Since I was at Can-Con last weekend, I've found myself thinking a lot about conference etiquette. (And allow me to say that Can-Con was an excellent conference and few to none of these challenges occurred there. I have seen them at other conferences, though, and it is amazing how quickly a few breaches can make the atmosphere toxic.) Conferences can be a lot of fun for guests and professionals alike, but a few simple tips and guidelines can help to keep things running smoothly.
Guests:
Fan conferences, no matter what type, are fueled by the enthusiasm of the guests. There is something intoxicating and magical about being surrounded by people who are all sharing their enjoyment and passion for a particular topic, which leads directly to my first guideline.
Be respectful of different views. Not everyone likes the same things or all aspects of the same thing. In case people missed this particular lesson back in kindergarten, it's okay to disagree and like different things. I'm more of a Marvel fan than a DC fan, but it doesn't mean that I have the right to run down DC comics or say their fans are somehow stupid because they don't agree with me.
Debate is great, but it should be done respectfully. And if the positions are too greatly separated or too vehement, then don't waste your time. I had one man tell me with great confidence that all romance was garbage. I nodded and shrugged, saying that I enjoyed it and that I guessed my books wouldn't be enjoyable for him but that I hoped he had a good day. He walked away feeling superior and I got to get on with my day and my sales.
I could have argued with him. I could have brought up any number of sources and references. But I let it go because the odds were we'd just both end up miserable.
Be respectful of panelists and vendors. Most of the time panelists are simply enthusiastic amateurs. They're not professional speakers or scholars, so they are sharing their opinion, not absolute facts. There is usually time reserved for questions in a panel, so if a guest feels that something has been missed, question time is a good time to point it out. It is not a good time to engage in a spirited debate on why the panelist is wrong.
Similarly, there may be vendors who are selling things that a particular guest isn't interested in. Or supporting a charity or genre or series that the guest doesn't endorse. A face to face confrontation in the vendor room isn't the best way to handle it. If a guest feels strongly, then they should speak discreetly to the conference organizers.
Vendors pay a fair amount of money to be at conferences, which is why they can get upset at people selling things outside the vendor room. Trying to redirect customer traffic away from the vendor room to purchase products from someone who is ostensibly a guest is disrespectful. Now, I'll admit, that I usually bring a copy or two of my book along with me to conferences, just in case someone is really interested and wants it on the spot, but I try to be discreet. Most of the time, I'll provide a card with my book's information so that they can pick it up later.
And a final, should-be-common-sense piece of advice. Don't stalk people. Don't follow them to the bathroom. Don't prevent them from going to panels or events in order to talk to them. Conferences are small and there will be plenty of time to bump into people later. If they're in a hurry, respect that.
Contain fangirl/fanboy moments. I'm not cool and I probably never will be. I cannot do blase when I'm excited. But I can keep myself together for short periods and then discreetly exit and have my geek out moment in private. I adore meeting people who have inspired and entertained me at conferences but I always try to respect the fact that they don't know me and that what might have been extremely important to me may have only be one job among many for them.
Vendors:
Getting ready to sell your books (or other products) at a conference is exciting and challenging. Vendors, even those who are past the first-time status, spend a lot of time wondering how much stock to bring, what price to sell at, etc. It can be difficult and nerve-wracking, wondering if anyone will visit the table and buy a book. But there are some basic courtesies which can make it easier.
Be respectful of your fellow vendors. One of the worst experiences I've ever had at a conference was when I had to deal with sharing a table with a woman who kept making degrading comments about my books and romance as a genre. (To be clear, she'd never read my books, but if someone showed interest in them, she would make a rude comment and try to get them to look at her books instead.) To add insult to injury, when she finished for the day, she left all of her garbage for me to deal with.
Recently, at Can-Con, there was one vendor stopped by my table and made a few dismissive comments about genre fiction, saying it was poorly written and formulaic. He condescendingly said he preferred to read quality literary fiction. I will admit to a certain satisfactory enjoyment when I sold out and he was packing up most of his books.
There's no need to put other people and their work down. Guests have a wide variety of interests and they're all worthy of respect. Be kind, even if something isn't your cup of tea. If nothing else, vendors are stuck with one another for hours and days in fairly tight quarters. Tensions can build quickly in such an environment and that leads to tension which can turn off all potential customers.
Be friendly and approachable. It always shocks me how many people pay money for vendor tables and then sit there, scowling with their arms crossed, making it very clear that they are not happy to be there. I'd be hesitant to approach such a table, even if I was a rabid fan with money to spend.
Similarly, it's not helpful to be too desperate. If the only words out of a vendor's mouth are "Buy My Stuff" then guests will instinctively move away.
