errors that snuck in during the design stage, and
whether images or figures mentioned in the text are present in the chapter. At this very last stage, the
proofreader is proofreading the proofnow, say that three times fast!
Unfortunately, many authors dont realize their manuscripts are still vulnerable to errors even as they go
through design and reach the print-ready state. Authors going the self-publishing route, in particular, are
often unaware that additional errors can be introduced in the design stage. When a designer copies a
manuscript from a text document into a design program, the software often replaces certain punctuation
marks (such as &, , and ) with other characters (such as ); also, certain formatting
elements, like italics, will often disappear in the design program. A designer has to fix these errors by
comparing the text document to the design document, but its easy to miss things. Its the job of the final
proofreaders to catch these errors.
From when I was the managing editor of a local magazine in Idaho, I remember putting together the
articles for the first issue, each of which I personally copyedited and proofread. I was confident the
designers would be thrilled with how clean they were and sure the design stage would be the easiest part
for meafter all, Id already thought up the stories, assigned writers, edited and proofread the articles,
and sent the clean, final versions on to the designers. What more was there for me to do, other than verify
the articles were all placed properly? Sure, I expected a few extraneous errors; I was prepared for that.
When I received the e-mail that the first draft of the magazine was ready for review, I excitedly opened
the file and prepared for an hour or two of final review. Boy, was I wrong. The magazine was littered
with errors: weird characters in strange places, pull quotes that had typos, and a myriad of other design
errors. Ten hours later, I submitted my first editsand several rounds (and hours) of editing later, the
copy was still riddled with mistakes.

Of course, the amount of errors youll have will vary based on two things: 1) how detail-oriented your
designer is, and 2) how visually-oriented your book is. The book designer I work with now does a very
good job of catching these little design inconsistencies, and he has an even better attitude about the
proofreading stage.
Even if money is tight, dont ever skip the proofreading stage. If you spent a great deal of time and
money during earlier editing stages, it will all be for naught if your book is a mess of typos, design errors,
and textual inconsistencies. Take my advice and proofread, proofread, proofread.
You should hire a proofreader to help you with the following:

Catching errors, including grammar, spelling, capitalization, and word use
Rechecking for consistency (for example, between the table of contents and chapter/section titles,
font types and sizes, and use of terms)
Verifying that the entire manuscript has been placed into the designed document (known as
integrity editing)
Checking characters and formatting post-design
Verifying that images/tables are present in the designed version when mentioned in the text
Catching any typos that werent caught pre-design, including grammar, spelling, capitalization, and
word use

Lets move now from proofreading, proofreading, proofreading to why each stage of the editing
process should be kept separate.
Keeping the Editing Stages Separate
In an ideal world, each of these four editing stages is separate and distinct and happens in a certain
sequence, with developmental and substantive editing taking place before copyediting and proofreading.
In reality, however, budgets and timelines dont always allow for such clean and simple separation. But,
as youve probably guessed, the more editing stages your writing undergoes, the better the final book will
be. Allowing an editor to only focus on one stage at a time makes the process more systematic and ensures
that he can give careful attention to your work.
Nobody likes to be rushed. Editors, especially, by the nature of the job, like to dwell on a work.
Editing has been described as high-pitched concentration at a low-gear pace. 5 It can be exhausting
work, and to be done right, it must be focused, slow, and careful. So, please, dont tell an editor, Oh, this
job should only take a few days! Let the editor estimate how long it should take and what stages of
editingand number of rounds within each stagethe book should undergo.
Authors planning on self-publishing should take special note. Because you dont have an entire
editorial and design department backing your book, its imperative for you to invest in solid editing. You
can edit your own work, but I highly recommend that you hire additional editors, too. Peter Bowerman,
commercial freelancer, business coach, and author of The Well-Fed Self-Publisher, puts it this way:
Self-publishing still has a stigma, but frankly, in about 99 percent of the cases, its well-deserved,
because 99 percent of the time, self-published books are, in fact, crap. Your goal should be that people
find out your book is self-published, and theyre shocked.
Think about it this way: Would you buy a structurally sound house, built with solid craftsmanship, if it
has mold growing in all of the rooms, a colony of rats living in the basement, and a paint job of brown,
pink, and lime green polka dots inside and out? Probably not. In real estate lingo, the house has no
curbside appeal. Likewise, even if your writing is solid, and the book is well-planned and conceptually
sound, a poorly edited book is like the eyesore of a house no one would ever buy.

Self-publishing sensation Amanda Hocking, who at one point was making $9,000 per month selling
genre fantasy fiction for 99 cents a pop, is also adamant about the importance of editing for writers: My
biggest word of advice to any new/future writers thinking about diving into Kindle: Edit. I dont care
what you think, you didnt edit enough. Some people wont care that there are errors, its true, but enough
of them will. And they paid for it, so they have a right to. So edit more. And then again. Really. 6
Bear in mind that the big publishers have good products for a reason, and if you want to even begin to
compete with them, youre going to need to duplicate their process as best as you can. Bowerman adds: I
assertand Ive seen this firsthandtheres nothing a publishing company can do that you cant do at
least as well, if not better. I agree with him, and if you maintain that idea at the heart of your selfpublished book, youll be in good shape.

Editing Terminology
Now that weve looked at the four stages of editingdevelopmental editing, substantive (content)
editing, copyediting, and proofreadinglets look at some editing terminology youll need to know. Ill
refer to some of the terms throughout this book, although most of it is here to help you talk the talk when
working with an editor. While reading, you may want to keep this chapter marked for easy reference.

Audience personas: detailed descriptions of prospective readers for your book. These
characterizations help focus your writing to a specific audience or type of reader.

Back matter: the pages that come after the books main text, including endnotes, citations, and an
author biography.

Book coach: someone who guides a book through each stage of the writing, editing, and publishing
processes.

Book coaching: see book coach.

Citation: see cite.

Cite: to attribute a quote or other reference to a source; the result is known as a citation, which can
be in the form of an in-text citation, a footnote, an endnote, or an entry in a bibliography.

Content editing: see substantive editing.

Copyediting: the stage of editing that looks at grammar, punctuation, capitalization, spelling, word
use, syntax, and other sentence-level elements, as well as consistency with the chosen style guide
and manuscript-specific nuances, like coined words and phrases.

Cover designer: a person who designs book covers.

Cowriting: an arrangement in which more than one person develops the content of a book. Cowriters
are usually listed as coauthors when the book is published.

Design proof: the print-ready version of a manuscript, ready for review and proofreading.
Typically, a publishing house or author has to sign off on the design proof before a book goes to

print.

Developmental editing: the stage of editing that helps develop a manuscript. A developmental
editor often assists with concept development, outline creation, and research; gives feedback on
drafts; makes structural revision suggestions; looks at stylistic elements, such as tone and diction;
and gives feedback on whether the manuscript is reaching its intended audience and purpose.

Editing: all of the things done to a piece of writing to get it to its final state.

Editing rounds: the number of times a manuscript undergoes an editing stage; for example, two
rounds of copyediting.

Editing stages: the process a manuscript goes through as it is edited; the four stages of editing are
developmental editing, substantive (content) editing, copyediting, and proofreading.

Editor: a person who edits a document (book, magazine, technical manual, etc.). Editors vary
widely in specialty, interest, and skill.

Fact checking: verifying that information in a manuscript is accurate. This can include verifying
URLs, names, dates, numbers, and other elements.

Freewriting: writing without concern for grammar, spelling, syntax, or other language nuances,
usually for a specific amount of time. The point of this type of writing is to get ideas onto the page
and encourage creativity.

Front matter: the pages that come before the books main text, including the title page, copyright
page, table of contents, and preface.

Ghostwriting: writing that is published under someone elses name other than the original author.

Indie: independent, usually referring to indie authors (self-published) or indie publishers (smaller
publishing houses).

Integrity editing: verifying that all of the content from the original manuscript is present in the
design proof.

Interior designer: the person who designs the interior of a book, including page layout, fonts,
images, colors, and other design elements.

Levels of editing: often in reference to technical documents, this term refers to editing done in
levels, or stages, with each level focusing on a different element. The term originated from The
Levels of Edit, a guide written for the Jet Propulsion Laboratory in 1976, which included a
comprehensive and detailed hierarchy of editorial tasks. 7

Line editing: editing at the sentence level, rather than for overall effectiveness of the manuscript;
also known as copyediting.

Manuscript: a book or written work that is not yet published.

Parallelism: using successive verbal constructions that correspond in grammatical structure, sound,
meter, meaning, etc. 8 In a book, elements like bulleted list items should have the same construction
(e.g., each starting with an adjective) so that they are following the rule of parallelism.

Partner publishing: a model in which the author and publisher both invest in publishing a book and
have a more even share of the royalty, as compared to traditional publishing.

Persona: see audience personas.

Plagiarism: taking credit for someone elses work or idea.

Primary research: research you conduct yourself, such as interviews, investigative travel, surveys,
or questionnaires.

Proof: see design proof.

Proofreading: checking for errors, both before and after the manuscript goes to the book designer.

Secondary research: reviewing and sifting through research that already exists; this includes
reading credible articles, reviewing historical documents, and reading nonfiction texts, among other
things.

Self-publishing: a model in which the author pays for all publishing costs and is responsible for
distribution and marketing. Authors typically make 100 percent of the royalties, unless other
arrangements are made through a self-publishing company.

Style guide: the style and rules that dictate the way a manuscript is formatted. Common style guides
include The Chicago Manual of Style (CMS), The Associated Press Stylebook (AP), and the
Publication Manual of the American Psychological Association (APA). Most editors will create a
manuscript-specific style guide as well, which details any elements that deviate from the chosen
major style guide or are unique to a particular manuscript.

Substantive editing: the stage of editing that looks at how a manuscript is working as a whole, as
well as chapter by chapter and section by section; a substantive editor may help with structural
revisions, flow, transitions, clarity, tone, and overall effectiveness of the manuscript.

Top-down editing: starting with the big picture elements (structure, tone, clarity, etc.) and working
down to the small details (syntax, spelling, punctuation, etc.).

Traditional publishing: a model in which the publisher pays all of the fees associated with
publishing a book. The author usually makes a smaller percentage of the royalty, compared to self- or
partner publishing.

Transition: in writing, moving seamlessly from one chapter, idea, or paragraph to another, thereby
connecting the two. Usually, this includes addressing the ideas presented in the previous chapter,

idea, or paragraph prior to introducing a new one.

For more editing terms, see The Chicago Manual of Style.

Interview with Christy Karras

Christy Karras is a freelance editor specializing in books, magazines, and other long-form projects. Her clients include
prominent and award-winning fiction and nonfiction authors as well as corporate and academic clients. The author or
coauthor of four booksMotorcycle Touring in the Pacific Northwest, Motorcycle Touring in the Southwest, More than
Petticoats: Remarkable Utah Women, and Scenic Driving: UtahChristy is a regular contributor to The Seattle Times and
has written for publications ranging from Salt Lake City Weekly to The New York Times.
I had the opportunity to talk to Christy about her experience as both a writer and an editor, and I found her responses
both useful and motivating.

What is your best advice for new authors just getting started?

Be okay with having your work critiqued and changed. Its the only way your writing can improve. I started out as a visual artist,
but I couldnt handle critiques. So, I switched to writing. Because I didnt care if people commented on or changed my writing,
Im now a better writer. If youre writing for publication, your readers opinion really matters. (Note that this pertains to the later
stages, after youve written your first draft. Dont let anyone talk you out of writing the story you want to write!)
Also: Writing and editing are difficult for everybody. Dont be discouraged if theyre difficult for you.

Why should an author or would-be author hire a professional editor?

You may know a lot of people who think theyre good editors, and they may be fine, especially if what youre writing is not
meant for widespread publication. But a good professional editor will know things that only come from working in the industry.
For one thing, we know style guides inside and out, and in order to look professional, youll want your manuscript to follow the
appropriate style guide. We know the little, itty-bitty minutiae of the rules of good writing. We know what authors often get
wrong and, hence, what to look for. We have experience rewriting sentences without butchering them. We can explain why we
change what we do. (No, you dont put in a comma just because theres a pause in the sentence!)
Alsoand this is more important than it might seemwe have a professional obligation to give your project our best attention.
We will get things done right and get them done on time.

Do you have an interesting story about editing to share?

I have a friend who wrote a novel and got an agent who loved her book. The problem is, the marketing departments at all the
major publishers didnt think they could sell enough copies to make it worth their time. She ended up deciding to self-publish. A
relative of hers, who works as an editor but not typically a book editor, was going to copyedit the book as a favor but couldnt at
the last minute, so my friend hired me (I also edited press materials for her media campaign). She has published three books in
the past year and sold tens of thousands of copies. She is now acting as a publisher to other independent authors. Its a very
exciting time to be an editor.

Is there anything youd like to add (tips, tricks, ideas, etc.) that relates to editing or writing?

Id say the number one thing that separates successful authors and editors from those who dont succeed is professionalism. If
you want to do this for a living, then you need to treat it the way you would treat any other job. That means meeting deadlines,
delivering what you promise, and communicating well. For authors, professionalism means being serious about every stage of the
publishing process, including editing but also everything from design to marketing and social media.

Find out more about Christy Karras at www.christykarras.com.

THREE:
The Writing Process Revisited Planning and Writing Your Book
with an Editors Eye
A Different Way to Write
I had an excellent English teacher in seventh and eighth grades, Mr. Stadtlander, or Mr. Stadt, as we
called him. Each day, Mr. Stadt drilled the English language into our young brains, forcing us to memorize
prepositions, perfect our comma usage, and write clearly and concisely. Considering I was a boy-band
loving, lip gloss-carrying, makeup-obsessed teen, the fact that I recognized his abilities as a teacher is
kind of astounding.
One quarter, Mr. Stadt announced that we were going to write a 10-page research paper, along with
conducting a science experiment, and then give a presentation based on our research and findings. My
mind raced at the idea. Is he serious? I balked. Theres no way I can write 10 pages! My friends and I
glanced at each other, nervously biting our nails and raising our eyebrows in disbelief.
Over the next weeks, Mr. Stadt took us through all the steps of writing a research paper: brainstorming
and researching, outlining and prewriting, writing, and editing. He helped us select our topics, took us on
a field trip to the library, and hovered over us in the computer lab as we wrote, making sure we were on
task. We used the notecard method, a system of organizing research onto notecards (a technique I later
used in my own teaching), and we ended up writing pretty good stuff, especially considering we were
middle schoolers.
Mr. Stadts teaching established a base for my understanding of writing as I went through high school,
college, and graduate school. But heres the catch: Many writers grow up thinking this systematic process,
mechanically marching from one stage to the next, is the only way to do things (see Figure 3-1). In no way
am I suggesting we shun the systematic writing process taught in middle school. After all, to learn to run,
one must first learn to walk, right? Learning the basics of the writing process was a great foundation for
me to then discover my own process. Likewise, this foundational, straightforward approach is a good way
to introduce the writing process to students. Many high school and college teachers rely on it because its
a relatively foolproof and easy way to teach writing in a classroom setting.

Figure 3-1: What We Learn About the Writing Process

Unfortunately, what our schooling has done is indoctrinated us in a single way of approaching how to
write. Many people have never learned that there are different waysoften better waysto approach
writing. Thinking its impossible to adopt a different process, many writers become frustrated and
abandon their work.
In practice, the writing process isnt really as systematic and neatly ordered as we were taught. Think
about it. As writers, we dont actually research and then move directly into the outlining stage without
doing further research. While writing, we do some self-editing, often rewriting sentences, paragraphs, and
entire sections along the way. When a piece of writing is finally finished, its not a smooth transition
into the revision stage, as there always seem to be some troublesome areas that need more attention,
whether its rewriting or even more research and fact-finding.
In reality, we tend to jump from stage to stage, brainstorming, then researching, and then brainstorming
again. We write for a stretch of time and then get sidetracked as we try to fill in some gaps in our work
through additional research and study. We might decide to rewrite a chapter, which means we have to start
that section over again from square one. In fact, the writing process is more of a jumbled mess (see Figure
3-2) than a linear, one-track progression, and the sooner writers recognize this, the easier it will be to
write.

Figure 3-2: What Really Happens in the Writing Process

Whats the solution? Its simple: Design your own writing process.
As an editor and writing coach, I approach writing much differently than some people. Because my
number one job is to bring out an authors best booknot to have him write the book I think is bestmy
coaching method is to find what works for that particular author. I often meet authorsespecially people
who dont consider themselves writers but have some knowledge to share with the worldwho
struggle with committing words to the page. They see it as a tedium they can barely stomach, something
that makes them anxious and unconfident. But, when I talk to them, I see that they are practically writing
their books as they speak! When I suggest they sit down with a recorder and write aloud, have the
recording transcribed, and work from the spoken version, they often stare at me in disbelief. You mean, I
can do that? their eyes say. Yes, you can do anything that works. Just figure out your best mode of
expression. Is it speaking into a recorder, having the audio transcribed, and then organizing your thoughts
later? Is it writing all of your research notes by hand and then drafting your book using a computer? Is it
getting words onto the page in a storm of inspired creativity and then returning to strengthen the prose with
facts and solid research?
Once you figure out your best method, follow through. International business advisor, facilitator,
speaker, and author of Treasure Inside: 23 Unexpected Principles That Activate Greatness, Ron Price,
says, I think everyone has to experiment to figure out what will work for them and then stick with what
works. Doing something is better than doing nothing! Hes right: Figuring out what works is only half of
it; the method has to be something you stick with, or what was the point in figuring out your individual
method in the first place?
All that being said, breaking out of the box isnt always easy, especially when it comes to process,
whether its in writing, making art, or any other creative endeavor. When I was in my undergraduate
program working on my art minor, I remember struggling to sketch thumbnails (small drawings to later

base artwork on) of a sculpture I wanted to create. No matter how I approached the project, I couldnt get
inspired. I stared at my sketchbook in frustration, hoping a bolt of creativity would strike. It didnt.
Knowing I was a writer, my professor asked, When you write, how do you brainstorm? How do you
come up with ideas?
I freewrite, I replied. I write a bunch of stuff down on paper and then go from there.
Okay, he said. So do that with art. Write out your ideas in words, and turn them into sketches. Not
everyone comes up with ideas the same way.
Lightbulb!
You see, what works for me might not work for you. Everyone is different and unique, and like art, each
of our writing processes will be just as different and unique.
So, how do you write? What is your process? Is it working for you? Even if it is, do you think it could
be improved upon?
I believe everyones writing processes can be made better through understanding and adopting good
editing practices, so Ive included tips to streamline the writing process, all of which are based on my
studies of writing theory, work with authors, discussions and interviews with experts, and personal
creative pursuits. Lets look at how to tame the writing beast with some editors discipline and without
sacrificing your creative freedom.

Streamlining the Writing Process with an Editors Touch (Steps 14)

As a writer, I love the creative chaos of the writing process. I love the spontaneous bursts of thought
that arise during mundane activities like buying groceries or getting the mail. I love the thrill of bursting
through the front door, running to my desk, and jotting down ideas, sometimes even entire paragraphs that
seem to come from nowhere. I write in my head while I run, while I drive, sometimes even while in the
midst of a conversation.
That part of the writing process is beautiful. But, unfortunately, that part of the writing process isnt
going to help me write a book. Those scraps of paper I have, scribbled with inspired ideas, wont
somehow meld together into one, cohesive manuscript.
While I love and appreciate the beauty of spontaneity, I also know that a little editorial planning can
help me make better use of my inspirations. By accepting some structure, Ive been able to increase my
productivity as a writer, maneuvering through revisions with less anxiety, stitching together my jumble of
notes into a more organized whole, and producing better work in less time.
Ive also seen the same effect in the authors I work with. Having a plan in place, where they allot time
for certain tasks, like outlining, research, writing, self-editing, and working with an editor, helps them cut
through the chaos of writing, without dampening their creativity.
With that in mind, lets look at how you can streamline your writing process in eight steps. In this
chapter, well look at how to plan and write your book:

Step 1: Assess Your Editing Needs
Step 2: Prewrite and Plan Your Book
Step 3: Research and Expand Your Outline
Step 4: Write

In the next chapter, well look at the revision process. Youll learn how to put your knowledge of the
editing process into action on your own manuscript and prepare your book for publication.

Step 5: Let It Sit

Step 6: Revise
Step 7: Enlist Reader Feedback
Step 8: Arrange for Copyediting and Proofreading

Because there are already tons of resources out there on many of these steps, the focus will be more on
the process, rather than the nuances of each step. That said, Ill offer some ideas for further reading and
resources in case you need more help in a particular area.
Step 1: Assess Your Editing Needs
Two of the biggest mistakes first-time authors make are approaching writing without assessing their
needs and writing their books alone. Whether or not youve been lauded for your writing and grammar
skills is immaterial at this stageif youve never written a book before, youre learning a new form of
writing and a very complicated one at that. Now, you might find it odd that Im suggesting you assess your
editing needs before writing a book. But remember the editing basics from Chapter 2? Head back to the
section on Book Editing in Four Stages: Getting from Good to Great to refresh your memory, and
review it before you start writing.
Then, consider involving an editor early on in the writing process. Ive worked with a lot of authors at
different ability levels, but the one constant is this: Everyone can use help writing a book. It doesnt have
to be a solo affair, and thats what the editor-writer partnership is about (refer back to Its All About the
Author-Editor Relationship in Chapter 2).
And dont just take my word for it. Lora Arduser, an assistant professor at the University of Cincinnati
who spent 15 years as a professional writer and editor in a variety of fields, including textbook
publishing, food journalism, and archaeology, says, I think editing should be an iterative process. It
usually gets tagged on to the end of a project, but Ive found involving the editor early and often is a better
strategy in general. Freelance copyeditor and writer Samantha Tyree adds, If you are finding the writing
process somewhat daunting, an editor can be a great resource in helping you to organize your thoughts and
save time with future rewrites and organization.
If you are comfortable with the content development, then an editor can be helpful in ensuring your
manuscript is consumer-friendly, grammatically comprehensive for readers, and in line with your target
audience, once the pages are written.
If you still doubt the effectiveness of working with an editor early in the writing stages, consider this: A
professional editor has been through the book-writing process several times and knows strategies and tips
for getting your book off to a great start. She knows how to write an effective outline, do research
efficiently, and identify holes in ideas that need work or clarification. Better yet, your editor knows the
publishing process and, at the early stages, can keep you motivated, which can save you monthsscratch
that, yearsof writing time. She may even save your book if youre the type to start things and not finish
them.
Regardless of where you are in the writing process, make sure to ask yourself these key questions, and
refer to the Editing Checklist in the Appendix for further help determining your editing needs:

Do I need help getting started, creating an outline, conducting research, staying on topic, or
remaining motivated while writing my book? If so, hire a developmental editor or book coach.
Do I feel confident with my book outline, concept, and ability to remain on topic and stay
motivated, but need help with reviewing my manuscript for tone, flow, transitions, structure, and
overall effectiveness? If so, undergo substantive editing.
Do I feel confident about my manuscript and want it to stay as is, with just revisions for syntax

(word order), spelling, capitalization, consistency, and other sentence-level changes? If so,
arrange to get copyediting.
Has my manuscript already been edited for any or all of the above, and I just need help
cleaning up any remaining errors? If so, arrange to undergo proofreading.
Step 2: Prewrite and Plan Your Book
Create a thorough, exhaustive outline. Structure is everything. Once you have that point-by-point
outline, you can follow it and be creative while staying within its boundaries, explains ghostwriter,
coauthor, and book doctor, Tim Vandehey. After all, you wouldnt build a house without blueprints or
assemble complicated furniture without instructions. So, why write a book without a proper outline? Just
as the name implies, the outline, well, outlines the books structure, content, and main points. It commits to
paper what you want to write about, how youll write about it, and the things you plan to include to get
your main points across.
Yes, outlines, like other prewriting, can be tedious. Many writers balk at doing them because they think
outlines will cramp their style. They think theyd be better off jumping right into writing while the
inspiration is still hot, pouring ideas onto the page without any planning. But do outlines really stunt
creativity? Do they restrict the writing process? Are outlines only for control freaks? The answer is no.
Outlines arent meant to be a singular, rigid way of doing things, although a lot of writers have that
misconception. Developmental editors, in particular, know the gripes that writers have with the outlining
process: Authors view it as a chore, or worse, a straitjacket that stifles creativity.
But even the most free-spirited creative type has a lot to gain from writing an outline. In fact, the
greater your enthusiasm to write, the more an outline should appeal to you. Once you have your book
planned out, its much easier to integrate new ideas or plot twists or even restructure whole sections or
chapters. With an outline, you have a general idea of where the book is going even before its written. An
outline gives your book a clear narrative arc.
Doing an outline can be an indispensable way to organize your ideas before you start writing. As my
dad used to quote to me when I was a kid: Proper prior planning presents pretty powerful performance.
Yes, Dad. Yes, it does. Great books dont magically appear by accident. The romantic idea of writers
sitting cozily at their desks, while words come spilling out with ease, perfectly phrased and set when they
hit the page, can fool the best of us. The truth is writing a book takes shrewd planning and development,
followed by discerning pruning and shaping in the subsequent editing stages. While not easy, with a little
strategic planning and discipline, outlining can make writing more enjoyable and editing a lot easier.
While the complaints about outlines abound, many respected fiction and nonfiction writers swear by
them. Joyce Carol Oates, winner of the National Book Award, uses detailed charts to write her fiction
novels. Gay Talese, acclaimed writer and author of A Writers Life, carefully maps out his nonfiction
works. International best-selling fiction author Vincent Zandri says, I try and start with a very rough
outline that isnt altogether developed. That way, I can allow the story to grow organically. Myriam J. A.
Chancy, Ph.D., a Haitian-Canadian writer and scholar, author of several notable academic and creative
books, and professor of English at the University of Cincinnati, adds, I think of streamlining [writing] not
so much as a way to shorten the process but as a way to order the process. Outlines, files for different
pieces of research and chapters/characters, maintaining a master digital file, as well as various versions
of files throughout the writing process and hard copies of finished and revised sections of the work, all
assist me in keeping projects orderly and on track. The list goes on.
Im not saying that everyone, for every type of writing, should thoroughly and extensively outline; that
would go against my whole philosophy that everyone has a unique process (detailed at the beginning of
this chapter). Zandri, for example, prefers loose outlining, and Im all for that, if thats what works for

him. My point is that an outline doesnt have to be rigid, and it doesnt even really have to look like what
most think of as an outline. After all, an outline isnt a one-size-fits-all sort of thing; yours can be a
flowing sketch of your story line, or it can be a traditional, numbered outlinethe choice is yours. The
idea is to add a little planning to your writing processor a lot, depending on your needs and writing
style.
Think of an outline as a road map that keeps you moving in the right direction. While you dont have to
stay on the main roads (you can veer off course whenever you feel like it), having a road map helps you
avoid wandering off aimlessly. Aimless writing means more headaches later on and a heavier task for
your editor in the substantive editing stage.
When youre finally ready to make revisions, your outline provides a nice baseline for comparison
when you need to make changes that will ripple through your book and affect other aspects of it. [If] the
book is a novel, the outline is a sort of storyboard, describing the milestones of characters and how these
might be connected within the structure of the novel to reveal a larger theme or reality, Myriam J. A.
Chancy explains. If the book is one of scholarship, I define the chapters from beginning to end and
provide short prcis of the texts I plan to analyze and the sub-theses to be explored in each. Either way, I
utilize the outlines as guides or maps, since I tend to write nonlinearly, allowing myself to revise them as I
go.
By having a road map to your book, you wont have to deal with jumping from thought to thought or
tumbling from idea to idea in a confusing way. As a result, your stories become more compelling, your
arguments more developed, and your writing more riveting. Finally, outlines simply compel you to spend
more time up front eliminating dead ends and weak ideas so that youll waste less time on the process
itself and more time actually writing. Especially in nonfiction, youll avoid writing pages and pages on
something that is off-topicpages that will only end up painstakingly deleted later on.
As you write your book, you may find that you do indeed move in different directions from your
original intentions. Thats fine. Some writers ignore their outlines once they begin writing, while others
find that their outlines morph into something completely new during the writing process. Whats important
is that you took the time to think through your ideas and stories to make sure they are sustainable.
Types of Outlines
Just like theres no one-size-fits-all writing process, outlines can be tailored to fit your needs, too, and
the trick is to find the right planning tool that works for you and your writing style. There are many types
of outlines, but the main ones are: traditional outline, signpost outline, index card outline, and nonlinear
outlines, such as a flow chart or tree diagram.
The traditional, or layered, outline is the most familiar form of outline. Remember the method you were
taught in school, the one with the Roman numerals, points, and sub-points? Yeah, thats the one. Heres
what a traditional nonfiction outline looks like, with a few tweaks from yours truly:

Topic: Write a brief sentence explaining what the book is about.

