Once upon a time self-publishing was seen as the option for the uniformed and writers who well, weren’t very good. These days self-publishing has become a much more viable option thanks to the internet, but the bias still lingers and drives writers away from it. Some traditionalists still hold that traditional publishing is the only path that has any merit, while some self-publishers think taking control of your writing is the best way to go. And let’s not forget about the growing numbers of hybrid authors who have published both ways. A lot of people on the traditional side seem to avoid discussing the topic, but I work with clients on both ends of the industry and I’ve personally worked with some great self-published authors.
Self-publishing wasn’t always as easy as it is today. While self-publishing used to be associated with scams in which houses forced authors to pay to be published, these days self-publishing often entails authors handling the publishing of the book themselves. While the publishing landscape has evolved, old biases still linger. With more authors self-publishing than ever before there have been heated debates on the topic of traditional publishing versus self-publishing. Continue reading “The Bias Against Self-publishing”
As an editor and a literary agency reader I read a lot of first chapters. Like A LOT. I’ve blogged about types of openings to avoid before. There are a few openings and issues I spot in first chapters all the time that instantly turn me off a book because I see them so often and they simply don’t grab my attention. I’m going to tell you some of my first chapter pet peeves and exactly why they don’t work for me.
Starting a story with a character waking up. I see this way, way too often. Usually when I see it the character is waking from a dream or their phone wakes them up in the middle of the night. This opening doesn’t work for me because A) I’ve seen it so often it has become cliche, and B) it doesn’t grab my attention. I want to get to know your characters right away. Start me with something more unique to them and their story and not something that could be used for any character. Similar to this beginning is starting with a character’s daily routine. It isn’t attention grabbing. Continue reading “First Chapter Pet Peeves”
Historical fiction has always been one of my favorite genres right behind fantasy. While I love all kinds of historical fiction, I enjoy reading about the lives of women since their experiences can be so different from my experiences today. However, I’ve noticed historical women being modernized too much in ways that don’t match their time periods. Making a main character relatable without too much modernization can be difficult, but I love seeing historically accurate representations of women.
Sometimes I pick up a historical and think, “Wow, this main character reads as though she stepped right out of the current day and into history.” Looking at you in particular here historical fantasy novels. It’s true that some women were ahead of their day, but often the modernizing of women in regards to their views and attitudes aren’t always historically accurate. I’ve noticed a trend of historical and historical fantasy gravitating around women who don’t want to get married, usually for reasons that wouldn’t fly in their time period. Views about their own place in society are often modern as well. While I appreciate the women who fight against society to make progress or refuse to accept the double standards placed on them, I also find myself longing for stories about the average woman and how she navigated the social mores cast upon her. While women who were ahead of their time can be easier for a modern author to write about, reading about the average woman helps me appreciate the progress made since their era and how different my life has been from theirs. Continue reading “Modern Women in Historical Fiction”
Content editing and copy edits usually have different rates. In the traditional sphere I often hear about how content edits take longer than copy, but in the indie sphere it’s often the opposite with copy edits costing more. I found myself thinking about this when I saw an agent mention how content edits take longer and cost more, even though most freelance editors I’ve seen have higher copy rates, myself included. So let’s discuss why that is! This is all based on my observations, so keep in mind other editors may have different opinions and views on the topic. There is some harsh truth in this post but fear not because there is advice at the end!
As a reminder for those who might not know, content edits deal with things like plot, pacing, and character development while copy edits deal more with line edits and grammar. Some editors have a knack for grammar while others find grammar frustrating but are great at spotting weak character development and plot holes. It’s not uncommon for editors to focus on one or the other and they often do so in the houses while freelance editors might offer multiple services to bring in more projects. I got my start as a proofreader and copy editor on the traditional side but these days I find I enjoy content editing more. Continue reading “Rates: Content VS. Copy Edits”
I’ve noticed lately that I comment on a lot of the same issues when doing line edits, so I decided to make a short list of the common issues I spot while editing or reading. The issues below are tips to keep in mind when you tackle line edits. They are issues I spot and bring up with clients all the time and even sometimes spot them slipping past edits in published books. Keeping an eye out for the below will help strengthen your sentences.
Shaking Versus Nodding: When a character shakes their head, it means no. Nodding means yes. Too often characters shake heads to mean yes or nod no and it confuses the reader.
Repetitive Wording: If a character nods, it’s assumed they are nodding their head because what else are they going to nod? Same with shrugging. Stick to a concise nod or shrug instead of the longer and more repetitive, “She nodded her head.” Continue reading “Writing Mistakes at the Sentence Level”
I read a lot of historical fiction and something I’ve noticed lately is a lot of stories of famous people being written about from the perspective of someone close to them, an observer of their story. This keeps us out of the famous person’s head and shows us how they appear through the eyes of someone else. I’ve seen this device done very well, but I’ve also seen it done in ways that made the observer come off as too lackluster and boring. In the worst case, I went into a book expecting a prominent figure to play a central role only for them to be in less than half the book, for example as in The Wardrobe Mistress. The book was called a novel about Marie Antoinette, but she was more of a side character as the book followed the story of one of her undertirewomen. While reading my latest historical pick, I finally figured out what makes writing from an observer’s point of view work for my personal tastes and what doesn’t.
Let’s start with an example of a story of a famous person’s life playing out through an observer’s eyes that worked. The Song of Achilles by Madeline Miller did a wonderful job of showing us Achilles’s story through the eyes of his lover Patroclus. One of the reasons I enjoyed seeing the story from Patroclus’s point of view was because it shrouded bits of Achilles in mystery and gave us a view outside of Achilles’s own thoughts on himself, which is my experience seems to often be the reason why an observer’s point of view is used in the first place. However Patroclus played a large role in the story. Yes he observed Achilles’s rise to fame and his demise, but he didn’t just observe, he took part in that story and helped shape it. Ultimately that’s what sold me on Patroclus’s POV. I didn’t just get an outside perspective of Achilles, Patroclus’s character was fascinating enough in his own right for me to enjoy getting his story as well. Continue reading “Historical Fiction From the Observer”
Let me lay down some knowledge for you from my time spent in the editing trenches. I’ve worked with five plus houses, three literary agencies, and indie clients. That comes with a whole lot of editing experience. Let me tell you a secret: one editor on a book often isn’t enough and especially not if that book needs a lot of work. As an indie author it can be daunting to hire and afford more than one editor, but the end result will be so worth it. Having more than one editor means more fresh eyes to iron out issues. If you’re a a traditional author, this means you will likely work with more than one editor at your house.
Want to know how the Big 5 get their books so polished and shiny? It’s because those books often have a developmental editor and then a copy editor who also proofreads if they don’t also have a separate proofreader. This means they get an editor to focus on all the developmental issues without being sidetracked by copyedits. Then the copy editor gets to focus on copyedits without being sidetracked by developmental edits. Then finally the proofreader gets to ax any remaining issues still hiding. With all those fresh eyes focusing on one type of editing, the manuscript goes through a lot of rounds and gets put through the wringer. And to add to that many of those books were also edited by agents before going to the house. Continue reading “The Benefits of Multiple Editors”