Find an icebreaker to get a conversation going. People like to talk about themselves to an interested party. (Incidentally, this is where I originally had a challenge. I would have long conversations and never work up the courage to share details about my book.) If someone is having fun and has pleasant memories of being with someone, they are more likely to be interested in buying a book. A vendor has to sell themselves first and their goods second.
Make sure all body language signals openness. Standing up, keeping the arms loose and at the sides, and smiling all tell guests that a vendor is approachable.
Practice your pitches. Break down your series to a 5-10 second elevator pitch. Mine is "Paranormal romance and urban fantasy about a secret society of superheroes living among us." If a guest looks interested, then I can go into more details about the specific books. Don't overwhelm with details right away.
Be prepared. I was mortified at Can-Con when I had to keep a customer waiting to call my husband to get the login information for my credit card swiper. Luckily it was a friend and fellow author who understood I'm not usually that disorganized (Thanks for being patient, Nathan!). Have the necessary items (pens, cashbox, swag, etc.) conveniently laid out so that everything is easily found. Make sure any computer programs or technology is running smoothly before the conference begins.
I like attending conferences, both as a fan and as a vendor. Most of the time, it's a lot of fun. In the end, it boils down to common sense and politeness. We're all there to enjoy ourselves and share our passions. Surely that's enough of a common ground.
My Books
Thursday, 15 September 2016
Monday, 12 September 2016
Weekly Update: September 4 to 11 (Photos of Can-Con)
Weekly update: 3500 words
Other major achievements:
- sold almost all of my entire stock of books at Can-Con
- met one of my inspiration authors, Tanya Huff, and she bought Revelations!!!
Can-Con was a lot of fun this year. I was with my tablemates from last year, the Ottawa Browncoats and Mythhawker Books. The Browncoats were promoting their charity screening of Serenity on September 25th and Mythhawker has expanded from a dozen titles last year to almost a hundred this year.
And we were joined by a new friend, Heart Tea Heart, a gourmet tea vendor, hopefully coming soon to Bayshore.
On Friday, I met my con-buddy and Blue Penciler, Jennifer, and we spent an hour going over her manuscript and talking about the publishing industry and how to balance real life and writing time.
And I also ran into Any, my first and favourite fan. She is so sweet and fun to talk to.
And then, on Saturday, came my huge thrill where I got to meet Tanya Huff and she autographed my book (even though I missed her signing) and then, when I was already feeling a fangirl high, she joined us for dinner.
The cherry on the weekend was when Tanya bought a copy of Revelations and then when I sold my final copy of Revelations (and all but 3 copies of Metamorphosis). This kind gentleman picked up one copy of each.
I made some wonderful connections and there may be some interesting opportunities coming up. I have to talk and get some details and make some decisions. There were a couple of rough moments, but overall, a great weekend and a great experience. Can't wait for next year.
Other major achievements:
- sold almost all of my entire stock of books at Can-Con
- met one of my inspiration authors, Tanya Huff, and she bought Revelations!!!
 |
| Shiny! Linda and the Ottawa Browncoats |
 |
| Lisa and Pat of Mythhawkers |
On Friday, I met my con-buddy and Blue Penciler, Jennifer, and we spent an hour going over her manuscript and talking about the publishing industry and how to balance real life and writing time.
 |
| Two Jennifers |
And I also ran into Any, my first and favourite fan. She is so sweet and fun to talk to.
And then, on Saturday, came my huge thrill where I got to meet Tanya Huff and she autographed my book (even though I missed her signing) and then, when I was already feeling a fangirl high, she joined us for dinner.
 |
| Madonna, Lynne and Leslie |
 |
| Me, Linda and Tanya |
The cherry on the weekend was when Tanya bought a copy of Revelations and then when I sold my final copy of Revelations (and all but 3 copies of Metamorphosis). This kind gentleman picked up one copy of each.
 |
| The final copy of Revelations, sold! |
I made some wonderful connections and there may be some interesting opportunities coming up. I have to talk and get some details and make some decisions. There were a couple of rough moments, but overall, a great weekend and a great experience. Can't wait for next year.
Thursday, 8 September 2016
Heroine Fix: DC's Birds of Prey
Back in 2002, DC put out a fantastic but short-lived series based on the comic book Birds of Prey. Sadly, Netflix is taking its time adding it to the repetoire but it was an amazing series, full of powerful heroines.
Set in the not-so-distant future (which now looks more than a little retro), Birds of Prey focuses on Helena Kyle, daughter of Catwoman and Batman, as she fights crime in Gotham under the name Huntress. She's helped by Barbara Gordon, daughter of Police Commissioner James Gordon and former Batgirl, now Oracle, technology master and super hacker. Together, they are training Dinah, who is the daughter of the Black Canary and has psychic visions.