Intended audience: Write a brief sentence detailing the intended audience.

Working title: Include the working title here; if you dont have one, just make up a generic one for now.

I. Introduction
A. Short opening story, anecdote, or concept
B. Main premise or purpose; summary of main points
C. Additional information (how to use the book, about the author, etc.)
II. Main idea or concept #1
A. Sub-point or concept
1. Supporting detail or idea

2. Supporting detail or idea

3. Supporting detail or idea
B. Sub-point or concept
1. Supporting detail or idea
2. Supporting detail or idea
3. Supporting detail or idea
C. Sub-point or concept
1. Supporting detail or idea
2. Supporting detail or idea
3. Supporting detail or idea

Youd then continue with Main idea or concept 2, 3, and so on, until you get to the conclusion:

III. Conclusion
A. Summary of main ideas
B. Concluding statement, story, or anecdote

After youve completed your outline, the next step is ordering the main ideas or concepts youve
identified, and there are a few methods you can use to do this. If youre a visual person, consider printing
out the outline, cutting up each section, and laying all the pieces on a flat surface. Then, move the sections
around and arrange them in the most logical order (and then make the necessary changes to the computer
file). When I do this, I usually either print a separate copy of the outline, mark it up by hand, and then
make the changes on the computer, or I work on the computer using Microsoft Word Track Changes to help
me keep tabs on the modifications Ive made.
Once your sections are in order, you can loosely assign a chapter number to each main idea or concept,
keeping in mind that some of the sub-points or concepts may be shuffled into different chapters, you might
find a better chapter sequence, or you might add or delete things altogether as your book develops. In the
next section of this book, Ive provided an examplethe original outline for this bookto help you see
what this type of outline looks like.
A signpost outline, unlike a traditional outline, gives a brief description of what you plan to write about
in each section or chapter of your book. If youre writing fiction, you might break your sections up into
actual scenes, with a short description of the setting, characters, and plot in that scene. If youre writing
nonfiction, the information you include in your signpost outline will vary, but you might note the topic,
anecdote, or story you plan to include and the main point of the section or chapter.
A signpost outline looks something like this: 9

For nonfiction

Chapter 1 or Section 1: Write a brief title.

Main points: Write a few sentences describing the key messages of the chapter or section.

Description: Include a paragraph on the main concepts, ideas, and stories to be included in the chapter or section.

For fiction

Chapter 1 or Scene 1: Write a brief title.

Setting: Write a brief description of the setting.

Characters: List the major and minor characters to be included in the chapter or scene.

Plot events: Include a description of the major plot events in the chapter or scene.


While a signpost outline is a much easier format to produce than a traditional outline, the work you
save on the front end by outlining your book in this way will be made up during the writing process, as
your book wont be as thoroughly planned. On the plus side, though, if youve put off outlining your book
because of the tedium of creating a detailed outline, this might be a good option for you. Its flexibility also
leaves room for more creativity in the writing process, as its not nearly as structured as a traditional
outline.
An index card outline is much like a signpost outline. It briefly outlines the main points of a section or
chapter, but unlike the signpost outline, each section or scene is put on an index or note card. The
information included on each index card can be similar to that of a signpost outline, but dont limit
yourself to just that information or style. Think of each card as a section or chapter at a glance, and
include all of the pertinent details that fit your writing and planning style.
The benefit of this type of outline is that it allows you to move around the sections or chapters until you
find the right sequence, especially since you can lay them out and physically move them as you experiment
with order. Another convenient thing about index cards is that you can take them with you when youre on
the go. Shuffle through the stack when youre waiting in line. Jot down notes on the blank side as you think
about your books narrative structure. For visual and tactile thinkers, the index card outline is a great
option.
Nonlinear outlines, such as flow charts and tree diagrams, are also great options for visual thinkers. A
flow chart is typically a series of boxes or shapes with main concepts, events, or ideas written inside of
them, connected with arrows to indicate flow and order. A tree diagram also typically uses boxes or
shapes, with the main concept or idea at the top, the sections or main points branching out below, and the
sub-points or main ideas in each section branching out below that; it ends up looking like the roots of a
tree, hence the name.
There are several online programs that allow you to create a digital flow chart and move the boxes
around to find the right order, or you can utilize one of several free premade charts available. If youre
using Word, head to the Microsoft website (office.microsoft.com) and search for flow chart to see
several options. Or, for a free 30-day trial of an online flow chart program, try Gliffy (gliffy.com).
While there are tons of different outlining techniques available for your planning endeavors, the trick is
finding the right one for you. Explore each method until you find one that fits your needs and helps you
bring out your best book. If you have the budget, hire a professional who specializes in developmental
editing to review your outline prior to starting your bookyoull be glad you did. But, most of all, take
freelance writer Kevin Purdys advice: Know what you need to say, how it should be said, and outline,
outline, outline. For more information on outline techniques, read Brian A. Klems article, Choosing the
Best Outline Method for You at www.writersdigest.com/whats-new/choosing-the-best-outline-methodfor-you.
The Traditional Outline: An Example
The traditional outline is traditional for a reason: It does a pretty good job of laying out a novel or
nonfiction book. Because of this, Im including the outline I created for this book (see below). And, just
like I encouraged you to do in the previous section, this outline was thoroughly reviewed and revised by a
skilled developmental editor. Its also changed as Ive worked on the book, so some of the sections you
see included dont fit perfectly with what youre reading now. (Section V of the outline didnt even make
it into the manuscript!) But thats the beauty of outlines: They are malleable, organic entities that change
with a work. They provide an excellent way to visualize the finished bookwhats done and what needs
to be donewithout being restrictive.

Please feel free to use this structure in your own writing endeavors, and be sure to check out other
outlining methods if this type of outline doesnt work for you.

:::

Topic: An in-depth look at the book-editing process

Intended audience: Authors and would-be authors who want to understand the book-editing process and hire an editor

Working title: Edit Your Best Book: How to Use Self and Professional Editing to Write Your Best Book

I. A Challenge and Caveat About Editing [working title]
A. Who this book is for (authors or would-be authors who want to understand the editing process and hire an editor); highlight the need
to hire editors in the new age of self-publishing.
B. Contrast the romantic idea of writing a perfect draft the first time with the reality that books undergo several stages of editing
before they are published; highlight the writer-editor relationship and the fact that editing is an extension of the writing process.
C. Introduce the partnership between an author and editor, as well as how an editor can be useful in shaping prose.
D. What this book is about
E. My background and qualifications
F. How to use this book
II. Editing Basics
A. Editing by Spell-checker Alone and Other Misconceptions About Editing
1. Describe what people traditionally think of as editing (proofreading).
2. Definition of editing: Editing, put simply, is all of the things done to a piece of writing to get it to its final state. It is not just a
grammar and spelling check. Rather, it takes place before the work is written, while writing a work, after the first draft, and
before and after the work is sent to design.
3. An editor can be a partner in the book-writing process:
a. To help write, research, motivate, and organize
b. To bring back the joy in writing
B. Editing Types and Terminology
1. Brief intro to the fact that there are numerous ways an editor can be involved in writing a book:
a. Ghostwriting
b. Cowriting
c. Editing
C. Four Main Types of Editing
1. Developmental editing
a. Definition
b. What editors work with in this stage
c. Excerpt from interview that highlights the importance of developmental editing
2. Substantive (content) editing
a. Definition
b. What editors work with in this stage
c. Excerpt from interview that highlights the importance of substantive editing
3. Copyediting
a. Definition
b. What editors work with in this stage
c. Excerpt from interview that highlights the importance of copyediting
4. Proofreading
a. Definition
b. What editors work with in this stage
c. Excerpt from interview that highlights the importance of proofreading
D. Terminology
III. The Writing Process Revisited: Writing with an Editors Eye
A. Misconceptions Surrounding the Writing Process
1. Its not systematic, but it can be streamlined.
B. Tips for Streamlining the Writing Process
1. Assess: Determine your editing needs (see Editing Checklist).
2. Plan: Write a good, thorough outline of the book.
a. Outlines: your books road map
b. Different types of outlines: layered, signpost, index card, spreadsheet, flow chart, nonlinear
3. Research and expand the outline: Gather the sources youd like to include in each section. Mention types of nonfiction books:
memoir, biography, travelogue, reporting/analysis, self-help/how-to, technical/user manuals, textbooks. Reiterate that authors can

hire a developmental editor to help with this stage.

a. Citations, notes, and references
i. Basic rules for endnotes/footnotes and how to format citations
b. MLA vs. Chicago vs. AP
c. Copyright issues and permissions
i. When to reference quotes and ideas
ii. Fair use and copyright laws
iii. When in doubt, request permission to use a direct quote, or paraphrase an idea.
4. Write: Dont focus on tweaking. Just let yourself write, without needing perfection.
a. Formatting a manuscript for editing
5. Let it sit: Let your first draft sit for as long as possible.
6. Revise: Remember, youre an editor, too; dont be afraid to change your work.
a. Adopting a good editing attitude
i. kill your darlings, kill your darlings, even when it breaks your egocentric little scribblers heart, kill your
darlings. Stephen King, On Writing (224)
ii. Remember that manuscripts are organic.
iii. Dont take edits/feedback personally.
iv. Allot time for rewriting and editing (critical).
v. Remember that editing is integral to the writing process.
vi. Techniques for self-editing
7. Enlist feedback: Ask a few, trusted, honest people to give some feedback (see Manuscript Review Form).
8. Have full copyediting done: Hire an editor to do thorough copyediting; be ready for more work.
IV. Hiring and Negotiating with an Editor
A. Why hire an editor or cowriter?
1. An editor or collaborator can help transform a book from good to great.
2. Authors can save time and money by avoiding extra editing hours in the final phase of writing a manuscript; early revision
helps streamline the process.
3. An editor or collaborator can help authors do it right the first time and write a book theyre proud to show friends and family.
4. See Tips for Hiring and Working with Editors handout from Idaho Book Extravaganza (expand on hiring part of this).
B. Working with an Editor
1. See Tips for Hiring and Working with Editors (expand on working with part of this).
2. Make sure to discuss the basics: audience and purpose.
3. Dont spell it out for the editorlet him or her experience the book.
4. Discuss sharing writing for the first time.
5. Practicalities: how to best work collaboratively on drafts, using Track Changes (edits and comments; mention that files can
get glitches when too many comments or revisions have been made by different people), version control, use of sharing tools like
Google Drive and Dropbox
V. Editing Changes Everything
A. Take a short piece of writing from start to finish, including a letter from the editor outlining strengths and weaknesses, a handmarked round of copyediting, and the finished, polished product. Publisher to provide examples of raw vs. edited text with annotations
of the process.
VI. Conclusion
A. Reiterate the partnership between an author and editor, as well as how an editor can be useful in shaping prose.
B. Recap: Writing is more than a clean, cyclical process, and editing is more than proofreading. By understanding the stages of editing,
authors can make the most of their time and money and write the best book possible.

:::
Step 3: Research and Expand Your Outline
Whether you go the traditional outlining route or experiment with other forms of outlining, the next step
in the streamlined writing process is to research and expand the outline. If you chose other outlining
methods in the previous step, you might want to at least attempt putting them into the traditional format at
this stage, as pulling all of your ideas into one cohesive document can help bring your book together and
give you a solid foundation for writing.
All authors, whether they write fiction or nonfiction, can benefit from doing a little research for their
books. Yes, research is time-consuming (I can hear the collective groan). While we all want to subscribe
to the romantic idea of putting pen to paperor fingers to keyboardand pouring out inspired prose, the
reality is that most people need solid research to be able to produce a great book.

To Research or Not to Research?

Research is just another tool, albeit a powerful one, in your writers toolbox. Nonfiction books,
especially informational nonfiction, require both a good deal of existing knowledge and some heavy
research. Biography, travelogue, reporting and analysis, self-help, how-to, technical and user manuals,
and textbooksthese are all nonfiction genres that require intensive research from credible sources.
These types of books also sometimes require user testing (manuals and how-tos), first-person interviews
(biographies), or travel (travelogue, biographies). Memoir and creative nonfiction sometimes require less
research, but writers still do a bit of digging around by looking into their pasts (doing interviews, reading
old journals, etc.) to assist in unearthing memories. This helps them describe life experiences in a vivid,
palpable way for readers.
Practice care when you do your research. Information overload can be a prose killer and a big reader
turnoff. Nonfiction writers often think stuffing their drafts full of citations and references will win over
their readers. It usually does the opposite; research can stiffen prose if its not integrated well into
writing. A developmental or substantive editor can advise you on the best way to present facts and details
without weighing down your writing.
Readers are looking to see that you are an honest chronicler and critical thinker. This means your
writing should be much more than the sum of the facts youve presented. In fact, doing sound research for
your nonfiction book isnt about stringing together information and trotting out study after study to show
off how knowledgeable you are. The information you present to readers should always advance and
support your personal insights and observations, and you should add commentary, thoughts, and anecdotes
to make your writing more accessible.
Readers also want to read an author who has command of the material presented. Authors often
borrow credibility by citing interviews or studies, and while this can be effective, it has to be done
right. Ideally, the information should be presented in a way that lets readers come to their own
conclusions. For example, an editor would point out that a line like the following offers little insight for
readers and just falls flat:

John Doe, the eminent agricultural scientist, agrees that single-crop farms in the United States have a devastating environmental impact.

By revising the sentence so that concrete facts are presented, readers are able to come to the conclusion
(single crop farming pollutes the environment) on their own:

A 10-year study conducted by the eminent agricultural scientist John Doe revealed that nearly 80 percent of single-crop farming
operations in the United States produced the majority of pollutants found in water, air, and soil samples in surrounding areas.

Fiction readers can be just as discerning about details, looking to see how a novel is grounded in a
specific place, time, or historical or cultural context and if the narrative elements feel authentic and
real. Research for fiction books is typically related to enhancing descriptive elements and deepening
characterization and dialogue. Is your novel a hard-boiled detective story? Then you might want to reach
back in history and read about the Prohibition era crime sprees of the 1920s and its notorious outlaw, Al
Capone, for context and background. Since crime fiction has always been a popular genre, part of your
research can be reading popular novelists who wrote in that hard-boiled, noir style, like Dashiell
Hammett and Raymond Chandler, and even contemporary authors, like Sue Grafton, Walter Mosley, and
the late Stieg Larsson, author of the popular The Girl with the Dragon Tattoo series.
Both creative nonfiction and fiction authors will sometimes read history books, study maps, or even
travel to the location where their stories take place, hunting for creative inspiration and striving for
accuracy in their writing. [If] a story takes place in a foreign locale, I always make a research trip,

explains fiction author Vincent Zandri. I love to travel, so this is the fun part of the job. I also sometimes
write character descriptions that are pretty detailed, but since I base a lot of my characters on real people,
I dont always have to do them. Zandri isnt the exception. Another author I work with travels the United
States and brings the main character of his novel with him. Wherever this author is writing, thats where
the story is happening. Because of this, his stories come alive with razor-sharp details that can only be
sourced through thorough research.
Take Your Time
Just as with the outlining and preplanning discussed earlier in the chapter, writers often shortchange
time spent doing research in order to jump right into writing. However, spending time getting your facts
straight and making sure your details are correct enrich the writing experience tremendously. In
nonfiction, youll find that your arguments are sharper and more confident; in creative genres, youll find
that your characters and plot are more developed. Depending on the type of book youre working on,
research can be a lengthy process, or it can be short and sweet.
When I developed the outline for this book, for example, I adapted it from an existing presentation
outline, drawing from hours and hours of research and writing Id already completednot to mention
firsthand experience as a writer and editor. I then organized and facilitated 20 interviews to help enrich
the text and offer more compelling, interesting, and useful information for you, the reader. Was this time
consuming? Yes. But it was worth it. For other writing projects, I often do the bulk of the research up front
as I outline. I cut and paste main ideas into a working document and then pull from those as I expand the
outline and, later, write the content. Again, the process that covers outlines and research is specific to the
type of book youre writing.
Now that weve talked about the importance of research and the type of research you might do for
different books, lets go over the two main types of researchprimary and secondaryas well as some
dos and donts of researching.
Research Types, Tips, and No-Nos
There are two main methods of research that might help you get through the all-important stage of
expanding your outlineor, if youre like me, compiling notes and adjusting your outline as you go. In
exploring them, Ill give you a few pointers on what to doand what not to do.
Primary research is research you conduct yourself, such as interviews, investigative travel, surveys,
or questionnaires. This type of research can be very useful, if conducted properly, and can lend a lot of
credibility to a book. Here are a few tips:

When conducting an interview, write out your questions beforehand, and always include followup questions to help draw out meaningful answers from your interviewee. If possible, e-mail your
questions to your subject prior to the interview so that she has time to prepare. Before starting the
interview, try to spend a few minutes talking with the intervieweea warm-upbefore asking
your prepared questions; the more the interview feels like a chat with a friend, the better it will go. If
the subject is shy, aloof, or withdrawn, then it might take a few more minutes of relaxed conversation
before you launch into the interview. Be sure to be extra-engaged in what shes saying, and use your
prepared follow-up questions to draw out meaningful responses. Alsoand this might seem obvious
but is worth emphasizingreact appropriately. If she makes a joke, feel free to laugh. If shes telling
a sad story, show genuine concern. Youd be surprised at how unsettling a blank-faced interviewer,
firing questions without any reaction or commentary, can be.

When designing questionnaires, keep the questions as open-ended as possible. The aim is to
encourage your participants to share information vividly and openly to generate as much relevant and
usable material for your book as possible. Try to limit yourself to 10 questions, even if they are
multilayered; if this isnt possible, really try not to exceed 15. If youre doing interviews by e-mail,
include a place for people to write their name, title, major accomplishments, and anything else you
might need in the book and then copy and paste this information into your manuscript as youre
writing to avoid errors. I cant tell you how many misspelled names, wrongly referenced titles, and
mistyped URLs Ive caught while editing manuscripts.

Record the interview. This keeps you fully engaged with your subject. Since you wont be madly
scribbling down notes, you can keep up eye contact and respond in a genuine way during the
conversation. Worry about catching the details in the transcription later. If you have an Apple
computer, GarageBand works well for recording. For in-person interviews, position your laptop
discreetly to the side and set the recording type to podcast; for interviews by phone, set the phone
on speaker and place it near the microphone. Skype also has phone recording capabilities, although
the reception wont be as crisp as on a cell or landline. Bring a notepad and paper, but only write
down important things; also, if possible, note the time you ask each question (for example, 15:15, or
15 minutes and 15 seconds into the interview) so that, if you dont have the time or budget to send
out the interview to be professionally transcribed, you can easily find the responses to your
questions when writing.

Allow conversations to progress naturally. Dont try to dominate the conversation, and be flexible
to how the conversation goes. During lively in-person interviews, participants may often wander off
in their storytelling. While you want to keep your subject on track during your interview, these offtangent moments can provide rich material for your book. People may also need several interviews
before they warm up to you. If your questionnaire is lengthy (more than 10 questions), plan several
sessions to avoid tiring out your subject. Of course, be respectful of the persons time and schedule;
some interviewees may only have time for one interview.

When doing research-based travel, keep a daily journal, take pictures, and gather brochures.
Collect business cards from hotels you stay at, sites you visit, and restaurants you eat at; on the back
of the card, write any important details youd like to remember about the place. Store the cards in a
simple business card holderyou know, the kind that looks like a photo albumfor safekeeping.
Bring an expandable file to store brochures and other research items you collect. Also, dont forget
to bring a simple digital recorder with you to capture interviews or thoughts; I recommend Olympus
or Sony, but you can buy other brands for as little as $10 on Amazon. And remember: Your
smartphone probably has a decent recorder already built in.

Secondary research involves reviewing and sifting through research that already exists; this includes
reading credible articles, reviewing historical documents, and reading nonfiction texts, among other
things, and then collecting whats relevant and important to use for your book. While secondary research
can be beneficial, it can be difficult to find good, solid information. Some authors become intimidated by
research because they realize their topics are much more complex than they initially thought. They worry
that they wont be able to shape the plethora of material they find in a clear, cohesive way. Its easy to
lose yourself in a cloud of multiple, sometimes conflicting, sources when you first get started, and the
web, in particular, has made a tangle of information instantly available to writers dipping their toes into
research.

How can you make sense of it all? Here are a few tips:

Use a credible search engine. A public library server, university database, or reliable source like
Google Scholar (scholar.google.com) is often your best bet, although a regular Internet search can
certainly turn up some credible results.

Use reliable sources. The Purdue Online Writing Lab explains, Never use [websites] where an
author cannot be determined, unless the site is associated with a reputable institution, such as a
respected university, a credible media outlet, government program or department, or well-known
non-governmental organizations. 10 Heres a tip: Look at the URL and see if it has .edu, .org, or
.gov at the end; if so, youre probably on the right track, since these usually reference educational
organizations (.edu), reputable or nonprofit organizations (.org), or government agencies (.gov).

Verify information. Before you put anything in your book, corroborate your sources to make sure the
information you found is accurate, especially if youve found material on a commercial site, personal
blog, or website.

Vet information from Wikipedia or similar sites. Any site that allows collaborative editing and can
be regularly updated is not a reliable source of information. That being said, Wikipedia can be a
great starting point; scroll down to the bottom of the page and look at the Notes sectionyou can
use these to help you find credible sources for your research needs, but always verify them and
check for supporting information to corroborate these sources.

Write down citation information and give proper credit to your sources. The last thing you want
as a result of your hard work is a subpoena. While Im not a copyright attorney, nor should this book
be a substitute for sound legal advice, the next section, Avoiding Plagiarism and Documenting Your
Sources, provides some tips for compiling citation information while you research, as well as
abiding by copyright and fair use laws.

With these tips in mind, here are some practical tools to help you document and keep track of your
research:

WorldCat (worldcat.org) is a great free resource for finding books and resources in nearby
libraries. While using your local library website may be sufficient, the advantage of WorldCat is that
you have access to other libraries and their collections. Be sure to log in to your local librarys site
before visiting WorldCat, as the site will recognize that youre logged in and give you full access to
your librarys resources (such as full-text books and articles).

Scrible (scrible.com) is a free research-tracking and notation program. If you need to take a lot of
notes, document several sources, and keep track of a good deal of information, I highly recommend
the site, as it makes note taking, categorizing, and other aspects of research much easier and more
enjoyable. Scrible should work with most online content from WorldCat or your local library,
although Ive had trouble using it with online PDFs.