When I first saw it, I loved it because it was a comic book series, had great writing with snarky dialogue, and lots of kick-ass action sequences. It's only later that I realized how significant it was.
Birds of Prey flipped the traditional comic gender dynamic on its head. The heroes were all women, along with the main villain, Harley Quin, back in disguise as Dr. Harlee Quinzel, psychologist. Men appeared in secondary roles, like Shemar Moore's Detective Reece and various minor villains. But at its core, Birds was about the women.
Huntress is a metahuman (DC's answer to Marvel's copyright of the word "mutants"). She's stronger and faster than humans, able to scale buildings and drop multiple stories without injuries. She's also incredibly angry and prone to impulsive decisions. She's basically a hit-first, ask-questions later superhero and she's very good at her job. But the writers didn't just make her an oddly-shaped male hero, Huntress is inherently female. She refuses to wear a mask because it impairs her vision and makes her mascara run. She complains about having to scrounge for food at the Clocktower hero lair: "You try fighting the forces of evil when your blood sugar is low." I liked her strength and wittiness, and her determination to take on the world alone. She was damaged and brooding and didn't take any crap from anyone, so she was everything I wanted to be.
Huntress's counterpart was Oracle, one of the first heroes I ever saw with a disability. Her legs were paralyzed after she was shot by the Joker during Batman and the Joker's final confrontation. She didn't let being stuck in a wheelchair stop her from fighting crime. She put her technical skills to good use, inventing more cool gadgets than the NSA and Bond's Q combined and hacking her way through police databases without any apparent effort. I admired her scary smarts and thought she was the perfect counterpart for the Huntress's impulsiveness.
Dinah is a teen runaway and the protege of Huntress and Oracle. They're training her to be a superhero while also making sure she goes through all the hassles of ordinary teenage life, like navigating high school and feeling like a complete dork. She forms the heart of the show (and the exposition excuse), giving Huntress and Oracle a chance to show their caring, nurturing side. I didn't bond particularly with her when I first watched the show, but coming back to it, I see signs of real potential for the character. Unlike a lot of television teenagers, she's not a mini-adult. She's confused and scared and desperate to figure it all out while looking cool. I would have liked to have seen how she developed had the series been granted more seasons.
The real jewel of the series was Harley Quinn, though. Long before Margot Robbie donned the multi-coloured pigtails, Mia Sara showed us a delightful blend of whimsy and psychopath. Devastated that her beloved Mr. J is behind bars, she is determined to take revenge on Gotham. Returning to her original credentials as a psychologist, she plays with people like a child with dolls. She's smart, ruthless and shows a real talent for masterminding supervillainy. She's probably one of the most effective villains I've ever seen portrayed on television.
All of the ladies in Birds of Prey have their own strengths and fully fledged characters. Their storylines were interesting and well-written, exciting adventures. They filled a need that I hadn't even recognized in myself, to see strong female superheroes who weren't weak or second-hand copies of their male counterparts. I wish it could have lasted longer and gained more of a following. Maybe there wouldn't be such foot-dragging over female-led superhero movies and stories.
Anyone who says that there isn't an audience for superheroines is kidding themselves. What we want are well-written stories reflecting the amazing and diverse world out there. And if they aren't already out there, then we'll write them ourselves.
Set in the not-so-distant future (which now looks more than a little retro), Birds of Prey focuses on Helena Kyle, daughter of Catwoman and Batman, as she fights crime in Gotham under the name Huntress. She's helped by Barbara Gordon, daughter of Police Commissioner James Gordon and former Batgirl, now Oracle, technology master and super hacker. Together, they are training Dinah, who is the daughter of the Black Canary and has psychic visions.
When I first saw it, I loved it because it was a comic book series, had great writing with snarky dialogue, and lots of kick-ass action sequences. It's only later that I realized how significant it was.
Birds of Prey flipped the traditional comic gender dynamic on its head. The heroes were all women, along with the main villain, Harley Quin, back in disguise as Dr. Harlee Quinzel, psychologist. Men appeared in secondary roles, like Shemar Moore's Detective Reece and various minor villains. But at its core, Birds was about the women.