Evernote (evernote.com) is a digital app with a telling tagline: Remember everything. According
to Freelance Weekly, Evernote is great for collecting research for articles. You can cut and paste
portions of websites or documents yourself, or use a browser add-on to clip information directly into

Evernote. This information can be tagged for later retrieval 11 For sporadic, inspired people
meaning most writersthis free tool can be incredibly useful. Plus, the program syncs between
devices (computer, smartphone, tablet, etc.), so you can store and organize photos, thoughts, and
research, no matter where you are.
Avoiding Plagiarism and Documenting Your Sources
When I was teaching high school English in the Dominican Republic, I had a unique challenge: teaching
my Dominican students, who had no concept of plagiarism, how to properly document sources and give
credit where credit was due. It was a new concept to them, as copyright infringement wasnt closely
monitored in the country. In order to help them understand plagiarism, I did extensive lessons on what it
is, why its wrong, and how to avoid it.
Many people dont fully understand plagiarism because its sort of an abstract notion. Broadly
described, it is the theft of intellectual property, such as ideas and words, without proper credit, such as a
quotation, attribution, or another form of acknowledgment. At its worst, plagiarism is the intentional
stealing of an idea or content, though many times inexperienced writers do it inadvertently. Its not just
copying and pasting text word for word; rather, its the practice of taking someone elses work or ideas
and passing them off as ones own. 12 In every form, plagiarism is a serious offense and can lead to
lawsuits and professional discrediting, ruining careers and lives. For more information on plagiarism,
including
fair
use
and
copyright
laws,
visit
www.plagiarism.org
and
www.umuc.edu/library/libhow/copyright.cfm.
To avoid plagiarism while writing your book, the basic rule of thumb is to include a citation, the note
at the bottom of a page or end of a book, whenever you quote or base your ideas on another persons work
and when those ideas arent common knowledge or something you already know. This means even if you
dont quote something verbatim from another source, if you use facts or other information from that source
in your book, you need to give proper credit to the original author.
Along with being diligent about referencing each and every source, learn how to rephrase or
paraphrase (meaning rewrite instead of just changing a word or two) when possible; when you cant
paraphrase, use the shortest quote possible.
Lets look at an example of paraphrasing and citation in action, starting with the original quote, copied
word for word from the source:

perfectionism will ruin your writing, blocking inventiveness and playfulness and life force Perfectionism means that you try
desperately not to leave so much mess to clean up. But clutter and mess show us that life is being lived. Tidiness makes me think of
held breath, of suspended animation, while writing needs to breathe and move. 1

The citation for the quote can be listed as a footnote or an endnote using The Chicago Manual of Style
format:

1

Lamott, Anne. Bird by Bird: Some Instructions on Writing and Life. New York: Anchor Books, 1995.

Or it can be added to a bibliography or list of references at the end of your book.
When paraphrasing, be sure to change more than just a few words here and there. Even if you cite the
source, if you dont use quotation marks or change enough of the original text, it could be considered
plagiarism.
Heres an example of poor paraphrasing:

According to writer Anne Lamott, perfectionism can ruin how you write by blocking your inventiveness, playfulness, and life force as a

writer.1 Clutter and mess in your work shows that the writing is alive. Tidiness, on the other hand, feels like suspended animation; in
reality, writing needs to breathe and move.

In the previous example, the original quote is slightly tweaked but is otherwise intact. The example is
too close to the original quote to be considered properly paraphrased.
Better paraphrasing would look like this:

Dont be such a perfectionist when you write your first draft. Writer Anne Lamott once said that writing needs to breathe and move
and considered messiness in writing an asset because it frees one to take creative risks while working.1

In this second example, the essential idea that writers shouldnt be so hung up on perfectionism is
clearly expressed, but the text is paraphrased in an entirely new way. A direct quote of only a few words
is used and proper citation is given both in the text (Writer Anne Lamott once said that) and in the
footnote or endnote.
On several occasions, Ive worked with authors who have copied and pasted entire sections from
sources, with just a few minor changes and a citation. Instead, spend the time to write the information in
your own words, expressing the main idea, or the gist, and always give the original author or creator
credit.
Although there isnt enough time or space for a full lesson on how to format an in-text citation, a
footnote, an endnote, or a bibliography, here are two tips that will make documenting your sources easier:

Choose a style guide to help you figure out how to format your citation. Citations vary by style
guide and the type of source, such as book, magazine article, web article, or film. This book uses
The Chicago Manual of Style (chicagomanualofstyle.org), with some tweaks, although other popular
citation guides include the Publication Manual of the American Psychological Association (APA)
and the MLA Style Manual. The Associated Press Stylebook (AP) doesnt include rules for footnote,
endnote, or bibliography citation, as it is meant for journalistic writing. Whatever style guide you
use, be consistent in applying the rules.
Also, make note of anything in your book that deviates from your chosen style guide, and discuss
those exceptions with your editor to avoid inconsistencies during the editing process. And be sure to
request a manuscript-specific style guide from your editor before your book reaches the copyediting
and proofreading stages.

Use WorldCat (worldcat.org) to help format footnotes and endnotes. As mentioned earlier, the
service is free and easy to use; simply search for the title of the book or article youre working with,
select it, and click Cite/Export at the top of the listing. WorldCat will give you the option to Copy
a citation (you can get the citation in a wide variety of style guide formats, including APA, Chicago,
Harvard, and MLA) or Export a citation to build a bibliography as youre working (to do this, you
must first set up an account and log in). See the site for more information and tutorials.

For details on in-text citation (if using a bibliography), reference your chosen style guide.
Step 4: Write
After the planning is donethe outline and initial research is finishedand youre brimming with
excitement and enthusiasm, its finally, finally time to write!
As you start writing, remember that you can always revisit and rework your outline or decide to do
more research to follow up on ideas and leads that come your way as you work. In fact, writers frequently

start writing even as they continue to read and do research on their books.
While most people approach the writing stage with the best of intentions, many succumb to the
distracting nudges from their old friend, perfectionism. Heres my advice: At this stage, just let yourself
write. Dont focus on writing the perfect paragraph, sentence, or word. Let yourself enjoy the process,
commit words to the page, and be fully present in the endeavor of writing your book. The more you just
let yourself write, the better the process will be and the more likely you are to finish your book (and enjoy
the process along the way). In the blog post, The Art of the Edit: Dealing with the Mess, Genevieve
DeGuzman explains, Write it out like a good crying fit. Dont be too self-conscious. No ones watching
at this point. Silence the inner critic and tell yourself, this is just your first draft. Its almost always going
to be drivel. Embrace the sludge that generally comes forth, and write everything down. 13
How does one actually do this? It takes self-discipline, focus, and the courage to silence ones inner
critic and write without letting perfectionism get in your way. Here are a few tips:

Set aside time to write. Because I often have more projects on my plate than any reasonable person
should ever take on, I must carefully plan time for focused writing. Prior to writing this book, for
example, I informed my clients that I needed to wrap up all projects by the end of November and
wouldnt be taking on anything new until mid-January, giving me over a month of focused writing.
If youre employed full time, are a stay-at-home parent, or have other obligations that take up a lot
of time, youre going to have to be a bit creative. An author I worked with set aside Tuesday
mornings for three months to write his book, another wrote his between regular business trips to
China, and yet another fit hers in around a busy work schedule and an upcoming wedding.
Heck, if those busy people can find time to write on a regular basis, I think anyone can.
To help identify free time, ask yourself a few questions:

How flexible is your work schedule? Would your boss let you take one morning off a week to
write? Could you work longer hours each day to come in later one day a week? If its shortterm, some workplaces may be flexible. (Hint: If possible, dont leave early one day a week, as
its unlikely youll actually use that time to write. After all, you just got off work early!) A great
resource for how to find time to write when you have a full-time career or a demanding job is
Writer with a Day Job (Writers Digest Books) by Aine Greaney, which teaches how to build
creative expression into your daily routine.
Can you devote half a day each Saturday for a few months? Setting a specific time to write,
and sticking to it, can help you maintain focus.
How supportive are your family and friends? Can you lean on them a bit to help free up some
time? If youre married, can your spouse help more with the kids or housework while you work
on your book? Most of the time, family and friends will be supportive of you achieving your
writing dreams, especially if you promise them a mention in the acknowledgments.
Can you put other interests on hold? Monthly wine tasting, dinners with friends, book club,
and even a writing group can take up a lot of time you could be devoting to writing.
Can you live without television or other entertainment for a period of time? Limiting your TV
and Internet time can help free up hours you didnt know you had.

Start (and stick to) a writing routine. Routines are a very personal thing, so it might take some time
to find one that works. Perhaps you write best in the evening, after your kids have gone to bed and
while your spouse is doing his nightly reading. Or maybe you like to wake up early and write before
anyone gets up. My routine varies based on the projects Im working on, but right now I write for
about three hours every morning, after a good breakfast and some coffee. I dont check my e-mail or

social media until my writing is done, and I avoid conversations or anything distracting until Ive
finished writing for the day. I had the I need space while Im writing talk with my husband, so hes
on board, too. Even the smallest interruption can get me thinking about the other things I need to do,
so I find its best to keep that time quiet and focused.
Consider Stephen Kings routine: There are certain things I do if I sit down to write. I have a
glass of water or a cup of tea. Theres a certain time I sit down, from eight to eight thirty, somewhere
within that half hour every morning. I have my vitamin pill and my music, sit in the same seat, and the
papers are all arranged in the same places. The cumulative purpose of doing these things the same
way every day seems to be a way of saying to the mind, Youre going to be dreaming soon. 14
To help establish a writing routine, ask yourself the following questions:

When am I most productive: morning, afternoon, or evening?
Where do I work best (home, coffee shop, etc.)?
What kind of environment do I work best in (loud, quiet but with music, silent, etc.)?
What things distract me (housework, kids, Internet browsing, etc.)?
Do I work well on my own, or am I motivated working in the same space as others?

The key is to think of the environment where youll be the most productive, both creatively and in
the amount of work youre able to produce. Once youve set a routine, stick with itno matter what.
Writing discipline is essential to making your routine work. This means sitting down to write even
when you dont feel inspiration strike with your first sip of coffee. The writing muse is often a
moody creature that can wreck our routines. Stop spinning excuses to procrastinate, be consistent,
and get into a writing routine early on.

Designate a writing area. If possible, convert a room (such as an unused office or den) into a
writing space. If this wont work, reserve an area of the house during your writing time, preferably
somewhere with a door you can close. Make any adjustments you need to so that it will feel like a
writing space, whether that means rearranging the furniture layout, investing in a pair of headphones,
or buying an ergonomic desk and office chair. Finally, establish your work boundaries early on, and
make sure people who live with you know not to disturb you when you are working.

Set goals. Most people work better when theyre working toward something, and its no different
with writing. Do a little research to find out the average word count for books in your genre and pick
a realistic date youd like to be finished with your first draft.
First, break that number up into thirds or quarters so that you can set major milestones in your
book-writing process. Second, break the word count up into days so that you know how many words
you need to write each day to accomplish your goal.
Reaching milestones along the way leads to a feeling of accomplishment, and these small victories
go a long way in keeping you on track to finish your book. If youre working with a developmental
editor or book coach, he can help you set daily, weekly, and monthly goals, as well as help you stick
to them. Hell also be an instrumental part in keeping you focused on your intended audience and
purpose.
Heres an example: Lets say your word count goal is 70,000 and, according to your outline, you
will have 14 chapters. Well pretend its January 1st , and youd like to finish the first draft of your
book by April 30th. Quarterly milestones will be roughly the ends of January, February, March, and
April. Since youd like to finish the book in four months, your word count quota is 17,500 words a
month, 4,375 a week, or 625 a day. To accomplish this, you dont necessarily need to write 625

words a day, but you will need to average that to meet your goals. In fact, its probably better to
write a little more than average every day so that you can take a few days off a week for breaks and
to account for any unexpected events that might disrupt your writing schedule. It also doesnt hurt to
roughly estimate how many words you think each chapter will be so that you know when the first
draft of a chapter is done; just look at the outline and make an educated guess, then adjust it as you
go along.
If writing to a daily word count quota feels too mechanical, or if you think a word count target
will only encourage you to pad your writing, then pick up that outline and use the sections or topics
to formulate your weekly goals (e.g., Week 1, complete sections 1A1C; Week 2, complete sections
1D2B; Week 3, complete sections 2C2F; and so on). By setting goals, and then focusing on
completing one section at a time, you can write with more direction and purpose.
For a more balanced approach, combine a weekly word count quota with a checklist based on
your outline. Work closely with your editor or book coach to monitor your progress in meeting your
goals.

Dont do any fancy manuscript formatting. As an editor, Ive seen everything in documents from a
flurry of typefaces and font styles to specially formatted quote boxes and intricate color schemes.
Before I start working on a manuscript, the very first thing I do is clear the formatting. Designers
dont want it (the design team will set its own formatting later, after the manuscript is finished);
editors find it makes their job more difficult (special formats can be distracting to the eye); and
perhaps most importantly, formatting takes a lot of time (writers can spend hours experimenting with
heading sizes and typefaces).
Worrying about complicated formatting disrupts your writing flow. Instead, stick to the basics and
focus on developing your content and crafting your ideas. Heres the stripped-down, bare-bones
formatting I recommend, and which your editors will appreciate:

Use Times New Roman, size 12 font; single spaced, left aligned
text; and 1-inch document margins for the main body text. Use size
16 bold for chapter titles, SIZE 14 BOLD SMALL CAPS for section titles within
chapters, size 12 bold for the next level down, and size 12 italics for
the lowest level.

Do you see how it goes from most to least pronounced? If that seems too complicated, just
remember that you can go back later and fix the formatting to work for what you need; you dont have
to do it while writing the first draft.
One last formatting tip: If you want pull quotes or call-out boxes in your manuscript and dont
want to go back through to add them in later, creating a simple color-coding system at the start will
save you a lot of time at the end. When Im formatting authors manuscripts to send to a designer, I
use a yellow highlight for sentences I want used as pull quotes and a gray highlight for call-out
boxes. Just dont forget to provide a color key.

Dont tweak your writingtoo much. Most of us edit as we write, even if were not aware of it.
Its almost impossible to completely ignore the editing compulsion. We often change words in a
sentence we just wrote three lines back. Were guilty of breaking up a longer sentence into two,
switching out a semicolon with a dash, or recasting an entire paragraph because a new idea popped

into our heads. This is natural, and Id be lying if I said I dont do these tweaks as I write.
This process is fine in moderation, but it can quickly escalate out of control. When it feels like
youre stuck writing in a loop or staying on one section or a few pages for too long, just stop. Avoid
the self-editing trap of going back over your work too intensely, too soon. Much like wet paint, your
words need to sit, untouched on the page. Let the colors set, or else your tinkering will turn it into a
muddled mess.
Similarly, an obsessive focus on tweaking individual words and sentences as you write will keep
you from the more pressing task of meeting your word count quota or other writing goals. Remember:
Its always easier to cut than to add in, and youll find writing to be more enjoyable when you arent
nit-picking every last word.

By giving yourself license to just write, without the distractions of fancy formatting or obsessive selfediting, youll find that your writing time is much more fun and productive. Its in the later stages that you
can make your prose the best it can be.

Interview with Michelle Goodman

Michelle Goodman is a long-time freelance journalist and the author of The Anti 9-to-5 Guide and My So-Called Freelance
Life. A financing columnist for Entrepreneur Magazine and a regular contributor to ABCNews.com, she stays busy with a
balance of corporate and creative projects. Michelles background also includes editing nonfiction books.
I had the opportunity to talk to Michelle about her experience writing both of her books, and she shared some valuable
tips for writers and would-be authors.

How did editing positively impact your first book, The Anti 9-to-5 Guide?

The editor on my first book said, Youre turning in pages where the tone is very magazine-y. We want to make it more booklike. At first, I wasnt really understanding the difference. Well, I always read magazine articles; that was influencing my
writing.
My editor also said things like: Youre the expert, you dont need to interview so many experts, and It sounds really formal
when you say a persons first and last name, so lets just call this person Katie here. She suggested we tweak it to make it
sound less like an article and more like a long-form narrative book where I am the voice of authority and Im not relying on
experts to tell the storyIm the person telling the story.

When you wrote your books, did you create an outline?

When I wrote both books, I did have really thorough outlines, like pages and pages long. I started out with 12 to 15 chapters in
each book and probably condensed each one into around 10 chapters. So the outline was just everything I wanted to put in that
chapter, including the subsections I thought were going in. There were lots of notes to myselfinclude interview with this
person here, heres where I can talk about this issueand it kept evolving, but it was the way I kept the book organized. I
didnt start either book until I worked through a multipage outline of how I was going to lay the whole book out. I couldnt
imagine starting a how-to career book without a road map.

Did you have a writing routine while working on your books?

I would take these long walks with my dog in the woods to try and clear the cobwebs at some point in the day, whether it was in
the morning or the afternoon, and that would help. I was on a tight deadline with both books so I tried to do a thousand words a
day. I figured, Okay, if I write a thousand words a day, five or six days a week, then I can make my deadline.
There were points in time where I was very under the gun, and I would sometimes try and do two five- to eight-hour writing
sessions in a day, which meant I was sleeping four hours a night. I dont think I could even do that anymore; I wouldnt be able
to physically do it. It was nuts. I know a lot of writers go into hiding, and it seems like theyre just determined, working on nothing
but the book for months on end, but its hard to not leave the house and not have a life. It just kind of takes a toll.
Also, for both books, I started them at a writing retreat, Hedgebrook (hedgebrook.org). I just sort of lucked out on that. Its a
womens writing retreat that you have to apply to.

What frustrates you about the writing process?

I guess what frustrates me the most is I wish I had endless mental or emotional stamina to do more, but you can only write so
much in a day. When I was writing my books, I was really writing a ton, but now, I dont think I can sustain that level of intense
writing for more than four to six hours during a day, and really, that is a lot. I wish I could plunk down and be like those people
who say, Oh, I write eight hours every day. Not that I advise that because its really draining. I guess thats my biggest
frustrationnot being the superheroso thats not really much to complain about. I cant write on not enough sleep like I used
to; I just cant do it. Ill just end up editing the same sentence for 15 minutes.
The fact is that most people in that small 1 to 3 percent who make a full-time living from books probably only write half a day. If
you read interviews, youll find that some of them write three hours a day and then spend the afternoon reading and researching
or doing whatever they do.

What were some of the mistakes you made writing your first book?

I think I definitely over-researched my first book. It was kind of hilarious and embarrassing. I went to Hedgebrook with around
60 books with me for research. I only cracked open around a half dozen or more.
Before I started writing my first book, I went to the used bookstore and bought all these books on the history of work, women in
work, careers, and creativity. A lot of them were really helpful, but I definitely went a little overboard, and it was hilarious that I
felt like I needed all that stuff in order to get started. Actually, I had a 2-foot high stack of articles Id printed out, so I went a
little overboard with that, too, but I think it was just really my security blanket. I felt like if I did all this research, I couldnt mess
up the book.
Then, the other thing was that I wish I had started sooner, because it was kind of a sprint to the end, and thats the case for a lot
of writers. It wasnt like I was just sitting around procrastinating, twiddling my thumbs, but I had other work and eventually it was
like, All right, Ive really got to buckle down. Those are the two things I wish Id done differently.


Do you have any tips for writers?

I recently started paying a transcriber, and thats made a huge difference in my life. Its not that expensive, but I probably
wouldnt have been able to afford to do it when I was writing my first book; my advance was so small, I didnt record most
interviews. I did my own. I transcribed on the phone while talking with people; I would only record it if it was a big name.
I know a lot of authors do hire transcriptionists; this lets them interview really quickly and effectively and can make it financially
efficient. A lot of people are turning to e-mail interviewing, so that helps, too.

How can writing a nonfiction book impact an author?

A lot of people do books not for the desire to do a book, but because its part of a marketing plan for their businesses, for their
brands. I did books because I just always wanted to do a book. I came at it with that whole stars in my eyes writer thing, but it
turned into a brand thing.

For more information about Michelle Goodman, or to purchase her books, visit www.anti9to5guide.com.

FOUR:
The Writing Process Revisited From Revision to Publication
SINCE Im an editor, almost everyone I meet immediately tells me about the books they want to write,
are writing, or have written. They describe completed manuscripts sitting in the bottom drawers of desks,
great ideas that never materialized, and 10-page introductions recently written. They talk about their
almost-books with a wistful sadness and the slightest bit of hope. While I wish them the best, many of
them will never accomplish the dream of publishing a book.
Why? Writing the first draft is always the hardest part of any book project. It takes a lot of planning,
time, and commitment to be able to type the final paragraph and place the last period. Its a big
accomplishment, and all writers should be proud to make it that far.
But a first draft is just that: a first draft. Its another step, another milestone on the journey to becoming
published. Sadly, even after people put in the energy into writing the first draft, they lose steam and the
momentum fades. Going into it, they didnt understand that writing a book isnt simply about churning out
100 pages and then handing the book over to an editor. In fact, after the first draft, many books are only a
little over halfway done. Writing a book is a little bit like running a marathonyouve just reached mile
14, and the finish line is closer, but not yet in sight.
I want you to achieve your dreams. I want you to write the best book possible. You can do it, and if you
follow the last four steps in my streamlined writing process, I believe you will do it.

Streamlining the Writing Process with an Editors Touch (Steps 58)

Now that weve tackled the first steps of writing a book, well move into the final steps, where your
book will transform from good to great. In partnership with your editor, your manuscript will make its
most significant changes and become the best book possible.
Assuming youve finished the first draft of your book, lets move on to Step 5. If youre not there yet,
keep reading, because the more you know about the book-writing process, the better prepared youll be to
finish your draft and move toward publication.
Step 5: Let It Sit
If youve read this far, youve likely finished the very first draft of your manuscript; if youre not done
with the first draft, youre on your way. Congratulations! Now, most of you will find this step ironic
because Im going to ask you to stop working on your book. Yes, Im serious.
Here comes the hard part: Let your manuscript sit. Dont touch it. Dont peek at the pages, rewrite
chapters, or add anything to it. If you feel suddenly inspired, write your ideas elsewhere, as notes to later
add in (but really, resist the urge to feel inspired). Pretend that your manuscript doesnt exist, never did
exist. When people ask about it, say, Manuscript? What manuscript? I dont have no stinkin manuscript.
Okay, maybe thats a bit much, but you get the idea. The point of putting your manuscript in quarantine,
away from your tinkering hands, is to give yourself distance from your book. Youll find that this distance
is not only reinvigorating but also helps you gain perspective on your work.
To avoid losing momentum while you take a writing break, consider turning your book over to an
editor. At this point, I highly recommend that your manuscript undergo substantive editing. During this
editing stage, your editor will be making big picture edits, improving the flow of your chapters,
sections, ideas, and other important structural elements (the critical stage of substantive editing is fully

explained in Chapter 2). Dont send your manuscript to a copyeditor now unless you really want to waste
money; well get to that editing stage later. Communicate with your editor to let her know your needs and
that youre not ready to make sentence-level edits just yet. Also, ask your editor to avoid communicating
with you during this time unless she really, really needs to.
How long should a manuscript sit? Two weeks is probably the minimum, four weeks is better, six
weeks is best. If youve hired an editor to look at your draft, it will also depend on how much time she
will need. Actually, the longer youre away from the manuscript, the better prepared you are to approach
your work with an objective point of view when its time to revise. If your book is time sensitive (e.g.,
politically inspired or presenting new research in a field), then you might lean toward two weeks.
Perspective and distance are important in that transition from writing the first draft to reapproaching your
work and editing it toward perfection. The time away allows your feelings of attachment to fadeafter
all, if youre in love with your manuscript, how in the heck are you supposed to make the needed changes?
Love is blind, right?
Step 6: Revise
Okay, so your manuscript has been in the attic, under the bed, in a drawer, with an editor, or in a
computer file for several weeks. Wait, you do have that thing backed up on a removable hard drive or in a
cloud application, right? Whew. You scared me for a minute.
Where were we? Oh, yes. Youve been away from your manuscript for weeks now. Some of the key
elements have gotten a bit hazy, but thats a good thing. Youre now ready to approach your draft with
fresh eyes.
Why Editing Matters
In Step 5, I suggested that you send your manuscript out to a substantive editor for big picture
feedback. I dont want to rehash the previous chapters, but I do want to reiterate that the substantive
editing stage is incredibly important. As you work through revising your draft, having outside feedback,
ideas, and revisions from an expert will make the most of your time and help you turn your good book into
something great.
While I can certainly say this from experience as an editor, I can speak from experience as an author,
too. The first draft of this book was written during a focused, but very short, period of time. I then sent it
to an editor (yes, even editors need editors), who worked closely with the manuscript doing a round of
substantive editing. For those four weeks, I did my best to not think about the book, and I didnt make any
additions to the draft (in fact, I didnt even open the Word document).
When I got the book back, I was excited and ready to write the second draft. Because of my time away,
I was able to recollect my energy and approach the second draft with the same fervor that Id had while
writing the first. During this time, I was able to utilize the expert feedback from my editor, and the draft
doubled in length as I worked through her ideas, thoughts, questions, and revision suggestions. As I write
this paragraph, Im working through her second round of substantive editing (my third draft), and I
couldnt be more pleased with the results of working closely with my editor. Even as an editor myself, the
outside insight was crucial in writing my second and third drafts.
Writing the Second Draft
At this point, your manuscript has (hopefully) gone through a substantive editor who has evaluated your
book for structure, flow, transitions, clarity, tone, and overall effectiveness. Shes taken a look at your
book as a whole, as well as piece by piece, and made suggestions for strengthening your manuscript.
Youve also spent weeks away from it, detaching yourself from the book and removing yourself from

the writing and editing process altogether. Youve done what you needed to do to adopt a good editing
attitude, whether that meant taping your new Editing Is Awesome mantra to your bathroom mirror or
seeing a shrink to help with your word-attachment issues (just kiddingsort of). Youre now ready to
revisit your manuscript.
Take the manuscript out, set it in front of you, and look at it. (If your manuscript is on the computer,
simply open the file and look at the first page.) See that thing in front of you? The two of you have a long
and wonderful road ahead of you; its on this road where youll get closer to finishing your book,
achieving your dreams, and finally getting to tell people youre a published author.
Pretty cool, right?
At this point, writers often struggle with two seemingly elusive things: focus and motivation. Just like
anything else in lifeweight loss, learning a new skill, completing a lengthy projectits easy to lose the
drive to complete a goal. And like most things, if you dont keep pressing on now to finish your book, its
unlikely youll ever complete it.
If youre feeling like youre struggling to write your second draft, keep these things in mind:

You are working toward achieving a dream, whether that dream is publishing your very own book
or the good things writing a book will do for your life or career.
Its a short-term thing. Although focus and motivation can be difficult to maintain, keep in mind that
its only for a short period of time. You can do anything for a few months.
By writing a book, you are pushing yourself to do something great. You are using your gifts and
talents the way theyre intended, and you should be proud of thatand of yourself!

Now that you have a renewed determination, its time to go through your editors comments and make
changes to your manuscript. In this step, youre writing the second draft; dont get stuck in the trap of
thinking youre fixing your manuscript. Youre still writing, just with some helpful feedback and
suggestions. Thanks to your editor, youre using your time as effectively as possible, making your
manuscript the best it can be.
Many authors find this stage difficult because of two reasons: 1) They really thought the book was
almost done when they sent it to the editor and honestly werent expecting to do much more work, or 2)
They think they are awesome writers, got everything right the first time, and were really sending the
manuscript out for praise, not editing. Most of the time, I think its the former, that authors really are
oblivious to editingto the continual work required to improve a manuscript. Most authors, especially
new ones, dont really understand the substantive stage, and they arent expecting to write the second
draft. They expected that a few commas were out of place, or a sentence was a little lengthy.
Heres a disclaimer: You dont really have to do what were about to discuss, if you dont want to. You
can pay someone to do it. In fact, since many of the clients I work with are first-time authors, they often
pay me to do their part of this stage for them. Instead of just making suggestions, your editor can dive right
in, flesh out certain sections, delete others, move chapters, and revise things so everything flows. She can
rewrite sections to fit the appropriate tone and meet the intended audience. She can, essentially, almost
finish the second draft. (But youll still need to review her changes to make sure they work with what you
intended, so youre not totally off the hook.)
That being said, keep reading this section of the book if you: a) dont have several thousand dollars to
spend on extra editing that allows you to take more of a backseat at this stage, or b) want to take full
ownership of your writing and book. Most successful authors spend hours of time writing the second
draft, and Ill argue that you should, too. In fact, I spent more hours revising this book than I did writing
the first draft!
Here are nine self-editing tips to help you with the revision stage, garnered from my professional

experience and interviews with various industry experts:

Print it out. Many writers agree that theres something about working from a hard copy that makes
the editing process easier. Use a colored pen and mark that baby up. When you go to make the
changes in the computer (or type it up, if you wrote your manuscript by hand), you can decide which
revisions you actually want to make. As you go through the edits and suggestions, use another
colored pen to write a check mark above the edits you make and OK above the ones you dont.
Also, try printing out your draft in a different font than what youre used to writing in. Sometimes a
simple change in the documents format can help you see your work in a new way. If you write at
home, try revising/editing at the local coffee shop or a quiet spot in the park. In the same way, a
novel environment or workspace can stimulate new ways of looking at your work.
Another tip: Dont forget to save your revised manuscript as a new filethis makes the changes a
bit easier to stomach, since you know your old stuff will still be there. As youre working in the file,
be sure to use Microsoft Word Track Changes so that your editor can easily review the changes you
made.

Be mindful of your audience and purpose. Although your editor will evaluate your manuscript for
this, its important to keep these two things in mind, especially as you do major revisions, rewrites,
or additions. It doesnt hurt to keep the short description you wrote in the outlining phase somewhere
nearby as youre editing; this helps keep audience and purpose at the forefront of all editing
decisions. The best self-editing advice I can give an author is to think deeply about your audience,
explains James C. Wilson, Ph.D., a professor of English and journalism at the University of
Cincinnati and the author of six books. Audience will dictate writing and editing choices. Authors,
like editors, need a clear understanding of audience.

Edit from the top down. Start with the big stuff, like content, structure, and flow, and then move
down to the small stuff, like syntax (word order), word choice, grammar, spelling, and punctuation.
Go through your manuscript at least two times, focusing on specific things each time. If it helps, think
of yourself as a substantive editor the first time through and a copyeditor the second time; reference
Chapter 2 for more information on what an editor looks at during each stage of editing.
Of course, the intensity of your editing will depend on how solid your first draft was and what
stages of professional editing your manuscript has already been through. Be sure to ask your editor if
she recommends more rounds of substantive editing prior to copyediting, as you might end up
wasting time focusing on sentence-level errors when your manuscript still needs a lot of big-picture
work. The key to self-editing is to not focus on fixing sentence-level errors while rewriting a
chapter; instead, focus on one editing stage at a time.

Trim the word fat. Be ruthless about unnecessary words and verbosity, says Peter Bowerman, a
commercial freelance writer since 1994 and the author of three award-winning Well-Fed Writer
titles and The Well-Fed Self-Publisher. Ask yourself if you could say this paragraph in fewer
words or somehow combine these two paragraphs into one. But dont cut so much that you
compromise clarity, coherence, or your voice. Your copyeditor can help a lot with this, too, but it
never hurts to go through your manuscript once to cut unnecessary words. For example, instead of
writing, You should hire an editor to help trim all those unnecessary words that you dont need in
your sentences, say, An editor can help trim unnecessary words. Isnt that better? Simple and
concise.

Look for excessively large words, awkward syntax (word order), and anything else that
doesnt read naturally. This is another place to consider your intended audience, including your
readers education or reading level. Is your vocabulary too advanced? If youre writing nonfiction,
does it read like a textbook, a string of facts without any narrative? If youre writing fiction, will
your reader get frustrated from the elevated vocabulary and stilted dialogue, causing him to abandon
reading the book altogether? For both, do you have to reread your own sentences to understand the
meaning? If you answered yes to any of these questions, you probably have some work to do.

Know your writing. Figure out what your personal ticks are and look for them, advises Lora
Arduser, an assistant professor at the University of Cincinnati who spent 15 years as a professional
writer and editor. She adds that her tick is typing file every time she means field. Other common
mistakes include misuse of its and its, as well as their, theyre, and there. Some writers
throw in that or however every other sentence, making the prose unnecessarily wordy. The key
is knowing what you struggle with and zeroing in on those things.

Trust your inner reader. Train yourself to look at your own work as a reader would. Hide the
editing marks, if possible (this only works when using Microsoft Word Track Changes), and read
your revised draft as impartially as you can. Note the sections where you find yourself rereading
passages, as well as areas where you have even the slightest doubt of whats being said. If youre
working on a novel, imagine the scenes playing out in your head and ask yourself if they feel
authentic and true. Does the dialogue feel forced? Do the characters seem like real people? A
readers gut instincts are usually right and can be a wonderful way to catch those problematic areas
that need revising.

Read it aloud. Kevin Purdy, a freelance writer and author of The Complete Android Guide,
Google+: The Missing Manual, agrees: If a sentence doesnt sound like something I would say out
loud, either due to style or just having the breath to get it all out, I cut it back. When youre set with
the structure and ready to fine-tune your sentences, read each paragraph aloud, touching each word
with a pen as you read it. This helps you maintain focus and not skip over words with your eyes. Ive
also recently been experimenting with the speak feature on my computer. After I do all of these
steps, I then have the computer read it to me, and I listen for errors or awkward syntax.

Talk about your book. Tell others about your work and see if the conversation that ensues sparks
new perspectives and ideas. This is especially easy to do with a developmental editor or book
coach. Consider joining a reader and book community online, such as BookieJar, WEbook, Inkubate,
Figment, or Book Country, where you can post excerpts of your book to be critiqued by other readers
and exchange ideas with fellow writers. Reading the work of others, and being in a community of
like-minded people, can help you tap into trends and reader likes and dislikesthough it should
never be a substitute for serious editing by a professional editor.
Integrating Editor Feedback
If youre faced with a manuscript with extensive editing, take a deep breath, and try not to approach the
suggestions defensively. (Head back to Chapter 1, and review how to kill your darlings and why its
important.) If you did your homework and hired a reputable editor (see Chapter 5 for the hiring process),
trust that she knows what shes doing. Fighting with your editor on too many points only jeopardizes your
manuscript. Doing so may cause your editor to back off in future rounds of editing or simply move on to

the next projectone with a more coachable writer.

I understand the concerns many writers have. They take a leap of faith in surrendering their work to
critical examination, and it can be nerve-racking to have ones work under such scrutiny. One complaint
many writers have is that an editor, in her effort to develop or tighten prose, strips the work of some
nuance the writer had in mind or in some way shifts the meaning. If this happens to you, consider that your
writing might not be as clear as it should be. Take it as a sign that you need to spend some time reworking
your text.
As the writer, you reserve the right to reject a changeespecially when it comes to major revisions.
Dont make it personal, but rather explain to your editor clearly why something doesnt work for you. A
professional editor should be receptive to feedback and can also explain any of her edits in more detail.
With that said, here are several tips for reviewing editor suggestions:

Wear your coachable writer hat. Remember what I said in Chapter 1 about having a good
editing attitude? Be open to change and honestly evaluate your writing. Dont get defensive or
offended when reviewing your edited manuscript. Check your ego at the door.

Ask your editor to explain. Dont understand why she cut an entire paragraph? Puzzled at why she
reworked another? Wonder why she changed the sequence or flow of chapters, sections, or
paragraphs? Ask. Theres always a reason, and its often a good one. Before you reject suggestions
or changes outright, listen to your editors explanations and consider them carefully.

Ask others. If youve talked to your editor and still feel strongly that a substantial revision shouldnt
be made, ask a few friends or colleagues about it, especially people who fall into your intended
reader demographic. Send them a section and ask for feedback. If several people suggest the same
thing, the change should probably be made; if several people disagree with your editor, then perhaps
you should leave that section of the manuscript as is. Just be sure not to influence the objective
perspectives in any way in an attempt to win over a consensus to your case.

Dont be lazy. Never, ever, ever decide to not make a revision because you dont want to do the
work. After all, you just wrote an entire bookwhat are a few more hours or days of writing and
revising?

Use your best judgment. At the end of the day, its your book. If a revision or suggestion just feels
wrong, trust your instinct. In fiction and creative nonfiction, youre the storyteller; in nonfiction,
youre the expert. If something really seems off, trust yourself.

Hire another editor. Just like any other profession, there are bad editors. If you really feel your
editor butchered your book, which rarely happens if you screened your editor well in the hiring
process, hire someone else. (Be sure to read Chapter 5 to learn the right screening techniques to
avoid this type of situation in the first place.)
Writing the Third, Fourth, Fifth, Sixth (?!) Draft
Weve been talking a lot about writing the second draft of a book, and weve explored how writers
need to shift their thinking to be able to produce a solid second draft. While this is very true, theres
another thing we havent discussed: The second draft isnt usually the last.
Probably the hardest part of writing a book is writing multiple drafts. Summoning the energy to write

the second draft can be a challenge, but going back and revising for the third, fourth, fifth, or even sixth
draft can be emotionally and physically draining. There will come a point when you just want to be done.
Seasoned authors are probably nodding their heads right nowthey know this feeling all too well.
As I write this paragraph, I am finalizing the seventh draft of this book. Its been through three versions
with me and three versions with my editor, and Im currently working on finishing the manuscript so that I
can send it to proofreading. At this point, I am really ready to see the designed, final version, hold it in my
hands, and know that its D-O-N-E. I want to start promoting and helping authors around the world write
their books. But you know what? I owe it to you, the reader, to make this book the best it can possibly be.
If I dont put my best book forward, how many people will I be failing? Probably a lot.
Similarly, you owe it to your readers to write the best book you can. Seeing a manuscript to the end can
be a challenge, but its a challenge worth completing.
Step 7: Enlist Reader Feedback
After youve worked with a developmental or substantive editor, and put on your own editors hat to
take a pass at revising your own work, its now time tocue spooky musicshare your developing
manuscript with the most important group: your prospective readers. Up to this point, your work has been
gently nurtured and shaped; the true test comes when you share it with others.
When writers edit or work with their editors, they see manuscripts in a skewed, dual light: what is
there and what the work could be. The constant shifting and restructuring in the substantive editing stage,
for example, leaves an author (hopefully) optimistic. As the writer, you begin to see the potential to
change and backtrack, to cut out whole sections and move others around. Youre in control. Even with a
tough editor, the editing process by definition is one of possibilities. But, when the manuscript is finally
sent to a reader, that active writing process is (temporarily) stopped dead in its tracks. Now you have to
see how the book withstands reader scrutiny.
Whats so great about reader feedback? It gives writers one of the most important means for gaining
perspective and distance. Just by surrendering your work to another person, you often gain a whole new
view of your manuscript, seeing your work through another persons eyes. This is tremendously helpful in
future revisions and a crucial transitional step before your book can finally be polished. Dont skip it. Its
a different experience than simply sending drafts over to your editor to read and critique. A cold read
gets you closer to effectively reaching your target audience and seeing if your work really holds up to
scrutiny. Is your book compelling? Does it spark interest?
Now, imagine the following scenario:
You meet a good friend for coffee at a local shop. As the two of you sit down, you notice that your
friend sets a large briefcase on the seat next to her.
She looks at you, pauses, and then says, So, I have a favor to ask.
Okay, you say, waiting for her to continue. What is it?
Well, she replies, then pauses, bites her lip, sighs, and continues, Ive written a book. Can you read
it for me? I want to see what you think.
Okay. Sure. Yeah, I can do that. But what do you want me to do, exactly?
I just want you to be honest. Totally honest. It wont hurt my feelings, I promise. I just want to make
sure its goodthat readers will like it. And if you have any suggestions, Id really appreciate it.
At that, she pulls out a folder with 300 and some-odd pages, plops it down on the table, and looks at
you. Here it is.
You stare at the manuscript, cursing the moment you agreed to this, nausea starting to set in. How will
you ever do this? Dont they have editors for stuff like this?
Unfortunately, this fictional situation is pretty realistic. Authors ask friends, loved ones, and

acquaintances for feedback, without clear direction or information on how to provide it. This puts the
reviewer in an uncomfortable position, adds undue stress, and really does no one any favors. Feedback
usually isnt very useful, often consisting of a paragraph praising the book for all its wonderfulness,
accompanied by a list of grammatical errors. Heres the reality: Almost every author Ive ever worked
with tells me theyve had positive feedback on their books. And almost every manuscript Ive ever
worked with needed a lot of work.
When choosing your readers, keep in mind personal agenda and taste, predisposition about certain
topics, and whether or not they can really give you an honest opinion about your work. Some people just
have a strong aversion to criticizing others; its best to avoid readers that fall in this category. The readers
you want are those willing to give their honest opinion about your work, even if it means you receive
some criticism that might sting.
Now, imagine a different scenario:
After asking your friend what shed like you to do exactly in evaluating the manuscript, she reaches
back into her briefcase.
Here, she says, handing you a stapled, four-page form. I have a review form for you to fill out. Im
worried mostly about how everything flows, whether anythings unclear, and if there are areas I need to
work on. The specific questions are all on this form, so you wont be confused about what Im looking
for. Just fill that out as you read the manuscript, and youre all set! Id really appreciate it.
Whats laudable in this scenario is that the writer didnt just toss the manuscript to her friend (you) with
a goodbye and a wave. She gave her prospective reader specific direction on what kind of feedback to
give. In this instance, the reader is no longer left to read the manuscript blindly, wondering about what
aspects of the work to comment on. Reviewing a 300-plus page manuscript isnt a straightforward task, so
most people appreciate having a set of questions to guide their critiques.
Depending on the length of your book, budget about two to four weeks for the critical reading step and
follow up with your readers along the way to make sure they are on track and to answer any questions
they might have. Always be polite to your readers: Buy them coffee the next time you see them, and thank
them in the acknowledgments section of your book, if possible. After all, everyone appreciates
recognition, and it will encourage them to tell their friends and colleagues about the book, too.
With this in mind, see the Manuscript Review Form Ive included in the Appendix to help you get the
best reader feedback possible. Use it, alter it, do what you want with it. If youd like to download a free
digital version of this file, visit the For Authors area at www.nightowlspress.com/e-book-store/theeditors-eye/.
Using Reader Feedback to Better the Manuscript
After your few trusted readers, including at least two people who fall in the intended reader
category, return their review forms, its time to go over their suggestions. Once again, put on your good
attitude hat and approach their feedback with an open mind.
As youre going through their responses, use a notepad and pen to keep track of suggested changes.
When you see similar feedback from two or more reviewers, put a checkmark or plus sign next to the list
item. If two reviewers disagree or offer contradictory feedback, make note of it. Keep your notes short
and sweet, and be sure to write down the page numbers associated with the suggested edits; you can
always go back and reference the review forms later if you need to.
When youre done with your notes, read through the list. Cross out things that seem off baseeither
because they conflict with the feedback of others or they would negatively impact your book in regard to
audience and purpose. Dont discredit big or radical suggestions, however, even if they seem timeconsuming. If youre working with an editor, show her your notes; she will be able to help you eliminate

reader feedback that doesnt make sense and find tactical ways to approach big suggestions. Dont make
any major changes without talking to your editor first.
When youre finished making these changes, its finally time for the next step: full professional rounds
of copyediting and proofreading.
Step 8: Arrange for Copyediting and Proofreading
Have you ever had your nails done? (Guys, I know this isnt ringing a bell, but bear with me.) After the
nail tech has spent an hour or more removing your previous nail polish, massaging your hands, trimming
your cuticles, filing your nails, and applying polish, she takes a little Q-tip-like device, dips it in nail
polish remover, and cleans up any nail polish that made its way onto your finger. Then, she takes a clear
bottle of topcoat polish and seals it, finishing up your nails.
Much like a nail appointment, you have massaged your book, trimmed it of wordiness and nonessential
elements, refined it, and prettied it up. This step is where your hard work is merely cleaned up
polished, to really drive the analogy homeand finished. While all of the other steps of the streamlined
writing process are important to the success of your book, this final step is a make-or-break juncture.
Even a content-rich book with near-perfect structure and flow will be quickly dismissed if its full of
sentence-level inconsistencies and errors.
At this point, if youve been following the steps of the streamlined writing process, youve consulted
with a developmental or substantive editor, written your second (or fifth) draft, received feedback from
readers, and made the necessary revisions. Your book is almost done, and most of the work is complete.
Nice work! Just a few rounds of cleanup in the form of copyediting and proofreading remain. The first
thing you need to do is hire a good copyeditor. Even if youve already scoured your manuscript for
punctuation and grammar errors and smoothed out awkward sentences over multiple drafts, its highly
recommended that you budget for a separate round of copyediting by another professional editor, if
possible.
Why? Its a simple law of numbers: Two sets of eyes (or more) are better than one. Catching every line
error is nearly impossible, especially when youve been focused on big picture elements like structure
and content. Even the most meticulous of editors can miss a typo or overlook an awkwardly worded
sentence. And, just like a writer, if an editor has been working on a manuscript for too long or has
reviewed multiple drafts, she can lose perspective and no longer be able to discern subtle errors.
If your manuscript is structurally solid without gaps in content (meaning your book has undergone
thorough substantive editing), the copyediting stage will hopefully be sufficient in one or two rounds.
Refer to the section on copyediting in Chapter 2 to help guide your conversation with your copyeditor, and
be sure to discuss your audience and purpose with her. And before you hire said editor, be sure to read
Chapter 5.
Then, after the copyediting is finished and youve reviewed the changes, its time to hire a proofreader.
If youre planning to shop your manuscript with traditional publishing houses, one round is probably
enough. If youre going the self-publishing route, you need at least three rounds. Its usually best to hire a
different editor for each round of proofreading; every new pair of eyes is likely to find a new set of
errors. See the section on proofreading in Chapter 2 for more information.
No matter what youve done up to this point, hiring a copyeditor and proofreaders is vital to the
success of your book. The best structure, content, ideas, and writing will be overlooked if the copy is
sloppy, the book is littered with typos, and there are inconsistencies in formatting and design. In the book
world, well-edited, polished prose is a must.

Keeping Your Eye on the Prize: Publication

Traditional. Self. Independent. Partner. There are enough publishing types and terms to make a wouldbe authors head spin. For now, lets discuss what the publishing process looks like, as well as the key
types of publishing and what they mean for you as an author. Since our focus is the editing process, well
look at how editing fits into each type of publishing.
The Publishing Process Simplified
The publishing process is long and complicated, but lets look at it very quickly, from idea to finished
book (see Figure 4-1). Generally, there are two routes a manuscript takes to becoming a published book:
traditional publishing, which encompasses many of the types of publishing Ill discuss, or self-publishing.
Traditional publishing uses a book proposal-driven process that is practiced by large and small presses
alike, while self-publishing is largely author-driven and individually managed.
Whether would-be authors decide to go with a press or publish on their own, the key lesson is that all
manuscripts undergo distinct stages of preparation before publication, from several rounds of
professional editing, self-editing, and author revisions to cover and interior design, layout, and
proofreading.
While the infographic (Figure 4-1) is a good general overview of publishing, there are a lot of other
things happening, too, as the book is being developed: marketing campaigns, writing and revising back
cover copy, website development, and social media strategy, just to name a few. But thats another book
and subject, so well keep our focus on the general publishing process for now.

Figure 4-1: An Overview of the Publishing Process

Lets move on and see what your role might look like in each of the major types of publishing.
Traditional Publishing
Seen by some as the pinnacle of authorhood, many writers strive to have their books published the
traditional way, either through one of the Big 6 publishing houses or through one of the thousands of
smaller, independent presses that abound. 15 The Big 6 publishers are a specific group of brand-name
publishing companies that dominate the shelves at bookstores and online retailers. They are Hachette
Book Group, HarperCollins, Macmillan, Penguin Group, Random House, and Simon & Schuster. 16
Each of these publishing houses functions as a conglomerate, managing a myriad number of imprints,
which are separate (and often independently operating) publishing houses that specialize in particular

genres or styles. Macmillan alone has more than 20 imprints, including Tor Books (which publishes
science fiction and fantasy), Picador (history, memoir, and poetry), St. Martins Press (commercial fiction
and other genres), and Palgrave Macmillan (nonfiction in the humanities and social sciences).
Small presses, or independent publishers, are still considered traditional publishers, but the terms
generally cover publishing houses outside the Big 6. These publishing houses specialize in a wide range
of markets from genre fiction, short story collections, and poetry to niche nonfiction, memoir, and regional
topics. They have smaller budgets than bigger publishing houses, often publishing a limited list of less
than 10 titles per year, but are often more willing to work with first-time authors and on nonmainstream
books. 17 If youre looking to be traditionally published, you have a better chance with an independent
press.
What Big 6 and independent publishers have in common is the submission process. Youll be tasked
with putting together a query letter or book proposal (which often also includes an outline or table of
contents, a separate synopsis page, and a sample chapter), which youll then submit to the publishing
house directly or through an agent (the big houses generally dont accept unsolicited manuscripts, so an
agent is the only way in). Remember, while writing your book can be considered an art and editing a craft,
traditional publishing is a business, where the primary goal is to sign authors who write books that will
produce a steady stream of revenue.
Traditional publishers are notoriously selective. First, you have to get your manuscript in front of an
acquisitions editor. If the editor likes your manuscript, it gets pushed in front of a larger acquisitions
committee made up of sales and marketing people and a slew of other senior editors who decide whether
to give the project the go.
These publishers have many concerns that go into their decision-making process, such as whether they
can secure a wide enough distribution of your book to booksellers, generate enough consumer interest and
revenue for the book, and most importantly, whether your book is written in a professional and interesting
way that meets their standards for a particular imprint. Timing and luck also play their parts in influencing
the final decision. For example, if the publishing company has published similar titles already, it may pass
on yours, even if the quality and marketing potential are there.
If you meet these criteria, and the stars align, your book gets selected and published. Traditional
publishers pay an advance, organize and pay for production, and distribute your book. In exchange, they
take a pretty hefty percentageup to 90 percent (leaving you a royalty of 10 percent)of each book sold.
If you use an agent, hell take a cut, too. The acquisitions and editorial periods can last as long as six to
12 months, so be prepared to wait a long time before your book is ready for sale. While the advances
from independent publishers are often smaller, the royalties are usually higher than whats offered by the
Big 6.
If you decide to go this route, be ready for an expensive and often disappointing journey, as most
publishers are expecting a well-edited, polished manuscript, and the likelihood of being selected is very
slim. This isnt to say it cant be donejust go to Barnes and Nobles or your local brick and mortar
bookstore and look at the many books published by big publishers.
One of the benefits of the traditional route is that many of the big publishers put out a pretty great end
product. From relatively solid editing and proofreading to top-notch cover design, theirs is a process
thats been in the works for many years and, as such, tends to produce solid books. This is why there is
often such a disparity between books produced in the traditional publishing route and those produced by
the authors themselves via self-publishingthere is a marked difference in quality. Its often pretty clear
to readers when theyre reading a self-published book, and this difference is usually related to poor
editing and design. But perhaps the most attractive part of traditional publishing is that they do almost
everything for you, from organizing the editing process to marketing the book after publication, and there
is no cost to you as the author.

Sounds pretty good, right? It can be, in some ways, but there are other ways the traditional publishing
route falls short. First, authors tend to make a very small royalty on salesoften 10 to 15 percent, 20 if
theyre luckyand thats usually after the advance has been earned back. Plus, publishers calculate the
royalty after distributors and agents have taken their cuts, which means what authors actually earn from
sales is even less. Second, its very hard to get publishers to even take a serious look at your queryone
query in a pool of thousandslet alone request a full manuscriptand then agree to publish your book.
Finally, you dont have the same control over your book as you do if you choose to self-publish; you
have to please the publisher, and you arent in full control of the end product. An army of editors and
designers will often revise and package your book in a way that maximizes sales but doesnt necessarily
stay true to your original artistic vision. More established writers have increased artistic freedom since
they can sell books by name alone, but first-time or even mid-list authors are usually more managed and
have to defer to the whims and opinions of the in-house editorial, design, and marketing teams.
The editing facts: You will likely need to hire all levels of editing to produce a solid manuscript, and
you will probably have to write a book proposal (including an outline or table of contents, a synopsis,
and a sample chapter) prior to sending the manuscript out for consideration.
Self-Publishing
As most of us in the publishing world know all too well, the traditional publishing route is being
challenged by the rising popularity of self-publishing. Traditional publishers are no longer the
gatekeepers to the rare and hallowed status of becoming a published author. The big guys that dominate
the publishing game no longer dictate what the public will read, although they still heavily influence the
market through advertising and distribution. Even authors who have been published the traditional way
have opted to self-publish. J. A. Konrath and J. K. Rowling are a few big name examples. 18
The shift toward self-publishing can be attributed to several factors: the emerging trend of e-readers
and e-books among consumers; online distribution channels, like Amazon and Apple; access to free
digital conversion tools, like Calibre, Sigil, or iBooks Author; and the rise of print-on-demand publishing
like that offered by CreateSpace, Blurb, or LuLu, which makes it easy for aspiring authors to design and
print their books. With the odds of being picked up by a traditional publisher against them, and with the
Internet and technology making things much easier, faster, and cheaper, many authors are choosing to go
the self-publishing route. Some books turn out as good as those published by the big publishers; most turn
out looking, well, self-published.
If you choose to self-publish, youd better have three things: money, time, and organizational skills. You
need money to produce a high-quality product, as good editing, design, and printing arent cheap. While
some print-on-demand presses will offer you publishing packages for a fee to take care of the conversion
to print and digital formats, you still need to pay for professional editing as well as design for your book
cover and interior. You also need time to identify, hire, and oversee all of the major service vendors.
Finally, you need organizational skills to keep track of this mess that is book production, especially if you
have a target print date. When the book is finally published, youll need more time, money, and
organizational skills to market and distribute the book to the various channels, from online retailers like
Amazon to brick and mortar bookstores, libraries, and even non-trade outlets like professional
associations and businesses.
Probably the most attractive aspect of going this route is that you usually make 100 percent of the
profits (after the distributors get their cuts, of course) and retain full control of your work, including the
rights to publish and sell your book in any format and on any distribution channel. On the flip side, full
control also means you alone are responsible for the end product, from editorial and production to sales,
marketing, and distribution. With all of these things to juggle, self-publishing can get overwhelming very

quickly. Be ready to start thinking like an entrepreneur: Your book is your product, and you are selling it.
If you decided to become an author for the sole and only purpose of writing, rather than reasons like
building your brand or establishing expertise, you may find self-publishing a rude awakening.
If you do decide to go this route, consider the unprofoundly profound epiphany of Peter Bowerman,
author of The Well-Fed Self-Publisher: The most powerful book marketing strategy of all is toWrite a
Really Good Book. 19 During my interview with him, he furthered this idea by explaining that its
necessary to produce a really good book, too. To do so, emulate the publishing houses in process and
product, dont skimp on quality, and allow yourself enough time to get through all editing and design
stages. More than with any other publishing route, self-publishing demands that authors establish a good
relationship with an editor throughout the writing process.
The editing facts: You will need to hire all levels of editing to put together a well-produced book. A
book coach or developmental editor can be especially important if this is your first book.
E-Book Self-Publishing
As someone who owns a tablet, I love e-books. Digital books give me instant access to my favorite
authors works and dont clutter the already-full bookshelf in my living room. Theyre portable (you can
literally take hundreds of books with you on the go) and eco-friendly (who can argue with going
paperless?), which are two major pluses for me.
For many authors, publishing in digital formats has several advantages over print publishing. First of
all, its cheaper to publish an e-book than a print book. While costs like cover design, editing, and
marketing remain the same, other costs like printing, shipping, book returns, and storage dont exist in the
digital worldwhich makes it less of a financial risk. Its also much easier to make updates and fixes to
an e-book; authors simply replace their old files with the new ones and re-upload them. Additionally,
authors have access to free conversion software, such as Calibre, Mobipocket, or iBooks Author, to
convert their books into an array of digital formats.
Finally, many authors find e-only self-publishing a useful career strategy. If authors manage to sell their
e-books on a large scale and build a loyal base of readers and fans, traditional publishers tend to take
notice. Having a solid readership and reputation in place before approaching publishers can give authors
the right kind of leverage when negotiating contracts with agents or acquisitions editors, making winning
that coveted book deal a bit easier.
Case in point: Author Amanda Hocking, who many regard as the face of self-publishing, published nine
books, nearly all in e-book form, and sold more than a million copies. All on her own, she earned $2
million as a self-published, digital writer. Hocking eventually decided to go the traditional routeor,
rather, the publishing giants came clamoring to her door. In 2011, her books caused a stir among several
big publishing houses, leading to a bidding war that ultimately won Hocking a six-figure deal with St.
Martins Press for the rights to a four-book series. For Hocking, as well as many indie authors who are
later noticed and signed on by publishers, the advantages of digital self-publishing are enormous.
While I find that digital self-publishing can be a viable option for new and established authors, it can
also be an excuse to take shortcuts. Some authors think that just because its only digital they can put out
a mediocre productmeaning they skimp on editing, cover design, marketing, and the other important
aspects of producing a solid book.
Despite all the news and noise about digital books overtaking print, or self-publishing destroying
traditional publishing and bookselling, the truth is that most readers look at print and electronic books as
simply formats. An e-book is still a book and needs to undergo the same rigorous editing and design
standards like any other format. Whether readers are paying 99 cents or $29.99 for an e-book, they still
deserve the highest quality product, and theyll still judge the author based on what theyre readingeven

if its on a glowing screen. Theres no free pass when it comes to publishing, and poor quality isnt easily
forgiven or forgotten. If your name is associated with a substandard bookin any formatyoull soon
find your sales plummeting and your reputation tarnished.
The must-haves for a digital book are similar to what readers demand and expect from a printed book:
Authors need an eye-catching cover (especially one that looks good as a thumbnail and on a screen), a
great story, sharp writing, and flawless formatting and presentation. If you achieve these things, your book
can be indistinguishable from any other traditionally published book. Of course, if youre self-publishing
and going the digital route, you wont have the built-in editorial support, art direction, and marketing
expertise that you would with a traditional press, big or small. The responsibility for putting out a
superior product that readers will want to buy and recommend to their friends is in your hands.
Luckily, you dont have to be a one-person publishing house and do it all on your own. As with any
other publishing route, start by investing in an experienced, professional book editor, and youll find that
you can achieve for yourself what a lot of the publishing industry does for its authors. After youve
finished editing and revising your work, you may want to start screening for an editor with experience in
producing digital formats. In the final stages before publication, its crucial to work with someone who
knows the production side of electronic publishing, particularly if your book features complex layouts or
includes tables, charts, or images. Youll need to find an editor who also understands the technical
requirements for different file types, such as .mobi for Kindle readers and .epub for the Nook or iPad. As
of this writing, there is still no universally recognized e-book file format that can be read seamlessly on
different e-reading devices, so you will need to produce different digital formats if you want to give your
readers the widest number of options to read your book.
Lastly, remember that its not an either-or option. Dont box yourself into thinking you must choose
electronic or print publishing for your book. All authors can (and should!) do both. In todays world, its a
basic rule of thumb to give readers every option to buy your book.
For more information on digital self-publishing and creating your own e-book formats, check out these
resources:

David Gaughrans Lets Get Digital: How to Self-Publish, and Why You Should
Kindle Direct Publishings Building Your Book for Kindle
iBooks Author tutorials list, located at appsineducation.blogspot.com/2012/04/monster-list-ofibook-tutorials.html

The editing facts: As in print self-publishing, youll need to hire all levels of editing. Similarly, a book
coach or developmental editorespecially one with experience in digital formatscan be key in helping
you produce a great e-book.
Partner Publishing
Sort of a hybrid route for aspiring authors, partner publishing offers a lot of the services found in
traditional publishing, but with the freedom, control, and flexibility found in self-publishing. In the day of
technology and the Internet, it is definitely possible for someone to self-publish; however, usually authors
are not immersed in the publishing world enough to make the process streamlined, says Kelly Cope,
COO of Aloha Publishing and coauthor of Significance Breakthrough. [Self-publishing] can become a
time drain as well as a game of trial and error. With partner publishing, authors have an expert on their
sides while maintaining the rights to make key decisions about their books. Not only that, but content
always turns out better with a team of people adding constructive criticism.
The key here is that a partner publisher is just thata partner. In most situations, this type of publisher

will invest some money into your project, although you will carry the bulk of the cost. Often, its a more
generous revenue split between the author and publisher after the distributors cut, depending on if there
is an advance or any other arrangements.
What these publishers offer is distribution powerthe ability to get your book into more handsand
know-how. They have been through the publishing process, have relationships with vendors, and can help
you do things right every step of the way. They have systems set up to get you through each stage of the
publishing process, from concept to final product, and good partner publishers will rally for you to write
the best book possible. Especially for busy professionals, a partner publisher can be a great option, and
most will tailor a contract to your specific needs.
Another benefit of partner publishing is that it can be a great way to learn about the publishing business.
After you do one book this way, you should have the knowledge to be able to duplicate the process on
your own, if you so choose. For some people, the key advantage in partner publishing, especially for their
first books, is avoiding the trial and error of self-publishing.
Now, a word of warning: There are a lot of partner publishing houses out there that are rip-offs, ones
that will charge you a lot up front and give you very little in return. These are known as vanity presses,
and theyre looking to cash in on your desire to see your name in print. They may charge large fees, and
they dont demonstrate any desire to invest in good authors over the long term. To avoid this ever
happening to you, simply call or e-mail authors who have worked with the particular publisher you are
considering working with. Ask them if theyve been happy with the service and what they got for their
money, as well as if the publishing house did its best to help make their books successful. To get a fair
assessment, query at least three authors, preferably in your genre. Also, do a quick online search for the
publishing houses name and the word review to see if others have posted reviews on the web.
The editing facts: Partner publishers will often provide their own in-house editing for your book as
part of your contract, though the type of editing varies. While some will work with you from concept to
print, others require a near-complete manuscript, meaning youll need to invest in the bulk of the editing
costs prior to working with a partner publisher. Many partner publishers will require that you use their inhouse copyeditors and proofreaders.


NO MATTER THE route you choose, make sure it fits well with what you need and expect. Ask lots of
questions, read articles about each type of publishing, talk to authors, and follow blogs on the subject.
Attend workshops that give an overview of the writing, editing, and publishing processes. And, above all,
before you even consider your book for publication, it needs to be written and written well. Make sure
youre doing everything you can to prepare your best book for publication: Dont skimp on the editing
stages (particularly copyediting and proofreading), work with a professional editor, and revise, revise,
revise your work.

Discovering Your Writing Process: A Recap

In the last two chapters, Ive given you tips for approaching the writing process in a streamlined
fashion, made suggestions for how to look at your writing as an editor might, and supplied practical tools
for writing, editing, and soliciting feedback. While this streamlined process might not work 100 percent
perfectly for everyone, I hope it helps you find your perfect writing process. The main thing to take away
is this: An editor can be brought in at the earliest stages of book writing, and she can help make the
jumbled mess that is the writing process much easier and smoother, especially for new authors.
In the next chapter, well look at how to hire, negotiate with, and work with an editor, including how to
find a good editor for your book, when to start looking, what should be included in your letter of

agreement (yes, you need one!), and roughly how much you can expect to pay at each stage of editing.
Lets get into the nitty-gritty.

Interview with Peter Bowerman

Peter Bowerman is a veteran commercial freelancer (since 1994) and writing/publishing coach, as well as the author of
the three award-winning Well-Fed Writer titles, the self-published how-to standards on lucrative commercial
freelancing. He chronicled his self-publishing successas of this writing, 70,000 copies of his books in print and a fulltime living from book sales (and book-related coaching, speaking, seminars, etc.) since 2001in the award-winning
2007 release, The Well-Fed Self-Publisher: How to Turn One Book into a Full-Time Living. His books are widely respected by
critics and readers alike.
Since I personally used the first edition of The Well-Fed Writer to start my freelance writing and editing business, I can
attest to its usefulness and practicality, as well as its accessible and engaging style. Its a great read. Hes also had over
300 articles and editorials published, leads seminars on writing and publishing, and is a professional coach for both
commercial freelancing business start-ups and self-publishing ventures. Basically, he knows his stuff.
I had the chance to interview Peter and pick his brain about writing, and he had some great tips, stories, and thoughts
to share.

How would you describe your writing process, and what advice do you have for authors looking to streamline theirs?

I start with an outline of the sections I want to cover, beginning with main chapter headings, and then break down the content of
each individual chapter into one-line descriptionsby doing that, Im also writing my table of contents at the same time, because
my tables of contents are very extensive (one good way to quickly move book browsers to book buyers). Once the book is
written, Ill revise my table of contents to reflect the flow of the book. I get as specific with the sections as possible so that the
writing process is made easier.
Obviously, its an evolving process. When you start writing a book, theres no way youll know what will eventually end up in the
book. As you go on, youll keep coming up with more things you want to add. I start out with what I think a particular chapter
would coversay, discussing sales and marketingand then I use that as a guide for how I start writing the different sections.
And then, as I go along and realize, Okay, I need to add this section, I can adjust my outline and what, in a sense, is my
working table of contents.
A more global idea about the writing process that Ive adoptedand this is going to sound terribly unprofoundis to write a
really good book. Try to figure out how to make your book the best it can be by making it topical, relevant, very detailed, and very
practical.
Dont just tell people to write a press release; give them examples. Dont just tell people they should get a mailing label; give
them the name of the company, how to get ahold of them, and the model number. Dont talk in generalities; talk real-world
relevant. Make it interesting to read, fun, engaging, that kind of thing.
Also, produce your book well physically by hiring the right resources. Make sure aesthetics and production quality are very high
all of which, incidentally, is a process you have 100 percent total control over (not the case with marketing). Make it that
really good book, and youll unleash the amazing power of word-of-mouth advertising, which will dramatically simplifyand
turbochargeany marketing you do.

What frustrates you the most about the writing process, and what do you do to avoid or get past roadblocks?

Its natural to often look at your project as a whole, and when you do, its easy to get depressed at how much needs to get done.
As such, break it down into bite-size pieces and avoid viewing it in the whole. Rather, focus on the piece youre working on
currently. Itll keep you from getting overwhelmed. If you can just say, Okay, Im working on chapter four now, and its the only
thing that exists in my world right now, that allows you to make chapter four as good as it can be. If youre thinking of the
whole thing in the aggregate, then youre going to be more likely to think, Okay, I gotta get through this so I can get to the next
one.

How does your self-editing process work?

Im strange in that I have to write things out longhandI cant compose on the screen. By doing that, its much easier for me to
edit it at that stage; I cross stuff out, write things above sentences, draw lines. Im also big on numbering sections; if I write a
whole bunch of stuff out and realize I have the raw material, but that it needs restructuring, Ill start numbering the different
blocks of copy, so I know where I want to put my paragraphs when its all said and done. When its on the screen, its more
polishing [copyediting and proofreading] at that point.

What is your best advice for new authors?

Just always be thinking of your readers, what they need to know (as opposed to what you want to tell them), and how you want
them to perceive you as they read. Thatll make sure youre being succinct, while at the same time keeping them engaged with
the book and connected to you as an author; you want them to think, This is an interesting person worth listening to.

Do you have any writing tips to share?

Yes. The following are included (plus many others) in The Deluxe Well-Fed Tool Box, the companion e-book to The Well-Fed
Writer:

Remove that as much as possible. In about 80 percent of the cases, you can take that out and it wont affect the
sentence, and the sentence will flow better and read more conversationally.
Vary your sentence lengths. All good writing has a rhythm and cadence to it. If yours doesnt, if it seems stilted, then look at
the sentences in your paragraph; if theyre all close to the same length, you have a problem. Vary them widelya one- or twoword sentence, then a fifteen-word sentence, then a five-word sentenceits how people talk; its conversational writing.
Write like you talk. Dont be afraid to use a lot of contractions. It makes your writing more conversational and engaging, and
its how people really talk.
Start in the middle. At the beginnings of chapters, drop readers into the middle of a story to grab their attention and then
backtrack to the beginning. Its a standard tactic of good magazine article writers. Think about the last really interesting article
you read, and they probably did something like that: dropped you into the story, started talking about a particular character, and
then fleshed out the setting and other details.
Be a storyteller. Obviously, if youre a novelist, thats a no-brainer (youd better be if you want your book to go anywhere).
But its just as important with nonfiction and even nonfiction how-to. In my books, I go out of my way to include lots of examples,
stories, and anecdotes (mine and others) to illustrate my points. It just makes the book more interesting.
Always keep your reader front and center in your mind. Always be asking yourself, How can I make this even more
interesting? It goes back full circle: Its all part of writing that really good book, which spawns legions of fans who spread the
word far and wide and dramatically simplify your marketing task in the process.

To learn more about Peter Bowerman, visit www.wellfedwriter.com, www.wellfedsp.com, or www.titletailor.com.

FIVE:
Hiring and Working with an Editor (or, Why Your Editor Is Your
Books BFF)
Three Lessons
LIVING and working abroad taught me three big lessons: You get what you pay for, hire the right
people, and never sign a contract without a clear understanding of the terms and fine print.
I learned the first lesson traveling to Nha Trang, Vietnam, a touristy beach destination north of Ho Chi
Minh City, where I was living. An American friend of mine was visiting from Taiwan, and the three of us
my husband, friend, and Idecided to take an overnight sleeping train to Nha Trang to spend the
weekend. We ended up buying tickets for the second-class cabin, which was somewhere around $20 to
$30 cheaper than the first-class option. I thought we were being responsibly frugal, but once I saw our
accommodations, I regretted the decision. Throughout the night, we were assaulted with jumping bugs and
roaches. Due to the cramped quarters, my bunkmate (a stranger) had to step, barefoot, directly next to my
head to get in and out of his bunk, which was directly above me. The sheets looked like they hadnt been
cleaned since the trains inceptionno, make that the invention of the locomotive. I spent that entire 10hour ride with a clean T-shirt over a greasy-feeling pillow and a large, clean blanket Id brought wrapped
tightly around my body like armor. And you better believe I took a hot shower the second I could. Lesson
learned: You get what you pay for.
I learned the second and third lessons in Santo Domingo, Dominican Republic. The private K12
school where my husband and I worked went through an administrative upheaval during our time there,
and among other things, the principal disappeared for several months and was eventually fired and
replaced. The school staff, including this principal, mostly consisted of family members of the schools
owner, so this added a lengthy process to employment changes.
Partially because of the turbulence of these events at the school, and partially because of our own
ignorance, my husband and I ended up signing very poorly written employment contracts. No one on the
administrative staff was trained in writing and negotiating contracts, and no one wanted to take
responsibility for ensuring that they were properly and fairly written. These documents left out a lot of
important information, such as taxes paid on housing, insurance, and some other non-income money, and
the difference resulted in several hundred dollars a month out of our paychecks. The other foreign
teachers (American, Canadian, and Spanish) had similar issues, and one ended up having to look for new
employment two months into the school year because the school refused to honor a verbal agreement that
wasnt written into her contract; another fled the country two weeks into the school year without so much
as a good-bye. We ended up with our own monthlong battle, complete with almost daily group meetings,
e-mails, and online research into Dominican laws. It was a nightmare. Lessons learned: Hire the right
people, in this case, the administrative staff, and always, always make sure you read the fine print on any
contract you sign, checking that all terms are presented in a clear, unambiguous way.
Sure enough, these three rulesyou get what you pay for, hire the right people, and only sign a good
contract with the terms clearly spelled outhave been a constant throughout my writing and editing
experiences. I cant tell you how many times Ive been thankful for insisting on a clear contract when
working on writing and editing projects, and I say this both for my clients and for myself. A good contract
spells out all the deliverables for a project and adds a level of security for both parties. Ive also seen the
wreckage of manuscripts edited by unpaid or low-paid editorsusually friends who know English

pretty well. In instances like these, not hiring the right people results in getting what you pay forwhich
isnt much. Learn from my mistakes: Expect quality and cost to be closely related, hire professional
editors, and get your agreement and deliverables in writing.
With these three things in mind, lets start by looking at the why of hiring an editor.

Why Hire an Editor?

As Stephen King puts it: If you havent marked up your manuscript a lot, you did a lazy job. Only God
gets things right the first time. Dont be a slob. 20 While an editor is great at marking up your manuscript,
he can offer a lot more than that. Weve talked at length about an editors role and what he can do for your
manuscript, but before we move into the particulars, Id like to reiterate the three main things an editor
can do for your book:

#1 An editor can sharpen your writing and ideas.

A skilled professional editor can take your book from good to great with the following skills: a
precision with words and language, an uncanny sense of good structure and narrative, attention to detail,
and an ability to analyze for audience and purpose. As Maryanna Young, CEO, founder, and owner of
Aloha Publishing, puts it, [Editors] are the people who make it possible for the average writer to publish
above average or extraordinary work.
An editors many talents include helping you see your book in a different way. In describing his
experience writing The Complete Android Guide, Google+: The Missing Manual, Kevin Purdy
explains: My editor asked a lot of very necessary questions about what I was saying, how I was saying
it, and what else should be said. More than that, though, my editor kept track of everything I had and had
not explained at some point in the book, what a reader should be familiar with, and things that Id
promised to get to. In essence, his editor was able to look at both the big picture and the details, while
analyzing whether each element aligned with the audience and purpose.
Editors are experienced in reworking troublesome prose and correcting the many common writing
pitfalls, especially the following:

Overstuffed writing: Editors look for key ideas or messages and then help trim unnecessary words,
combine redundant sentences and paragraphs, or break up run-on sentences. Here is an example of a
single sentence that is brimming with multiple clauses and different ideas:

A protest started at the steps of the Capitol Buildingspearheaded by a group of students calling itself The Alliancethat
originated in the turmoil after the 2012 election, an experience that many people around the country called one of the greatest
battles of political ideologies, and a stark illustration of how polarized people had become on key issues, such as health care,
budget cuts, and taxesthe very issues that protesters were now determined to bring back to the national stage after months of
apathy and political blindness, they claimed.

This single bloated sentence can be broken up into several sentences in its own paragraph, or each
point or idea (I count at least four) can be expanded into several paragraphs. Heres one possible
edited version:

A protest broke out at the steps of the Capitol Building today, led by a group of college students calling themselves "The
Alliance." Protesters accused the government of "political blindness," upbraiding legislators for "months of apathy" on issues
related to health care, budget cuts, and taxes.
Emerging postelection protest groups like The Alliance are a stark reminder of the political turmoil that still lingers over key
issues. Like many protest groups, The Alliance was formed in the wake of a polarizing 2012 election, which many have called
one of the greatest battles over political ideologies. Through their actions, protestors hope to reignite a national debate.


Imprecise writing: Editors help make sure words are being used properly, as well as identify
whether the intended audience will fully understand any jargon. Here is an example that is saturated
with academic language that would be inappropriate anywhere outside of a doctoral dissertation:

The paradigm shift in the hegemonic philosophies of economic dominance deconstructs 20th century ideologies.

Here is an example of writing that is inadvertently ambiguous:

Cassandra walked grimly toward the podium, her eyes fixed on the man watching the woman beside him.

Who is Cassandra fixed on, a reader should ask, the man or the woman? Try a few more:

Reaching into his jacket, the cold metal shaft of the gun knocked against Lukes knuckles.

Skipping six times across the waters surface before it sank, Danny watched the stone in awe.

The above two examples feature dangling participles, where the two clauses that make up each
sentence have different subjects. In the first sentence, the subjects are Luke (implied) and gun; in
the second sentence, stone and Danny.
To fix these sentences, an editor could rewrite them in the following way so that only one subject
appears (italicized):

Luke reached into his jacket and felt the cold metal shaft of the gun knock against his knuckles.

Danny watched the stone in awe as it skipped six times across the waters surface before it sank.

Fuzzy thinking and faulty logic: Editors can identify holes in writing or logicbefore readers do.
For example, editors can challenge conclusions that are drawn without proper explanation or
evidence. A common problem in nonfiction writing, in particular, is drawing a conclusion based on
the chronology of events. For example, If B came after A, then A caused B. The problem with this
is that the sequence of events can only suggest a relationship, but never really prove that one caused
the other. For instance:

In 1919, the League of Nations was formed, but did nothing to staunch the rumblings toward World War II, proving that
multilateral diplomacy is doomed to fail.

Other examples of weak arguments in writing are those that use if-then or either-or constructions.
For example, If we do X, then Y is bound to happen, or Either we do A, or B wont happen. We
often see this in political speeches: If we dont bail out the banks, well slip from a recession into a
depression, or Either we win this battle or lose the war.

Unfocused writing: Editors can help keep your writing focused on the audience and purpose by
identifying areas that dont meet the needs of the reader. For example, a cancer survivor may choose
to write a memoir documenting her personal experience with the illness, or she may decide to do a
more general self-help guide on how to manage the illness on a day-to-day basis. The topics may be
similar but the two books would be very different in structure and tone. Editors can help writers
figure out the kinds of books they want to write and how to write them, as well as help evaluate
drafts to make sure theyre on-target.


Author biases and presumptions: An editor offers a third-party perspective, essentially acting as a
reader advocate, pointing out areas where biases and presumptions might be negatively impacting
a book or drawing unfair conclusions. For example, an editor might pose different interpretations of
data or information. If an author working on a self-improvement book for college students writes that
students who exercise daily also get better grades (therefore exercise causes a rise in GPA), an
editor might say, Well, what if we reverse it? Students who get better grades happen to be more
disciplined and will be more likely to include exercise in their daily routines.
Another example is when authors use catchphrases in place of valid arguments. For instance, an
author may write:

The legacy of Reaganomics has cast a shadow on the economy.

Unclear scenes, dialogue, and characters: Most writers and editors agree that readers should be
able to see a character or scene. Editors can identify areas in fiction and creative nonfiction that
are ambiguous or fall flat. For example, editors can help writers rewrite sections with more concrete
and vivid narrative detail and imagery.

#2 An editor can save you time and money.

By involving an editor in the earliest stages of the book-writing process, you can save yourself from
endless rewrites and extensive editing hours tacked on at the end of a project. An editor can help you
properly outline your manuscript, offer useful feedback along the way, and keep you on track to finish
your manuscript on time. Perhaps most importantly, an editor can be key in helping you finish your book,
often months or years earlier than you would have on your own.
Let me ask you a question: How long have you wanted to write a book? When did you start dreaming
up the concept? If youve started writing, how long have you been working on it? If youve finished your
first draft, how long has it been sitting in your drawer or computer, waiting to be edited?
Many of the writers I work with start and finish their books within eight months to a year. Im talking
concept to print here, not just completing the first draft. One reason the authors I work with are able to do
this is because theyve involved someone in the process to help them stay motivated, focused, and
accountable. Theyve signed a contract, paid a portion of the editing fee, and committed to finishing the
first draft by the specified date. Sometimes, theres nothing like a deadline and encouragement from your
editor to inspire you to finish that book.
There have been other cases where authors didnt hire editors at the outset of their book-writing
projects, and the results were messy manuscripts that needed some serious TLC. Recently, I reviewed a
finished manuscript and had to give the author some bad news: The book needed to be completely
rewritten. Dont let this happen to you.

#3 An editor can help you do your book right the first time.

Your editor is your partner in the book-writing process and brings hard-earned knowledge about both
the editing and writing processes and the publishing industry. Publishing can be a strange new world to
some, and a book coach or developmental editor can help you navigate the ins and outs, helping you write
a book that is both well-written and marketable. Why go through unnecessary trial and error when you can
enlist the help of someone who knows the system?
Most editors and coaches also have a wide network of industry professionals, which can be very useful

no matter the publishing route you decide to take. I often make connections for the authors I work with
after all, Ive put time into their manuscripts, too, and want to see them succeed. Their success is my
success.
Now that were clear on the benefits of bringing an editor on board, lets get into the specifics of hiring
and negotiating with an editor. Notetakers, do you have your pen and paper ready? Youre going to need
them.

Finding the Right Editor

Perhaps youve never worked with an editor. Perhaps, before reading this book, you fell into the mental
trap of thinking that an editor is really just a glorified proofreader. Perhaps, now that youve been
enlightened, youre ready to hire and work with an editor, but you dont know the first thing about how to
start looking for one or how to evaluate candidates once youve found them. Have no fear; Im here to
save the day!
First things first: If youre going to hand over your manuscript to an editor, give it to a skilled, qualified
editor. Just because someone teaches English or has a degree in English, even if its in writing, it doesnt
qualify that person as a professional editor. I can say this because: 1) I was an English teacher, and I have
a degree in English writing, and 2) Ive seen a lot of bad editing from folks with similar backgrounds.
A qualified professional editor will have not only the academic credentials (a degree in English or
journalism) but also, more importantly, a proven track record of book-editing experience. The experience
part is particularly critical. I know many professional editors who are wonderful in their craft and have
outstanding editing skills but actually know very little about the book-editing process. They may have
edited articles or shorter works, but book editing is a different game and requires a different level of
expertise. An editor looking to gain book-editing experience may offer to do your book, and it may be
tempting to take this low-cost option. But, unless hes naturally talented or comes with excellent
references, without the real experience of working on book-length manuscripts, he isnt really the right
editor for you. Dont let your manuscript be practice. Practice editing should only be done on books that
arent going to be published. Its just so painfully obvious when a manuscript hasnt been edited by a
professional with the right experience.
Choosing an editor can be one of the most important decisions youll make while writing your
manuscript. It can also be one of the most nerve-racking experiences you will go through. An author and
editor are on the same team, says Pooja Lohana, a freelance writer and editor in Melbourne, Australia,
who has ghostwritten three nonfiction books and edits several magazines and websites. Editors who
possess human relations skill and the art of negotiating and convincing with solid backup reasoning are
authors favorites. Just like a good editor can substantially impact your manuscript in positive ways, a
not-so-good editor can waste time and moneyand might be a roadblock in your success as an author.
Some people suck. In any profession thats true, and editing is no exception, says Jessica Stillman, a
freelance writer based in London, who has blogged for CBS MoneyWatch, GigaOM, and Brazen
Careerist, among others. Ive had nice editors who give lots of encouragement and engage with me on a
friendly human level, and Ive had some that cant be bothered to type a two-letter salutation in an e-mail
and are generally brusque (and Im sure overworked). I no longer work with the editors who stress me
out with their gruffness and lack of human touch, and Im happier for it. Youre not always in a position to
choose, but if you can, avoid people who make your working life worse.
With that in mind, here are a few tips for finding and evaluating editors; each main point includes
helpful tips or key questions to ask when you evaluate a potential editor.
Start Early and Learn the Lingo

Dont wait until the copyediting stage to start looking for an editor; hire an editor early on, and bring
him into the project as soon as possible. The Northwest Independent Editors Guild advises, Contact
potential editors well in advance. Many editors are booked two to six weeks in advance and may not be
available on short notice. 21 I personally tend to schedule projects one to two months in advance, and I
know several editors who do the same. This doesnt mean editors wont accept last-minute projects, but
its going to cost you a lot more if your prospective editor has to drop everything, work 12-hour days, and
turn around the project twice as fast as normal. Just like you pay for rush shipping, youll have to pay for
rush editingif you can find an editor to agree to your quick turnaround and accept your project, that is.
So, when should you hire an editor? Editor opinions might vary slightly, but the general consensus is
that its never too early to look for an editor. That being said, here are some general guidelines to help you
determine when to start looking for an editor:

Developmental editing: Begin searching for and interviewing editors two to three months prior to
beginning your project.
Substantive (content) editing: Sometimes a developmental editor can also perform substantive
editing on your manuscript; if not, begin searching and interviewing when you begin the book-writing
process. Communicate to the new editor when the manuscript can be expected.
Copyediting: Often, if you used a substantive editor and were happy with his work, the same
person can do the copyediting; if not, begin searching and interviewing two months prior to the
completion of the manuscript. Communicate to the new editor when the manuscript can be expected.
Proofreading: Typically, proofreaders are new to your manuscript and havent served in any other
editing capacity. The reason to use new editors at this stage is that you need people who havent read
the book to catch all the lingering line errors. Fresh eyes are always sharpest, and the proofreading
stage is when you need the most careful editing. Begin searching and interviewing proofreaders
when the first draft has been delivered to the substantive editor; since the copyediting stage is
usually a relatively quick process compared to other stages, its best to find and hire proofreaders at
the same time you hire a copyeditor. Communicate with your proofreaders to let them know when the
manuscript can be expected.

In addition to searching early, be sure you know your editing basics prior to seeking an editor. If you
read this book from cover to cover, you will be pretty much set. (If you started partway through or
skipped chapters, head back to Chapter 2 for a complete overview of the four editing stages and important
editing terms.) Busy editors are selective about the clients theyll take on, so the more knowledgeable you
are about the book-editing process, the more likely it is that youll be the ideal coachable author they
want to work with. Also, its in your best interest to master editing basics and general terminology. Youll
feel more confident as you search for and hire the right editor for your book.
Look for an Editor in the Right Places
Lets say, at this point, you fully understand the benefits of editing, know your stuff, and are looking
early for the perfect editor. Where should you start looking?
Entering key words into a Google search isnt usually the best approach to finding the right editor for
your book. Just like anything else, its always best to get a referral. Ask friends, colleagues, and
acquaintances for recommendations; even if they arent writers themselves, they might know someone
who recently published a book and may be able to get you in touch with an author who can provide a
referral. When you finally find someone who has a recommendation, listen carefully as that person tells
you about her experiencedont get so excited that you miss the fact that the editor butchered a chapter

and delivered the manuscript three weeks late.

If youre finding this to be a dead end, check the acknowledgments in well-written books, as editors are
usually listed there. (After all, as most of us in the editing world know, a well-written book is usually a
well-edited book.) But be realistic: The editors of best-selling books or those published by the Big 6
might be out of your price range. Its best to stick with regionally published books, if possible, as well as
books published by partner publishers or small presses, since they tend to work heavily with freelance
editors. Also, dont be afraid to e-mail authors and ask if they were happy with their editors.
Additionally, you can call local or regional publishing houses for a referral. Many are happy to provide
this, as they often have a referral fee involved in any work they send to their freelance editors. The only
catch here is that editors sometimes charge more since theyre paying 10 to 15 percent to the referring
publisher, an amount theyll often tack on to your bill. Many authors feel that extra bit can be worth it to
find a great editor; its a lot cheaper than hiring a bad one and having to redo the entire editing process. In
a way, its kind of like paying for a great haircutyou pay the hefty premium now for a quality,
professional editor that will produce stellar work, rather than paying lower fees for shoddy work that will
need to be redone later.
Finally, if youve exhausted these two options (really exhausted them, not just spent a day or two asking
around), start looking online. A good starting place is the Editorial Freelancers Association (EFA), which
is a national not-for-profit organization, headquartered in New York City, run almost entirely by
volunteers. 22
On the organizations site, you can access their many resources, including guidelines for hiring and
working with editors, a rate chart, and a job list where you can post your project. The organization is
well-respected in the editorial field and has paying members, so you can feel more confident finding an
editor on their site than, say, a site like craigslist.org, which has no strict regulations over who can post or
even a rating system that weeds out the dodgy services from the reputable ones. You can access the EFAs
website at www.the-efa.org.
Regardless of which direction you pursue to find your editor, whether you get a referral or connect with
a freelance editor online, be sure to talk to someone the editor has worked with in the past or, at the very
least, look at a work sample. Be wary of any editors who arent willing to provide a reference, even if
its just a written recommendation from a client.
As you talk to a previous client of a prospective editor, ask these key questions:

What type of book did the editor work on? (Note: Its usually best to hire an editor who has worked with similar
genres. For example, a fiction editor might not be the best choice for your golf manual.)

Were you happy with the quality of work?

Was there anything you were unhappy with?
Did the editor meet the agreed-upon deadline?
Did you end up paying what the editor quoted at the outset of the project? If not, did the editor
communicate with you before charging you more?
Did the editor have a positive attitude throughout the project?
Was the editor willing and able to explain his changes? If questioned, did the editor have the
attitude of a teacher and a willingness to go over details?
Does the editor live locally? If not, did you find working electronically relatively seamless?
Would you hire this editor again?
Be Honest About Your Needs
Im just going to say it: Unless youre either divinely inspired or dont care if anyone ever reads (or
likes) your book, you need more than a copyeditor; at minimum, you really do need to hire a substantive

(content) editor. Even if you feel that your manuscript is strong, hire an editor to at least read the
manuscript and give you some general feedback; for a 60,000-word manuscript, you can often budget
about eight to 10 hours for this type of critique. Youll be glad you did.
But the need for true self-evaluation goes deeper than that, as many editors wont take on clients who
are unwilling to honestly evaluate their own work. When I work with authors, I always ask for a short
manuscript excerpt, usually the first chapter of the book, as well as information about the audience and
purpose; other editors often ask for an outline and/or synopsis, too. Furthermore, I send an editing
checklist (refer to the Appendix for a sample) and ask authors what they think they need.
If I find the sample to be a red flag (the most common being someone who thinks they need
proofreading but really needs a heavy round of copyediting or some structural work), I usually refer the
author to another editor. Busy editors look for coachable authors who are able to recognize that their
books arent perfect. In-demand editors will likely pass your project up at the first sign of an inflated ego
or what I like to call manuscript denialthe inability to recognize that your manuscript needs work.
Dont be that author.
Genevieve DeGuzman, Night Owls Press managing editor, adds, Dont insist that editing your work
should only take a couple of hours as a point of negotiating a cheaper rate from an editor. Professional,
diligent work requires time, and the editor should be able to give you a fair assessment of how long it
will really take. If youre unsure, shop around and compare time frames.
Remember: An editor brings so much more than just a red pen to the project; he can really transform
your book from good to great. Resist the urge to bargain shop, and be honest with yourself about your
needs as a writer and the editing your manuscript requires.
For help determining your editing needs, refer to Step 1 in Chapter 3.

Interviewing Editors and Negotiating a Budget

Once you locate an editor and check his references, youre partway there. Next, youll need to
interview your editor, negotiate the terms, and discuss a budget. If you follow the advice outlined in the
next sections, these steps should be relatively straightforwardand save you from unnecessary mistakes.
Be Choosy when Choosing Your Editor
Dont be passive when hiring an editor for your manuscript; instead, ask questions, review work
samples, check references, and request an editing sample. Since working with an editor can be the most
important part of your book-writing experience, make sure he is the best fit for your manuscript, is skilled
and experienced, and has several satisfied clients to show for it. The time you spend interviewing and
selecting an editor will have a tremendous impact, so never rush the selection process.
Some editors offer to edit a few pages for free to help a prospective client decide, but its difficult for
an editor to show off his or her skills with just a few pages of text, adds Genevieve DeGuzman. Ask to
see samples of previously edited work, and be sure to contact references if youre still uncertain.
That being said, I have never had an author ask me for an editing sample, meaning having me edit one
chapter or a few pages prior to editing an entire book. Granted, most contact me on referral, but I cant
help but be amazed every time an author sends me a 50 percent deposit without seeing my work. As
mentioned, some editors offer a free editing sample (I dont, but some do), and others will gladly edit one
chapter at their normal or a slightly discounted rate prior to signing an agreement.
Dont sign a contract with an editor until you have worked with that person on a sample chapter
together, advises Maryanna Young of Aloha Publishing. It should either really work, or go ahead and
find another editor. I couldnt agree more.
Aaron Patterson, CEO of StoneHouse Ink and best-selling author of four titles, adds, [For] my first

book, I hired a proofreader thinking that she was the creative and everything in oneit was a mess, and I
still have the reviews on Amazon to prove it. Learn from his mistake, and ask a lot of questions.
As you interview potential editors, ask these key questions:

What types of books have you edited (fiction, nonfiction, etc.)? (Note: Its usually best to hire an editor who
has experience working with books in similar genres as yours.)

What is your writing and editing background?

What are your major editing accomplishments?
What is unique about your editing process?
What types of books do you enjoy working with?
Are you willing to provide an editing sample? (Note: Dont expect to get an editing sample for free, especially from
busy or in-demand editors. A legitimate editor should be willing to do an editing sample [preferably the first chapter] for a normal or
slightly discounted fee, prior to signing a contract; if not, you might want to look elsewhere.)

Prior to signing a contract, can you edit one chapter to make sure well work well together?
What makes you a good fit for my manuscript?
Budget: Getting What You Pay For
Before you move any further in the hiring process, its time to discuss the budget. Here are two secrets I
probably shouldnt tell you: If money isnt a concern, dont feel the need to broadcast this fact. If money is
a concern, be sure to let your potential editor know. Sorry to all you editors out there, but it had to be
said.
Just a little while ago, I saw this illustrated in its full glory. An editor I know, well call her Katherine,
received a phone call from an author who needed a critical read of his manuscript (essentially, light
substantive editing to identify major concerns in the piece); at the end of the 15-minute discussion,
Katherine told him she would put together a quote and send it in a few days. He responded by telling her
that he had X amount of money and couldnt spend any more than that, a number that was way below what
Katherine normally charges.
Okay, Katherine responded. Let me see what I can do with your budget.
Since she liked his manuscript and felt he was coachable and passionate about his work, this particular
editor stuck to the authors budget, substantially altering her normal editing deliverables to what he
needed. When all was said and done, Katherine did way more work than what was originally quoted, but
she didnt charge the author for it. She appreciated his candid honesty, as it would have been a waste of
both of their time if Katherine had put together a normal quote for him.
A few weeks later, the same editor received an e-mail from another client. The authors project was
very similar, although slightly longer, and she needed basically the same type of editing and feedback.
During a phone conversation, the author mentioned that she was willing to pay whatever was needed for
the project. With just a slight adjustment of the bid Katherine had sent the other author to include some
additional deliverables, she sent the new client a quote that was four times as much.
Now, the bid Katherine sent the second author was very fair, and it certainly wasnt inflated. My point
is this: If you have a bunch of money to blow, dont share that fact. Do let the editor know that you have
the budget for editing, but avoid phrases like, Ill pay whatever it takes, Ive already spent X amount
on this book, and Im ready to spend more, or Im filthy rich; charge me your highest rate! Okay, maybe
you knew that last one already, but you get the point. Likewise, if you dont have a big budget, be honest.
The editor might turn your project away, but in all likelihood he knows someone who might be able to
work within your means.
What Can You Expect to Pay?

Inevitably, most conversations with potential clients go something like this:

Well, Mr. So-and-So, it was nice to meet you and talk about your manuscript. Ill be sending you a
detailed quote within the next few days.
Great! Just real quick, though: Can you tell me about what you think it will cost?
Id love to, but I really need to sit down and go over the details of your project before I can give you
even a price range.
Just a rough estimate?
Im sorry, Mr. So-and-So, but I really do need to spend some time evaluating your needs.
I understand. Well, what do you normally charge?
Ive learned to get through this conversation with a smile, and it usually makes me chuckle afterward.
From day one of my freelance editing business, I solemnly vowed to never quote a price on the spot.
Why? Well, for one, the moment I say a number, an author becomes married to that price. Secondly, since
editing needs vary widely, its nearly impossible to accurately estimate how much a project will cost
without a serious evaluation that takes into account many factors, such as the overall length of the book,
the authors time frame, and the books topic, target audience, level of technical information, and quality
of prose.
That being said, there is a method to the madness, and each editor has his own way of charging for
projects. Most charge by the page or the hour, although some charge by the word. Below are the rates you
can expect to pay as of this writing, based on personal experience, research, and interviews with industry
professionals. Of course, rates vary widely based on a books complexity, an editors skill level, and the
average rates in a given geographic area. Please note that the expected per page word count is typically
250 words. 23

Ghostwriting: If credit is given to the ghostwriter on the cover, average rates are $67 per hour,
$87 per page, and $22,892 per project; if no credit is given, average rates are $73 per hour and $206
per page, with a $28,580 advance. 24
Developmental editing and book coaching: Rates are anywhere from $60 to $120 per hour and
up, depending on the time frame and complexity of the project, with the average editing productivity
being one to five pages per hour.
Substantive editing: Rates are similar to developmental editing at around $40 to $120 per hour or
$5 to $20 per page, with the average productivity being one to six pages per hour.
Copyediting: Rates are around $50 per hour, although this can vary from around $25 to $100 per
hour or $3 to $10 per page and up, with the average productivity being two to 10 pages per hour.
Proofreading: Typical proofreading will run anywhere from $25 to $75 per hour or $1 to $5 per
page, with the average productivity being nine to 13 pages per hour, and the rate will vary widely
based on complexity of the project. For example, a book on nutrition, which uses a lot of scientific
terms, will usually cost more than a fiction book. 25

Looking at the vastly varying price ranges, can you now see my reluctance to quote a price on the spot?
Books are individual and unique and should be treated as such; because of this, its difficult to diagnose a
manuscripts editing needs without some serious consideration about the scale and scope of the project.
Samantha Tyree, a freelance copyeditor and writer, adds, Figure that you will spend a minimum of
$3,500 for basic editing (a copyeditor and proofreaders) to ensure that your manuscript is print-ready. If
these rates are making you balk, consider the opinion of Courtney Boyd Myers, a technology journalist for
The Next Web: People pay doctors loads of money for an educated, objective opinion. Authors should be
grateful that editors are so cheap. Also, remember the wise words of editor and writer Pooja Lohana:
Avoid exceptionally low bidders. Usually, you only get what you pay for. Cheap rates arent the great

deal you expect. Going with the cheapest editor now often means much lower qualitynot to mention
more money spent in the long run when you have to hire another editor to fix the shoddy work.
One last thing: Most editors ask for an up-front installment of the total price, especially from new
clients. I typically ask for 50 percent up front, with 50 percent payable within 10 days of delivering the
final product. For larger projects, especially ones that span several months, I might ask to be paid three or
four times throughout. Editors differ on their payment policies, but they should never ask for 100 percent
up front.
For more information on editing rates, see the latest Writers Market How Much Should I Charge?
chart for freelance writers and editors, or check out the Editorial Freelancers Associations rate guide at
www.the-efa.org/res/rates.php.
Request a Manuscript-Specific Style Guide
A manuscript-specific style guide details the nuances of your manuscript, including coined words or
phrases, capitalization, and other elements that need to remain consistent within your manuscript. Think of
it as the stylistic and formatting rules for your book. Furthermore, it notes any areas where your
manuscript deviates from the chosen major style guide, such as The Chicago Manual of Style (your editor
should specify the major style guide to use for your book prior to editing your manuscript). For example,
you might prefer to use the Oxford commathe comma before the conjunction in a series (as in he
swam, ran, and biked)in your writing, a rule that differs from many major style guides. This and any
other preferred styles or exceptions to major style guide rules are noted in the manuscript-specific style
guide.
Most copyeditors will generally include a style guide as one of the deliverables in their initial project
bids; if not, be sure to ask for one at the outset of the project, preferably before agreements have been
signed and a deposit has been made. A style guide ensures editing accuracy, as well as guides
proofreading later on; it can also be used for subsequent books. For more information, see the Sample
Style Guide in the Appendix.
Get It in Writing
Im no contract lawyer, and I dont know a lot about what stands up in court. What I do know is that a
signed contract goes a long way for both parties, and its very important in defining exactly what will
happen throughout the author-editor partnership and in avoiding any surprises or misunderstandings. So,
before you pay any money or have an editor do any work, be sure to discuss the details and deliverables
(what the editor is promising to deliver) and get everything in writing. Ask your editor to write an
agreement that includes the following:

A full price quote. Even if your editor is working hourly, ask her to estimate the total amount
expected. For example, this part of the agreement might read, Total cost: 150 pages at $18 per page
for a total of $2,700 (note: 1 page = 250 words), or Total cost: An estimated 25 hours at $65 per
hour for a total of $1,625. In the agreement, be sure an approval process is stipulated if your editor
needs to work above the quoted amount, which can often happen.

An explicit description of the editing services that will take place (e.g., light substantive editing
that assesses the flow of chapters, fixes any significant gaps in logic or argument, and points out
areas that need strengthening or more research) and the number of editing rounds the editor will
perform for each stage (e.g., substantive editing, two rounds: initial round on the first draft,
followed by a second round on the second draft).


The deliverables, such as a manuscript-specific style guide, the edited document itself (delivered as
a hand-marked copy or electronically using MS Word Track Changes), and the number of phone or
in-person consultations, if any. A summary of the deliverables helps clarify the editors role
throughout the process, as well as puts in writing all of your editing needs.

An example of an agreement can be found at the Editorial Freelancers Associations website at
www.the-efa.org/res/sample_agreement.php. The Editors Association of Canada also has a contract
template, which is particularly good because it defines what will be performed at each level of editing;
you can download the sample at www.editors.ca/hire/sfea/index.html. For a sample agreement letter Ive
created, refer to the Appendix.

Working with an Editor

After youve found a good editor and ironed out the details, its time to establish a good relationship
with your editor. Included are some tips to help cultivate that rapport.
Dont Reveal Too Much About Your Book
I love meeting authors and hearing about their manuscripts, and I especially enjoy working with
enthusiastic authors who cant wait to tell me about the work theyre about to send me. But, despite how
much I like these discussions, I often have to stop authors mid-sentence.
Whoa, whoa, Ill tell them, my hands up, dont spoil it for me!
Most of the time, we have a good laugh about this, but behind the joking is an important truth: Dont tell
your editor too much information about your manuscript. Typically, an editor will need to know three
things to be able to carefully evaluate your work: the topic of the book, the intended audience, and the
purpose of the manuscript. (Remember, in the case of fiction, the purpose can be as simple as to delight
or entertain, or it can be more serious, such as to promote a larger theme or moral.) Sometimes, if you
need heavier editing at the structural level, an editor might ask for an outline or, in the case of fiction, an
overview of characters and a synopsis. Beyond those things, you might be over-sharing.
Now, I know youre excited about your book. You should be. You worked long and hard on that baby,
and you feel a sense of excitement and accomplishment every time you think about it. But dont let your
excitement prompt you to tell your editor, friends, family, or potential readers so much about your
manuscript that they arent able to experience the book themselves.
Think about it this way: Lets say your book gets picked up by a big publisher, and its sitting on the
shelf at a major bookseller. A customer walks into the bookstore, flips through your book, reads the back
cover, looks at the table of contents, checks the price, and decides to purchase it. Once at home, he opens
your book and starts reading.
In this scenario, where are you? Are you sitting in front of the reader, explaining the details of your
book? Are you filling him in on your purpose or providing plot summaries? No, youre not. In this
situation, you only exist in the pages of the book. You cant call the reader and explain what you really
meant in chapter four, why a character feels sad, or exactly how to properly shear a sheep (all examples
from different books, clearly). It has to be in the book. Period. This is why you must not over-share with
your editor. Discuss the basics of audience and purpose, get feedback, and make adjustments based on
expert suggestions. Let your editor, and anyone who reads your book before it goes to print, have that
necessary reader experience. Your book must speak for itself.
Recalling our discussion in Chapter 2, The Editing Basics, prepare for your discussion with your
editor by completing the following, even if you havent started writing:


1. My book is about (15 words).
2. My intended reader is (15 words). For help completing this, see the section on audience.
3. My book is like [insert book title here] and [insert book title here], but it is unique because (25 words).
4. The purpose of my book is (20 words).
Calm Your Nerves
I once met a man who was new to writing fiction. We chatted a bit about his work, talked about his
experience with writing and where hed like to go with it, and eventually discussed his insecurities.
Finally, he said, I was wondering if I could hire you to read my work and tell me if its any good. I
mean, if Im a good writer.
Id never had anyone ask me this before; I mostly work with developing concepts or prose, helping a
work achieve its best potential, and I dont normally offer any sort of judgment about good or bad. I
was quiet for a moment before responding, thinking of the right thing to say.
Well, I finally said, what will that accomplish?
I dont know, I guess I just want to see if Im any good, if I should keep writing.
Do you like writing? I asked.
Yeah. Yeah, I do.
Okay. Then does it matter if I think its good or not?
He looked at me, confused.
You see, I continued, if you love to writeif its your dream and passionthen write. It doesnt
really matter if I judge it to be good or bad. The point is that youre doing something you love. Thats
what matters.
His face brightened, and I could see his confidence start to build.
Just like the man I met, you might be feeling some anxiety about your work. Sending your manuscript
out for review, whether its to a trusted friend or a hired editor, can be a daunting experience. You might
be wary of feedback, as many authors are, or just plain afraid people will hate it, that all your hard work
was a waste. This is completely normal.
Stay optimistic. I firmly believe that doing what you love to do is worth it, no matter if its a success
or a failure. If youve always dreamed of writing a book, then do it. If your life goal is to share your
hard-earned knowledge with the world, then do it. If you want nothing more than to write a book you can
give to your family and friends, then by all means, dont let the fear of failure dampen your creative
passion. If you can approach this stage with poise, handle the nervousness you might be feeling, and have
a good attitude toward the editing process, then you are on your way toward achieving your goals.
So, take a breath, calm those nerves, and review the good attitude tenets in Chapter 1. Heres a quick
rehash to refresh your memory:

Remember that manuscripts are organic.
Dont be afraid to kill your darlings.
Dont take edits and feedback personally.
Allot time for the critical phase of editing and rewriting.
Remember that editing is integral to the writing process.
Commit fully to the book-writing process, and believe in yourself.
Trust your editor to help transform your book from good to great.
Own Your Work

There is a fine line between coachable and apathetic; your job as the author is to be open to changes yet
still take ownership of your work. This means you have to keep in mind one very important detail: Youre
an editor, too.
After your book is written and sent off to an editor, you still need to put on your editor hat and get ready
to make improvements. Even if authors hire editors to do the heavy lifting when it comes to revision,
authors should also be willing to get their hands dirty. Editing is hands-on. Your book is your creative
vision, after all. This means, at minimum, authors should do a final read-through and proofread their own
work. Some authors wrongly assume that a proofreader will catch every error; this is physically
impossible, and its important to remember that editors are human, tooeven the best cannot catch every
errant comma or extra space between words. Editing works best as a joint effort, and authors should stay
active in checking their manuscripts at every critical juncture of the editing processespecially in the
copyediting and proofreading stages.
My favorite authors are the ones who are open to suggestions yet care enough about their work to
carefully evaluate feedback and make the necessary changes and revisions. As a result, they make their
manuscripts better, cleaner, and more effective than they were before. The finished product is something
any author can be truly proud ofa great book that meets its purpose and reaches its intended audience.
At the end of the day, your attitude toward editing and level of ownership of your work will dictate
how good your book becomes. Youve put a considerable amount of time into conceptualizing, planning,
and writing your manuscript already. After the first draft is finished, dont lose the momentum. Refer to
the section, Integrating Editor Feedback, in Chapter 4 for more ideas on reviewing and working with
your editors suggestions.

Working Collaboratively with Your Editor

When I lived in the Dominican Republic, there were daily power outages that often lasted for hours.
Furthermore, getting wireless access in our home was pretty expensive, and the alternative, a wireless
USB that plugged into the computer, was spotty at best (not to mention that only one computer at a time
could be online). Those details made my electronic life difficult, and they made my job as a teacher even
tougherespecially when I had to teach in a semi-dark classroom with no air conditioning or computer
access. I actually got pretty good at ignoring these outages and could usually continue a lesson without a
hitch. I adapted, and it worked.
In the U.S., we dont have such problems. We are one of the most connected countries in the world with
the best resources to collaborate electronically, and there are a vast number of tools available to anyone
who needs them. Furthermore, most people nowadays are comfortable with technology, and editors are no
exception to this. In fact, most of the work I do is done electronically, rather than in person, and Ive even
worked with people in different countries and vastly different time zones.
With e-mail, chat, Skype, and all these communication technologies, its easy to work with someone in
another city, state, or country, explains Rheea Hermoso-Prudente, the editor-in-chief of Lucerne Luxe
Magazine. Word documents can easily be marked up, and you can track revisions and comments easily.
Even PDF files can be marked up. Freelance writer and editor Pooja Lohana adds, The Internet makes
it pretty simple. I use e-mail and Skype heavily to liaise with my writers, graphic designers, sponsors,
and other clients. There are [also] cloud storage services like Dropbox, which are popular. Youll
probably hear similar comments from others in the industry.
But with great technology comes great confusion; sometimes there are so many options available that
the average Joe doesnt know what to do with it all. Many of my clients are initially convinced that
working together digitally just wont work, especially those who arent necessarily tech-savvy or
confident using the Internet or computers. While they usually come into the process with some trepidation,

most find that working together across distances is just as easy as if we were in the same city. Success for
a long-distance author-editor partnership depends on many factors, but it can be boiled down to this:
Have a flexible and simple communication process in place that keeps you connected.
Here are the basics in preparing for collaboration across time zones and borders:

Establish a communication schedule. Since deliverables are often long term, editors generally
speak to writers on a weekly or bimonthly basis once work starts, depending on how long an editor
needs to work on a draft. For example, developmental and substantive editing may take several
weeks to a couple of months to complete, assuming the author revises the manuscript each time.
Subsequent revisions by the author may take even longer, depending on the state of the manuscript
and the intensity of the edits. How often should your editor check in with you? Weekly updates are
usually sufficient, but talk to your editor about what you both find comfortable. A book coach, for
example, may be in touch with you on a more frequent basis to keep you motivated throughout the
writing process. If your editor is only working on one aspect of your book (e.g., substantive editing),
expect to communicate with him once or twice in totalusually a short consultation prior to editing
and a longer, in-depth meeting a few weeks later, after youve received the edited manuscript and
had a chance to begin revising.

Decide on your communication channels. What form of communication do you prefer? Maybe
youd like to do weekly status notes over e-mail and a phone call every two weeks to chat about the
project. Or perhaps it makes more sense to set up a meeting over Skype or telephone after each
major milestonefor example, after a completed editing stageto go over any major issues and to
guide you through the revision process or next steps.

Make sure you and your editor are accessible. Expect a turnaround time for e-mail between one
and two days. For anything more urgent, rely on telephone, text, or instant messaging (such as Google
Chat or Skypes IM feature). A word of caution: Go easy on these communication channels. Some
people can be overly enthusiastic about sharing every little epiphany and expect an immediate
response, especially over instant messaging. Recipients, in particular, feel an almost Pavlovian urge
to drop everything and respond to the blinking chat or text message alert. This can be a disruptive
time-waster for both parties. A better option is to establish office hours with your editor. For
example, make yourself available for an IM or phone chat midmornings and late afternoons. Any
other time should be a blackout period to allow for uninterrupted work time.
In general, editors prefer phone calls for very urgent matters and e-mail for questions or
comments. For anything non-urgent that requires an extended discussion (anything longer than a 15minute phone call or an e-mail that takes more than 10 minutes to write), wait until your next
designated meeting or schedule a time to speak with your editor.

Be prepared for every meeting. When holding a meeting, make sure you prepare beforehand. Jot
down all your ideas and any questions you want to raise; your editor will do the same. Have your
manuscript and any shared files open or on hand. Once the meeting starts, systematically go through
your list. These meeting agendas dont have to be fine-grained reports, but its nice to have some
sense of what should be discussed and whats on everyones plate. You should know what your
editor is doing, what youre doing for that week or month, and what deadlines or important
milestones are looming. If you have complicated questions, be sure to e-mail your editor in advance
so she has time to prepare. Editors may be juggling several projects at a time, so they appreciate
specificity when talking about your book.

The purpose of regular meetings or updates with your editor is to sharpen your focus to what
needs to be done and keep the project on track. This isnt to say that your meetings should be
unnecessarily brusque. Even if shes busy, your editor should always give you personalized attention
and care. But respect the scheduled time; budget about 45 to 90 minutes for major meetings and 15 to
20 minutes for updates or questions.

Some fun facts: When I lived in Cincinnati, I never worked with clients there, and all of the authors I
worked with were based in other U.S. cities. One author was in New Hampshire, two were in Idaho, and
another was in Washington. I was also executive editor of a national magazine, and many of the key
people on the editorial team were based throughout the country. The editor of this book lives in
California, and we have never met face to face.
E-mail, video conferencing, cloud computing (through which you can store files digitally, giving
designated people access to the same information), and various other technologies make working across
distances easy. When I coach authors, we set up phone or Skype meetings weekly, biweekly, or monthly.
When I edit a manuscript, I use Microsoft Word Track Changes and send edits by e-mail. Authors and I
keep in touch through e-mails and phone calls. On rare occasions, Ill fly out to meet an author, but Ive
only done this once in the past year, and it was only because I met with several people during the trip.
The key to working digitally is finding the right tools. Lets now take a look at some of the major
concerns in collaborating electronically, as well as useful tools editors and authors typically use to work
together.
Version Control
Version control is the biggest mix-up I encountered in working with a traditional publishing house,
says Kevin Purdy, freelance writer and author of The Complete Android Guide, Google+: The Missing
Manual. One very heavily edited chapter ended up having two versions of the same section pasted into
it. Tasked with removing/consolidating those sections, I ended up using an older version of the chapter
than the one my editor had just recently gone over, and by the time I had sent my consolidated chapter to
the editor, neither of us had any idea what we were working with or what we wanted the chapter to look
like anymore.
As this story illustrates, version control is a major concern for authors, editors, and publishers alike.
Because of this, its important to develop a file-naming system from the get-go and keep track of changes
as each person works on the document. Otherwise, you might find yourself in a similar situationand
waste a whole lot of time and money in the process.
First things first: Set up a naming system for your digital document and make sure all people involved
editors, designers, etc.understand how to name new versions. My favorite way of doing this is
including the initials of the person who worked on the document and a brief description of the file or type
of action that was performed (e.g., draft, edit, rewrite, formatting, etc.).
Consider the following example: Your name is Betty Appleton, and the working title for your
manuscript is Best Book in the World. When you send the file to your editor, shorten the working title and
append both your initials and a brief description of what version it is; in this case, the file name would
look something like: BestBook_BAdraft1.docx. You send your manuscript to your editor, John Goodword, who
sends back his first edits with the file name BestBook_JGedit1.docx. You then go over his revisions, revise the
draft, and send it back to John with the file name BestBook_BAdraft2.docx. John sends back his edits with the
file name BestBook_JGedit2.docx, and so on and so forth. For later versions, you can append _TLproof1, _BAfinal,
or any other descriptions you need to use. The key is remaining consistent, getting everyone on board with
file names, and making sure to re-save every draft as a new file to avoid version control issues.

One last tip: Keep everything organized in folders on your computer, with all versions of the
manuscript in one place and sorted by the Date Modified option, if your computer allows it. This just
means that the most recently edited files are listed first, with the oldest files listed last. Most computers
let you do this pretty easily. Also, be sure to use Microsoft Words Track Changes feature or Google
Drive to keep tabs on the changes that have been made to the manuscript.
Lets now look at these two in depth.
Microsoft Word Track Changes
The single best tool for working remotely is Track Changes in Microsoft Word, explains Christy
Karras, an independent writer and editor. It allows the author to see every change Ive made. I can also
add comments to explain myself or ask questions right there on the document. There are many things I hate
about Track Changes, but there is nothing like it.
Shes right, and those of us in the editing field have a similar love/hate relationship with Microsoft
Words Track Changes feature. In many ways, the feature makes our lives easier, but it can also be fickle,
frustrating, and downright annoying at times. That being said, its really all there is for people like us
authors and editors wanting to work collaboratively on an electronic documentso we must learn to love
it, flaws and all.
Track Changes is a feature of Microsoft Word that, as the name implies, tracks changes while someone
is editing a document. It makes note of even the minutest of edits, from deleting a space to formatting a
heading, and it also allows the person editing to make comments on the document. If you choose to work
with an editor who lives elsewhere, its likely shell want to use it to send the edited manuscript.
Because this book is meant as an overview, and not an in-depth how-to guide for collaborating, there
isnt room for a complete tutorialand it isnt really necessary, as there are several online resources for
learning how to use Track Changes. A thorough guide to Track Changes can be found at www.geoffhart.com/resources/Using-revision-tracking.pdf. Or visit www.office.microsoft.com/en-us/ and do a
keyword search for your specific questions. Alternatively, you might watch a quick how-to video at
www.youtube.com/watch?v=jqzn4mtVoic to get a feel for how it works.
After youve done a tutorial and have a basic understanding of Track Changes, there are a few more
things you should know. I dont want you to learn things the hard way, so here are some tips and tricks that
will make it easier for you to use Track Changes:

At first, review the document without the editing markup. When a document is edited in Track
Changes, the program tracks every change and marks up your document accordingly. The tangle of
call-out boxes for comments and the web of deleted and inserted text can be very confusing, and I
dont recommend doing your first review with your editors marks visible. Instead, disable the
markup temporarily. To do this on some versions of Word, go to the View menu at the top of the
screen and deselect Markup. This will hide the markup so that you can view a clean document. I
find that its sometimes easiest to review a manuscript one section at a time; to do this, first read the
section without viewing the editing marks, then reselect Markup and decide whether to accept or
reject the edits.
Another option in Word is to use your Reviewing toolbar, which lets you access different
versions of the document: Final Showing Markup, Final, Original Showing Markup, and
Original. This is ideal because you can easily toggle between these options to review an editors
work and compare it to your original handiwork. In addition, the Reviewing toolbar gives you the
option to selectively filter the markup as you read. For example, if you want to see only your editors
comments, click Show or Show Markup, depending on your Word version, select Comments

from the drop-down menu, and deselect the other markup options.
If youre using an older version of Word (prior to 2008) and dont see your Reviewing toolbar,
simply go to the View menu, hover over Toolbars and select Reviewing (when selected, it
will have a check mark next to it). This will display your Reviewing toolbar right at the top of
your Word application screen. If youre using a newer version of Word, simply select the Review
tab, which is located within your document window at the top.

Accept or reject changes before making additional edits. Track Changes can become a jumbled
mess of colorful marks if you dont clean it up before making your own edits. The easiest way to do
this is to read through the manuscript, reject the changes you dont want to make, and then select
Accept All Changes in Document. This way, when you start doing your own revisions, you have a
nice, clean document to work from. Alternatively, you can go through your manuscript one section at
a time, reviewing each change and accepting or rejecting it before adding your own edits.

Keep track of your changes, too. Dont forget to activate Track Changes after reviewing your
editors work; many authors forget this important detail when working on subsequent drafts saved
under new file names (see the previous section on Version Control). This can lead to more
expensive editing if your editor has to spend extra time identifying new sections or large revisions.
For example, if you add 1,000 words between chapters two and three, your editor will need to be
able to see that addition so she can focus on that section. Track Changes should clearly mark
additions and deletions, but if youd like to draw your editors attention to a specific section, feel
free to highlight it, change it to a different font color, or make note of it with a comment.

When editing the document, hide the editing markup. When Markup is turned on, all changes
are visible. This can be distracting, especially if youre trying to do a rewrite or working with small
changes, like spacing or punctuation. If you turn the markup feature off, the changes are still being
made and recorded by Track Changes, but Word hides them from view. To turn off the markup, go to
the View menu and deselect Markup. Alternatively, within your Review toolbar, simply select
Final in the drop-down menu, instead of Final Showing Markup.

Be aware of the Track Changes tangle. Remember how I said Track Changes can be a bit fickle?
Well, I wasnt joking. If a document goes through too many changes and has too many edits made on
it by multiple userseven if those changes have been acceptedit will sometimes cause bugs in the
document, or worse, corrupt the entire file. Ive seen errors anywhere from not being able to insert
or delete spaces to randomly italicized words and funky line spacing. After a document has been
through three or so editing rounds, my advice is to copy, paste, and save the entire manuscript into a
completely new document file; in my experience, copy and paste seems to remove all editing marks,
except for comments, so it basically cleans up the file for you.

Turn off Track Changes when making document-wide formatting changes. Probably one of the
most annoying quirks in Track Changes is that formatting changes are noted in small chunks. For
example, if you make several edits in a paragraph, such as punctuation, sentence rewrites, or word
replacements, and then change the font size from size 10 to size 12, Track Changes will note the
formatting change before every instance of editing in the paragraph; this means that you could end up
with 15 notations for that one small change in font size. As you can imagine, reformatting the entire
document can equal a whole lot of notations, and the best way to avoid this is to simply turn off
Track Changes before making any major formatting changes. Dont worry, the existing editing marks

wont get lost; just remember to turn Track Changes back on when youre done.

Ask your editor to accept formatting changes. From my experience as a managing editor at a
lifestyle magazine, I learned to ask editors to clean up, or accept, formatting marks (e.g., new
paragraph breaks, font changes, or other minor formatting revisions) prior to sending me their
revisions. This not only saved me a lot of time but also made the more important edits (structural
changes, deletions, additions, punctuation and syntax revisions, etc.) much easier to read and review.

When saving, use the same file type (.docx or .doc). Ive encountered problems with manuscripts
that were originally saved as a .docx file and then later re-saved as a .doc file. As of this writing,
its easier to save the manuscript as a .doc file, as not everyone has the newest version of Microsoft
Word, and some glitches can occur when a .docx file is opened in an older version of Word.
Google Drive
Im a fan of most things Google, and Google Drive is no exception. Its a great collaborative tool,
especially when you want several people to be able to see the same thing at the same time, and Ive used
Google Drive extensively throughout my career for this reason. According to the companys website,
Google Drive allows you to share files with exactly who you want and edit them together, from any
device. 26
While I like the online program, in my experience, the edits tracking feature doesnt seem to be quite as
good as the one in Word. What I have found Google Drive useful for is collaborating on shorter
documents, like outlines, promotional materials, and spreadsheets; its great because it updates instantly,
and multiple people can view and make changes at the same time. I also suggest that authors use Google
Drive to house all of their book title ideas. This way, they can share the document with their team
publisher, editors, designers, etc.and everyone can view and add to the list.
When I led meetings for the magazine I managed, we all worked from the same shared document and
could see each change instantly, and this was especially useful after I relocated to a new city. We had a
separate spreadsheet for each bimonthly issue we were working on, and it housed all of the details about
each article, from title and word count to assigned photographers and writers. There was also an
Updates column, in which each person on the editorial team would make notes about an articles status
or items that needed to be completed. Each article was color codedgreen meant ready to assign,
yellow meant in progress, and red meant finished and uploaded to Dropbox for the designersand
there was a color key at the bottom of the document so that everything was clear.
When I was still in the same city as the rest of the team, we all viewed the spreadsheet during meetings
and all changes could be seen in real time. When I moved, this shared document was a way for me to
easily keep up to date on any changes to the current issue, without daily e-mails or phone calls. The online
program can be similarly useful to your book project, too.
Ive come to rely on Google Drive for shorter collaborative documents like spreadsheets, as it saves
me from e-mailing the same file a bazillion times, and it definitely helps keep version control in check.
For more information about Google Drive, visit www.google.com/intl/en_US/drive/start/index.html.
Hand-Marked Manuscript
Some authors prefer to work from a hand-marked manuscript (meaning the editor prints out the
manuscript and makes changes or suggestions with a colored pen), and Ive found this easy to do from a
distance. Many authors want to make changes themselves, and some find Track Changes cumbersome or
just like to work from a printed version. If this is something you prefer, be sure to communicate this with

your editor early on.

When I provide a hand-marked copy, I print out the full manuscript, use a colored pen to make
suggestions and edits, and then photocopy the entire manuscript prior to sending it to the author. I then
package it carefully and send it via USPS and ask for a signature confirmation. I also usually provide the
author with typed, in-depth feedback (anywhere from five to 10 single-spaced pages), and we later have a
phone or Skype consultation to go over my edits.
Even if youre old fashioned with your preferences, youll find that working across distances is just
as easy as if your editor is in the same city. Finding a flexible and accommodating editor will be key in
making this work.
Dropbox
I dont mean to be overdramatic, but those of us who know Dropbox love Dropbox. According to the
site, Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share
them easily. 27 The site essentially hosts files on its server and allows you to share files or folders with
anyone, anywhere. Instead of e-mailing files back and forth, you can just add the latest version to a folder
(and remove the old one, if you so choose), and anyone with access to the folder can open and view the
file.
Not only that, but Dropbox has apps for smartphones and tablets, so its ridiculously easy to view
documentsinstantlyfrom virtually anywhere. In many ways, the service has revolutionized the way
remote and mobile workers do things, and it certainly makes version control a whole lot easier, no matter
the size of the document, since multiple e-mails can result in version confusion.
For more information about Dropbox, and to set up a free account, visit www.dropbox.com. Also, just
a note: As of this writing, the storage offered for free is limited to 2 GB, but you can purchase more space
for a nominal monthly fee and earn extra free space by inviting others to sign up for their own accounts.
Video Conferencing
A challenge of working across distances is that it can be hard to form a solid relationship over just email and phone, and in-person collaboration can be a great source of creative ideas. Video conferencing
helps create a more real interaction with your editor and can be a great collaborative tool. Most
conferencing services offer a share screen feature, which just means you select an option that allows the
other person to see what you are doing on your computer; this can be especially useful if you want to
collaborate on a draft or document. Its almost as good as being in the same room as your editor
assuming you have a good Internet connection, that is.
One of the hang-ups of video conferencing is that it can be unreliable. The share screen option is
known for freezing up or being very, very slow, depending on the Internet connection speed of both
parties. Sometimes, if you try to switch back and forth between video and a shared screen, the session
will freeze altogether and you may have to start the session over. Other times, the picture on either end
will freeze or sounds will skip.
Despite all of these annoyances, I still appreciate video conferencing as an option, and you might, too.
The most popular video conferencing programs available as of this writing are Skype, Google Hangout,
and FaceTime (only available for Apple devices). All three services are free. Although I prefer FaceTime
for chatting with other Mac users, youll likely find that Skype is often the better option, as its available
on most devices. Google Hangout also works nicely and can host video conferencing (up to 10 users on
one call), but all parties must have Google accounts and use Gmail.

WHILE THERE ARE many more collaborative tools we could discuss in this section, Track Changes,
Google Drive, Dropbox, and video conferencing tend to be the most popular and widely used. Track
Changes is currently the best option for collaborating on manuscript drafts, while Google Drive can be
very useful for shorter documents, like outlines, promotional materials, and spreadsheets. Dropbox is the
whipped cream on the collaborative pumpkin pie, making sharing easier and version control much, much
simpler. Video conferencing allows another level of collaboration through the share screen option, as
well as the ability to have a more personal conversation with your editor.
The main takeaway is this: Its 100 percent possible to work with an editor in another city, state, or
country; even if your editor is in the same area, you might still use these collaborative tools. By becoming
familiar with them early on, and knowing what you like and dont like, you can discuss practicalities from
the outset, get the process in writing, and ensure a smoother working relationship with your editor.

Interview with Vincent Zandri

Vincent Zandri is the number one international best-selling fiction author of several titles, including The Innocent,
Godchild, and The Remains; his work has been sought out by numerous major movie producers, including Heyday
Productions and DreamWorks. In a three-month span in 2011, he sold more than 100,000 e-book editions of his novels.
Zandris nonfiction has appeared in New York Newsday, Hudson Valley Magazine, and others, while his essays and short
fiction have been featured in many journals, including Fugue, Maryland Review, and Orange Coast Magazine. In addition
to being a heralded fiction author, Zandri is an essayist and freelance photojournalist. He holds an M.F.A. in writing
from Vermont College and currently divides his time between New York and Europe.
Zandri was kind enough to take time out of his busy schedule to offer his thoughts, experience, and advice.

How many drafts does it typically take you to finish a book?

By the third draft, I usually have something close to the final draft. The more books you write, the more efficient you get.

What frustrates you about writing?

Starting a story before its ready to be written. There needs to be a gestation process that occurs in your brain for a while before
you can put the actual story to paper. It needs to form a life inside the brain for a while, much like a baby in the womb. Starting a
story too early is almost always met with frustration and, in the words of Jim Harrison, the worst kinds of anxieties.

How has your self-editing process evolved over time?

My own self-editing process has a lot to do with getting it right. By that, I mean, if it doesnt look or sound right, it isnt right.
Back when I first began writing fiction, I knew in my head how I wanted the words and sentences to look and sound, but getting
them to that placethe physical act of writing them and getting them in the perfect order so that I used the fewest words that
still packed the most meaningwas impossibly difficult and exhausting work. Its like learning how to play an instrument so that
you dont have to think about playing the next note. You need to get to a place where youre anticipating several bars ahead. I
went through many, many drafts of a single short story back then, and getting it even close to right could take months.
But the effort proved worth it because I was able to publish in pretty great literary journals at a young age. Now that I am older,
the process of picturing how I want something and actually physically getting it there isnt the battle it used to be. I havent
actually mastered my instrument, but Im getting there. I guess the left brain and right brain have come to terms with one
another.

What advice would you give aspiring authors?

Write like crazy. Dont worry if its good or not. Write a story from beginning to end and then work it over and rewrite it. Ten
times if necessary. Hemingway wrote the ending to A Farewell to Arms forty times before he felt he had it right. Thats the kind
of hard work and dedication it takes to become a best-selling author.
Also, write every day no matter what is going on in your life. Try and write a set number of pages, and always be sure to stop in
a place where you know what is going to happen next. That way, you can be sure of going on the next day. I write five pages per
day when Im writing new words and try and edit three to four times that many when in the rewriting stage.

For more information about Vincent Zandri, visit www.vincentzandri.com, or read his blog at
www.vincentzandri.blogspot.it.

EPILOGUE:
Wrapping Up
DURING the summer before I started the seventh grade, I decided to try out for the school volleyball
team. My parents bought me kneepads, volleyball shoes, athletic clothes, and a sweatband for my wrist.
I showed up to tryouts never having touched a volleyball in my life, and it showed. I not only
consistently missed the ball when I tried to bump it (pass it with my forearms), but I also couldnt serve
over the net, spike the ball (jump and hit it over the net), or do anything else volleyball-related. I hadnt
done any sort of athletic conditioning, and I lagged behind most of the team as we ran lines and did
strengthening exercises. Still, I expected to make the A team, confident I would eventually learn how to
play. I knew there was a learning curve, but I expected the coach to see my potential.
When the A list came out, I scanned it for my name, excited to be among the best volleyball players. I
read it once and didnt see it. I read it again. In confusion, I looked over at the B list. There it was, my
name, on the list of second-string, second-rate players. I stared at the list in disbelief, not saying anything.
I gathered my things and waited for my dad to pick me up. The second I saw him, I started crying.
Dad, I said, between hiccups and tears, I didnt make the A team. This is so unfair!
My dad looked at me, then slowly and carefully said, Stacy, what did you expect? You didnt practice,
and you had never played volleyball before. You didnt prepare for tryouts at all. How could you expect
to make the A team?
I stopped crying and stared at him in disbelief. Wasnt he supposed to hug me or something?
Of all the lessons in my young life, that was one of the most profound: If youre not prepared, you cant
expect to succeed. Its the same with taking a test, giving a speech, and writing a book.
Remember the story in the beginning of the book, about the workshop I did at the Idaho Book
Extravaganza? If you recall, I discovered three things while talking to authors afterward: Most writers
dont know much about the book-editing process; most writers dont realize that editing is an integral part
of writing a book; and most writers really do want to learn more about writing, self-editing, professional
editing, and publishing.
The last five chapters have been my exploration of those central ideas, a way to help you, the author,
make your book-writing process pleasant and painless, while producing the most polished product
possible. Now, thats a lot of Ps!
In most cases, doing something newwhether its riding your first childhood bike, studying geometry,
or learning lacrosseis much easier when someone skilled is there to teach you. And much like any new
endeavor, writing a book can be more streamlined, less stressful, and much more fun if you have a good
understanding of the process going inand especially if you have a great editor helping you along the
way. Whether you hire an editor at the earliest stage of writing a book or opt to do most of the planning
and execution yourself, I hope this book has given you a thorough overview of writing and editingboth
the processes and practicalitieswhich you can take into your own book-writing project. My intention is
to help you become prepared so that you can be successful.
Regardless of how you decide to proceed, remember this: Hire an editor with the attitude of a teacher,
and maintain the attitude of a student. While you ultimately control your unpublished book, be open to
suggestions and feedback, and do your best to honestly assess your skills and shortcomings. An editor
brings experience, knowledge, and a fresh approach to your work; in most cases, she will strengthen your
book and make it the best it can be. Listen. Honestly evaluate; dont be defensive. And, above all,
remember that a good editor is there to help you transform your book from good to great.

APPENDIX
Here youll find resources for your book-writing journey. All of the following are available for
download under the tab, For Authors, at www.nightowlspress.com/e-book-store/the-editors-eye/. Feel
free to use these resources in any way you need:

Manuscript Review Form: A step-by-step resource to elicit useful reader feedback, this form gives
writers one of the most important means for gaining perspective and distanceand is tremendously
helpful when revising.

Editing Checklist: Heres a point-by-point checklist to help writers determine the levels of editing
they need for their books. Complete it before talking with a potential editor.

Sample Letter of Agreement: This will help you outline a comprehensive but simple work
agreement with your editor. Make sure you get a rate and full price quote; an explicit description of
the editing services youre getting and the number of editing rounds to be performed at each editing
stage; and the deliverables, such as a style guide, number of phone or in-person consultations, and
the edited digital or hand-marked manuscript. Typically, an editor will provide the agreement, so use
this as a guide to evaluate the letter he provides.

Sample Style Guide: A manuscript-specific style guide details the nuances of your manuscript,
including coined words or phrases, capitalization, and other elements that need to remain consistent
within your manuscript. Think of it as the stylistic and formatting rules for your book. As you work
on your book, you can begin building a manuscript-specific style guide, which will aid your editor as
he edits your book. Use this sample style guide as a reference in creating one for your own book or
requesting one from an editor.

Manuscript Review Form

Authors Name:
______________________________________________________________________________________________

Manuscript Title:
______________________________________________________________________________________________

Intended Audience:
______________________________________________________________________________________________

Purpose of the Book:
______________________________________________________________________________________________

Reviewers Name:
______________________________________________________________________________________________

Thank you for taking the time to review my book; your honest evaluation is greatly appreciated. The evaluation process is twofold: The first
part focuses on specific areas that need work, and the second part involves an evaluation of the manuscript as a whole. Throughout your
evaluation, please be as open and candid as possibleyour feedback is vital in helping me strengthen and improve the book.

STEP ONE
While reading the manuscript, work through the following instructions.

As you read the manuscript, use a colored pen to make note of places that are inconsistent, vague, or need additional work (feel free to mark
any typos that you happen to see, but dont focus on them). Any comments for the author can be made in the column nearest to the section
youre referencing. Please list the pages for the author to review on the lines below, with each page separated by a comma. Note: If you are
reading the manuscript on a computer, you can still make comments. In some versions of Word, go to the Review tab. Next, highlight the
area youd like to comment on and click New to add your feedback.
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________

STEP TWO
After reading the manuscript, respond to the following questions and prompts.

In your opinion, is the book targeted toward its intended audience (see the first section of the form)? Y/N
Please explain:
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________

In your opinion, is the book achieving its intended purpose (see the first section of the form)? Y/N

Please explain:
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________

In your opinion, what are the main strengths of the manuscript?
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________

In your opinion, what are the main weaknesses of the manuscript?
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________

How might the author better reach the books intended audience, clearly fulfill its purpose, and address some of its weaknesses?
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________

Please write any additional comments, suggestions, or feedback on the lines below.
______________________________________________________________________________________________
______________________________________________________________________________________________

______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________
______________________________________________________________________________________________

Editing Checklist
Use this checklist to help you determine the levels of editing you need. Once you have approached the appropriate editors, use this sheet to
discuss your needs and expectations. While this list isnt comprehensive and your individual needs will vary, its a good starting place.


Developmental Editing
Before beginning my manuscript, I need help with:

Getting started
Brainstorming and developing ideas and concepts
Determining audience and purpose
Developing an outline and planning
Staying motivated and moving forward in the book-writing process
Checking my progress and ensuring Im staying focused and on track

Substantive (Content) Editing
After writing my manuscript draft, I need help with:

Making sure the structure and flow are effective
Checking for gaps in logic
Ensuring transitions work between chapters, sections, ideas, and paragraphs
Evaluating tone to make sure it aligns with my intended audience and doesnt alienate readers
Identifying areas that need work, along with feedback and suggestions for revision

Copyediting
After revising my manuscript draft, I need help with:

Formatting my manuscript for design
Editing for grammar, syntax (word order), punctuation, capitalization, parallelism, and spelling
Identifying areas that need clarification or revision
Checking for alignment with the chosen style guide
Checking for consistency (e.g., between the table of contents and chapter/section titles, font types and sizes, and use of terms)

Proofreading
After my manuscript is in its final version and prior to design, I need help with:

Catching errors, including grammar, spelling, capitalization, and word use
Rechecking for consistency (e.g., between the table of contents and chapter/section titles, font types and sizes, and use of terms)

After my manuscript has been designed, I need help with:

Verifying that the entire manuscript has been placed into the designed document
Checking characters and formatting (Note: Design programs often replace certain punctuation with characters, such as ; furthermore,
certain formatting elements, like italics, will not copy from the manuscript text file into the design program. A designer has to compare the
text document to the design document, and it is easy to miss small errors. It is the job of the final proofreader(s) to catch these errors.)
Verifying that images/tables are present when mentioned in the text
Catching any typos that werent caught pre-design, including grammar, spelling, capitalization, and word use

Sample Letter of Agreement

Sarah Goodauthor
1234 Main St.
Boise, Idaho 83702


Dear Ms. Goodauthor,

It was a true pleasure meeting with you the other day, and I look forward to the opportunity to work with your novel, Undeniably Good
Fiction. At our meeting, we discussed the need for editing of your manuscript, specifically light substantive editing and copyediting of the
entire manuscript. You indicated that the novel has been through both developmental and substantive editing, so you feel it is structurally
sound. Below are the proposed deliverables, based on our conversation:

Content editing and copyediting (novel, approx. 80,000 words) flat fee: $1,950. I will provide the following deliverables in a
Microsoft Word file:

Content editing, including the following:
Structural editing, including suggested areas to delete, expand upon, and move, as well as notation of ineffective transitions between
chapters, sections, ideas, and paragraphs
Editors notes, including discussion of unclear passages or sections, inconsistencies, and other issues

Specific suggestions for improving the manuscript

Copyediting, including the following:
Formatting the manuscript for design

Editing for grammar, syntax (word order), punctuation, capitalization, parallelism, and spelling
Identifying areas that need clarification or revision
Checking for alignment with the chosen style guide (e.g., The Chicago Manual of Style)
Checking for consistency (e.g., between the table of contents and chapter/section titles, font types and sizes, and use of terms)

A manuscript-specific style guide, detailing nuances specific to your manuscript. This can be used as you write and revise subsequent
novels in the series. I ask that you provide any notes you have on characters, names, terms, or any other manuscript-specific elements.

One 30-minute phone consultation to discuss any questions you have after reviewing the manuscript. It is recommended that we schedule
this phone consultation as early as possible so that the manuscript is still fresh in my mind.

I request that half of the fee ($975) is paid up front, prior to beginning the work, with the balance ($975) paid within 10 days after the
Microsoft Word file is delivered. Should you choose to terminate the project at any time and for any reason, as the editor, I will be entitled to
full payment for all the time invested to that point.

With experience in editing, I feel confident in delivering a quality product that meets your needs and exceeds your expectations. I believe in
completing projects to the satisfaction of both the client and myself and look forward to helping you write the best book possible.

If you agree to this bid, please sign below, then make and keep a copy for yourself, and send the original by mail with the first half of the total
($975). Please note that this bid is valid until December 31, 2016. Thank you, again. I look forward to working with you. (Note: Bowerman,
Peter. The Well-Fed Writer. Atlanta, GA: Fanove Publishing, 2001. Sections of this letter of agreement are based on a sample bid letter in The
Well-Fed Writer.)


Kind regards,

Stacy Ennis


I have read, understand, and agree to the above bid:



__________________________

Sarah Goodauthor

__________________________
Date

Sample Style Guide

This book follows The Chicago Manual of Style, except where noted.

Punctuation
An em dash () should have no space before or after.
Use hyphens, en dashes, and em dashes appropriately. A hyphen is used to join words, an en dash is used to express ratios and relationships,
and an em dash is used to indicate a pause.
Ellipses () deviate from Chicago style and should use the default Microsoft Word format with no space before or after.

With sentences separated by a colon (:), capitalize the first word after the colon if the line after is a complete sentence; otherwise, keep it
lowercase. For example:

Learn from my mistakes: Expect quality and cost to be closely related, hire professional
editors, and get your agreement and deliverables in writing.

A skilled professional editor can take your book from good to great with the following skills: a
precision with words and language, an uncanny sense of good structure and narrative, attention
to detail, and an ability to analyze for audience and purpose.

Contractions may be used throughout to increase readability and lend a more informal tone. The decision to use a contraction should be
made on a case-by-case basis.
Numbers deviate from The Chicago Manual of Style and follow the Associated Press Stylebook instead. Spell numbers one through nine
and use figures for numbers 10 and up. Follow AP rules for special circumstances when figures are used with lower numbers, such as age.
Capitalize Chapter when referring to a specific chapter in the book; for example, Chapter 1 or Chapters 3 and 4.

Commas and periods go inside quotation marks, but all other forms of punctuation go outside, except in the case of dialogue or when the
punctuation is necessary to the quoted material. For example:

Dad, I said, between hiccups and tears, I didnt make the A team. This is so unfair!

Each article was color codedgreen meant ready to assign, yellow meant in progress, and
red meant finished and uploaded to Dropbox for the designersand there was a color key at
the bottom of the document so that everything was clear.

Can you believe some people think of editors as word murderers?

If you see bad prose, the text reads, dont be afraid to delete it!
Footnotes/Endnotes and References:
Footnotes or endnotes follow Chicago style, and footnote or endnote numbering within the text goes after the punctuation at the end of the
sentence being cited. For example:

The phrase, The quick brown fox jumps over the lazy dog," contains all of the letters of the English
alphabet.1

Examples of citations (for a book, web page, published article, and blog post, respectively) are listed below:

Bowerman, Peter. The Well-Fed Writer. Atlanta, GA: Fanove, 2001.

Editorial Freelancers Association. EFA: About Us. Accessed December 22, 2012.
http://www.the-efa.org/about.php.

Kamiya, Gary. Let us now praise editors. Salon, July 24, 2007. Accessed December 22, 2012.
http://www.salon.com/2007/07/24/editing/.

Hocking, Amanda. An Epic Tale of How It All Happened. Amanda Hockings blog. August 27,
2010. Accessed December 6, 2012. http://amandahocking.blogspot.com/2010/08/epic-tale-of-howit-all-happened.html.
Spelling
Use the following spelling conventions:

acknowledgment (not acknowledgement)

best-selling (use hyphen)

book editing (no hyphen); book-editing process (use hyphen)

book writing (no hyphen); book-writing process (use hyphen)

catchphrase (no hyphen)

coauthor (no hyphen)

copyedit; copyeditor; copyediting (no hyphen)

cowrite; cowriter; cowriting (no hyphen)

e-book (use hyphen)

e-mail (use hyphen)

Internet (not internet)

nerve-racking (not nerve-wracking)

spell-check (not spell check or spellcheck)

track pad (not trackpad)

website (not Website or web site)

For all other spelling inquiries, reference The Chicago Manual of Style and the Merriam-Webster online dictionary (merriam-webster.com).

Additional Notes
The word stage is used to refer to one of the four stages of editingdevelopmental editing, substantive (content) editing, copyediting, and
proofreading.
The word round is used to refer to how many times a manuscript undergoes an editing stage; for example, two rounds of copyediting.

Websites, when being identified or referred to in-text, should be lowercase with no www lead-in. For example:

Evernote (evernote.com) is a digital app with a telling tagline: Remember everything.

According to Freelance Weekly, Evernote is great for collecting research for articles

The exceptions are in citations and when the reader is directed to a specific page or piece of information. For example:

For more information on plagiarism, including fair use and copyright laws, visit
www.plagiarism.org and www.umuc.edu/library/libhow/copyright.cfm.

ACKNOWLEDGMENTS
I offer my deepest, truest gratitude to the many people who helped me while I wrote this book:
Im grateful to my husband, Doug, for his continued love, support, and encouragement. I especially
appreciate the many meals and extra housework he took on during prolonged writing periods. Special
thanks to my sweet little girl, Lily, for keeping me company as I revised.
Sincere thanks to my parents, Dr. James and Jo Lynn Hollingsworth, for always pushing me to be the
best I can be. Mom, thanks for the outstanding critical read of my manuscript. Thanks to my brother-in-law
and sister, Mark and Sarah Wasserman, too, for always cheering me on.
Thank you to Genevieve DeGuzman and Andrew Tang of Night Owls Press, because without them, this
book wouldnt be possible. Andrews creative eye and Gens skilled editing made this book what it is
today. I appreciate you both.
Im thankful for the guidance, mentoring, and support of Maryanna Young, who has been key to my
career. Im truly grateful.
Thanks to Jennifer Wheeler for giving me my introduction to the editing world and for being a friend
and mentor.
To the interviewees who took time out of their busy schedules, I offer my gratitude: Kelly Cope, Lora
Arduser, Peter Bowerman, Myriam J.A. Chancy, Genevieve DeGuzman, Courtney Boyd Myers, Michelle
Goodman, Amanda Hackwith, Rheea Hermoso-Prudente, Christy Karras, Pooja Lohana, Aaron Patterson,
Ron Price, Kevin Purdy, Jessica Stillman, Samantha Tyree, Tim Vandehey, James C. Wilson, Maryanna
Young, and Vincent Zandri.
Im grateful to my dear friend Julie Berthoud for the many hours spent writing alongside me at coffee
shops while I completed this book.
Many thanks to Stephanie Monsanty and Robin Bethel for their skilled copyediting and proofreading.
Thanks to Samantha Tyree for doing a critical read of the book before publication. You three are the best.
And to you, the many authors who took the time to read this book: Thank you for letting me help you
achieve your dreams. I believe in you.

ABOUT THE AUTHOR

STACY ENNIS (stacyennis.com) is a book and magazine editor, writer, book coach, and speaker. Her greatest joy is helping people achieve
their book-writing dreams, and she has had the opportunity to work with a diverse group of authors in varied genres, editing several charttoppers. After teaching writing and English language arts in the Dominican Republic and Vietnam, Stacy returned to the U.S., where she was
the founding managing editor of a lifestyle magazine. She is also the former executive editor of Healthy Living Made Simple, a Sams Club
magazine that reaches over 8 million readers. She has a bachelors in writing with a minor in visual art and will complete her masters in
professional writing and editing from the University of Cincinnati in 2014.
Stacy lives in Boise, Idaho, with her husband, daughter, and two cats. In her free time, she enjoys running, reading, traveling, and spending time
outdoors.
The Editors Eye: A Practical Guide to Transforming Your Book from Good to Great is her first book in a planned Author Education
series.

ABOUT THE PUBLISHER

NIGHT OWLS PRESS (nightowlspress.com) is a small, independent press that publishes nonfiction books that challenge and re-imagine
prevailing conventions about business, work, and life. Covering topics on entrepreneurship, education, innovation, and social responsibility, its
focus is to turn big ideas into great books that inform and inspire.
Find out more about Night Owls Press books at www.nightowlspress.com/e-book-store/. For special orders and bulk purchases, contact
admin@nightowlspress.com.


ONE: Rethinking What You Know About Book Editing

1
King, Stephen. On Writing: A Memoir of the Craft. New York: Pocket Books, 2002. Although this famous expression, kill your darlings,
is attributed to King, the term actually originated with Sir Arthur Quiller-Couch. For more information on the origin of this quote, visit
http://www.killyourdarlingsatl.com/the-meaning-of-literary-expression-kill-your-darlings/.

Kamiya, Gary. Let us now praise editors. Salon, July 24, 2007. Accessed December 22, 2012. http://www.salon.com/2007/07/24/editing/.

TWO: The Editing Basics

3
Berg, A. Scott. Max Perkins: Editor of Genius. New York: Berkley Pub Group, 2008.

Vandehey, Tim. Accessed December 17, 2011. http://timvandehey.com.

Bell, Susan. The Artful Edit. New York: W.W. Norton and Company, 2007.

Hocking, Amanda. An Epic Tale of How It All Happened. Amanda Hockings blog, August 27, 2010. Accessed December 6, 2012.
http://amandahocking.blogspot.com/2010/08/epic-tale-of-how-it-all-happened.html.

Rew, Lois Johnson. Editing for Writers. Upper Saddle River, NJ: Prentice Hall, 1999.

New Oxford American Dictionary, 3rd ed., s.v. Parallelism.

THREE: The Writing Process Revisited: Planning and Writing Your Book with an Editors Eye

Klems, Brian A. Choosing the Best Outline Method for You. WritersDigest.com, September 12, 2011. Accessed December 22, 2012.
http://www.writersdigest.com/whats-new/choosing-the-best-outline-method-for-you. The example included here was adapted from Klems
article.

10

Purdue University Online Writing Lab. Establishing Arguments. Accessed December 22, 2012.
http://owl.english.purdue.edu/owl/resource/588/02/.

11

How to Use Evernote Effectively. Freelance Weekly, December 29, 2010. Accessed December 22, 2012.
http://freelanceweekly.com/2010/12/29/how-to-use-evernote-effectively/.

12

New Oxford American Dictionary, 3rd ed., s.v. Plagiarism.

13

DeGuzman, Genevieve. The Art of the Edit: Dealing with the Mess. Night Owls Press blog, December 10, 2011. Accessed December
10, 2012. http://www.nightowlspress.com/the-art-of-the-edit-dealing-with-the-mess/.

14

Rogak, Lisa. Haunted Heart: The Life and Times of Stephen King. New York: Thomas Dunne Books, 2009.


FOUR: The Writing Process Revisited: From Revision to Publication

15

Chozick, Amy and Pfanner, Eric. Random House and Penguin Merger Creates Global Giant. The New York Times, October 29, 2012.
Accessed December 22, 2012. http://www.nytimes.com/2012/10/30/business/global/random-house-and-penguin-to-be-combined.html. In
October 2012, Bertelsmann and Pearson, owners of Random House and Penguin respectively, announced plans to merge its publishing
divisions. According to The New York Times, the merger between Random House and Penguin creates the largest consumer book publisher

in the world, with a global market share of more than 25 percent.

16

Pfanner, Eric. U.S. Regulators Approve Random House Merger With Penguin. The New York Times, February 14, 2013. Accessed
March 1, 2013. http://www.nytimes.com/2013/02/15/business/global/us-regulators-approve-random-house-merger-with-penguin.html. The
proposed merger between publishers Random House and Penguin has been approved by the U.S. Department of Justice. The deal still faces
scrutiny by European regulators. If the deal continues and the merger goes into effect with the formation of Penguin Random House, the Big
6 would effectively become the Big 5.

17

Brewer, Robert Lee. 2011 Writers Market. Cincinnati, OH: Writers Digest Books, 2010.

18

In June 2011, J. K. Rowling, the world-renowned author and creator of the Harry Potter series, made waves in the publishing industry
when she decided to self-publish the digital versions of her book on pottermore.com. The site features e-book editions, as well as an extensive
collection of notes and interactive content.

19

Bowerman, Peter. The #1 Most Powerful Book Marketing Strategy of Them All, Effortlessly Unleash Powerful Word-of-Mouth Buzz for
Maximum Sales with Minimal Work! Publishing Basics, September 20, 2009. Accessed December 22, 2012.
http://www.publishingbasics.com/2009/09/20/the-1-most-powerful-book-marketing-strategy-of-them-all/.


FIVE: Hiring and Working with an Editor (or, Why Your Editor Is Your Books BFF)

20

King, Stephen. Everything You Need to Know About Writing Successfully in Ten Minutes. 1985. Accessed December 19, 2012.
https://www.msu.edu/~jdowell/135/King_Everything.html.

21

Northwest Independent Editors Guild. Working with an Editor. Accessed December 4, 2012. http://www.edsguild.org/tips.htm.

22

Editorial Freelancers Association. EFA: About Us. Accessed December 22, 2012. http://www.the-efa.org/about.php.

23

Editorial Freelancers Association. Editorial Rates. June 2012. Accessed December 22, 2012. http://www.the-efa.org/res/rates.php.

24

Brewer, Robert Lee. 2011 Writers Market. Cincinnati, OH: Writers Digest Books, 2010.

25

Editorial Freelancers Association. Editorial Rates. June 2012. Accessed December 13, 2012. http://www.the-efa.org/res/rates.php. All
page range productivity figures listed in this section are based on the rates given on the Editorial Freelancers Associations website.

26

Google. Google Drive. Accessed December 13, 2012. https://www.google.com/intl/en_US/drive/start/index.html?authuser=0.

27

Dropbox. About Dropbox. Accessed December 13, 2012. http://www.dropbox.com/about.

Table of Contents
The Editors Eye
The Editors Eye: A Practical Guide to Transforming Your Book From Good to Great.
For Doug and Lily, who make everything worthwhile.
The Editors Eye
FOREWORD
INTRODUCTION:
The Inspiration
How to Use This Book
ONE:
Editing by Spell-Checker Alone and Other Misconceptions About Editing
The Misunderstood Editor
Kill Your Darlings and Other Truths About Editing
Interview with Tim Vandehey
TWO:
Its All About the Author-Editor Relationship
A Complementary Relationship: Two Approaches, One Goal
Deciding What You Need
Ghostwriting and Cowriting: When Your Editor Takes the Lead
Book Editing in Four Stages: Getting from Good to Great
Stage 1: Developmental Editing
Stage 2: Substantive Editing
Stage 3: Copyediting
Stage 4: Proofreading, Proofreading, Proofreading
Keeping the Editing Stages Separate
Editing Terminology
Interview with Christy Karras
THREE:
A Different Way to Write
Streamlining the Writing Process with an Editors Touch (Steps 14)
Step 1: Assess Your Editing Needs
Step 2: Prewrite and Plan Your Book
Step 3: Research and Expand Your Outline
Step 4: Write
Interview with Michelle Goodman
FOUR:
Streamlining the Writing Process with an Editors Touch (Steps 58)
Step 5: Let It Sit
Step 6: Revise
Step 7: Enlist Reader Feedback
Step 8: Arrange for Copyediting and Proofreading
Keeping Your Eye on the Prize: Publication
The Publishing Process Simplified
Discovering Your Writing Process: A Recap
Interview with Peter Bowerman

FIVE:
Three Lessons
Why Hire an Editor?
Finding the Right Editor
Start Early and Learn the Lingo
Look for an Editor in the Right Places
Be Honest About Your Needs
Interviewing Editors and Negotiating a Budget
Be Choosy when Choosing Your Editor
Budget: Getting What You Pay For
What Can You Expect to Pay?
Request a Manuscript-Specific Style Guide
Get It in Writing
Working with an Editor
Dont Reveal Too Much About Your Book
Calm Your Nerves
Own Your Work
Working Collaboratively with Your Editor
Version Control
Microsoft Word Track Changes
Google Drive
Hand-Marked Manuscript
Dropbox
Video Conferencing
Interview with Vincent Zandri
EPILOGUE:
APPENDIX
Manuscript Review Form
Editing Checklist
Sample Letter of Agreement
Sample Style Guide
Punctuation
Footnotes/Endnotes and References:
Spelling
Additional Notes
ACKNOWLEDGMENTS
ABOUT THE AUTHOR
ABOUT THE PUBLISHER
Footnotes