Huntress is a metahuman (DC's answer to Marvel's copyright of the word "mutants"). She's stronger and faster than humans, able to scale buildings and drop multiple stories without injuries. She's also incredibly angry and prone to impulsive decisions. She's basically a hit-first, ask-questions later superhero and she's very good at her job. But the writers didn't just make her an oddly-shaped male hero, Huntress is inherently female. She refuses to wear a mask because it impairs her vision and makes her mascara run. She complains about having to scrounge for food at the Clocktower hero lair: "You try fighting the forces of evil when your blood sugar is low." I liked her strength and wittiness, and her determination to take on the world alone. She was damaged and brooding and didn't take any crap from anyone, so she was everything I wanted to be.
Huntress's counterpart was Oracle, one of the first heroes I ever saw with a disability. Her legs were paralyzed after she was shot by the Joker during Batman and the Joker's final confrontation. She didn't let being stuck in a wheelchair stop her from fighting crime. She put her technical skills to good use, inventing more cool gadgets than the NSA and Bond's Q combined and hacking her way through police databases without any apparent effort. I admired her scary smarts and thought she was the perfect counterpart for the Huntress's impulsiveness.
Dinah is a teen runaway and the protege of Huntress and Oracle. They're training her to be a superhero while also making sure she goes through all the hassles of ordinary teenage life, like navigating high school and feeling like a complete dork. She forms the heart of the show (and the exposition excuse), giving Huntress and Oracle a chance to show their caring, nurturing side. I didn't bond particularly with her when I first watched the show, but coming back to it, I see signs of real potential for the character. Unlike a lot of television teenagers, she's not a mini-adult. She's confused and scared and desperate to figure it all out while looking cool. I would have liked to have seen how she developed had the series been granted more seasons.
The real jewel of the series was Harley Quinn, though. Long before Margot Robbie donned the multi-coloured pigtails, Mia Sara showed us a delightful blend of whimsy and psychopath. Devastated that her beloved Mr. J is behind bars, she is determined to take revenge on Gotham. Returning to her original credentials as a psychologist, she plays with people like a child with dolls. She's smart, ruthless and shows a real talent for masterminding supervillainy. She's probably one of the most effective villains I've ever seen portrayed on television.
All of the ladies in Birds of Prey have their own strengths and fully fledged characters. Their storylines were interesting and well-written, exciting adventures. They filled a need that I hadn't even recognized in myself, to see strong female superheroes who weren't weak or second-hand copies of their male counterparts. I wish it could have lasted longer and gained more of a following. Maybe there wouldn't be such foot-dragging over female-led superhero movies and stories.
Anyone who says that there isn't an audience for superheroines is kidding themselves. What we want are well-written stories reflecting the amazing and diverse world out there. And if they aren't already out there, then we'll write them ourselves.
Monday, 5 September 2016
Weekly Update: August 28 to September 3
Weekly word count: 2100
After a week of hard work, Inquisition is ready for the editors and the two short stories are ready to submit to the Behind the Mask anthology. Not a lot of new writing, but I still feel a sense of achievement.
I should be hearing about the results of the I Heart Indie contest soon, which should be fun. I even got my official badge to use.
I've been getting ready for Can-Con. I'll be in the vendor room on Friday from 5 to 7, Saturday from 10 to 5 (with a brief exception) and Sunday from 10 and 4 with chocolate and free swag to give away. And books to sell, for those who are interested in such things.
I'll also be doing several workshops:
Friday at 9: Non-verbal body language and emotional expression. Find new ways to express your characters' emotions.
Saturday at 1: a reading from Metamorphosis. I'm terrified of public speaking so come and watch me sweat. I've been practicing so I won't stumble over my own tongue.
Saturday at 8pm: Is this the Golden Age of Superhero TV? Don't have time to watch all the awesome offerings from DC and Marvel? Don't worry, I've done it all for you and I'll share all the goodies. Warning: there will be spoilers.
Saturday at 9pm: The Do's and Don'ts of Writing Erotica. I may not be an erotica writer but I am an erotica reader and I'll be sharing my thoughts for those looking to get into this lucrative genre.
Looking forward to seeing everyone there.
After a week of hard work, Inquisition is ready for the editors and the two short stories are ready to submit to the Behind the Mask anthology. Not a lot of new writing, but I still feel a sense of achievement.
I should be hearing about the results of the I Heart Indie contest soon, which should be fun. I even got my official badge to use.
I'll also be doing several workshops:
Friday at 9: Non-verbal body language and emotional expression. Find new ways to express your characters' emotions.
Saturday at 1: a reading from Metamorphosis. I'm terrified of public speaking so come and watch me sweat. I've been practicing so I won't stumble over my own tongue.
Saturday at 8pm: Is this the Golden Age of Superhero TV? Don't have time to watch all the awesome offerings from DC and Marvel? Don't worry, I've done it all for you and I'll share all the goodies. Warning: there will be spoilers.
Saturday at 9pm: The Do's and Don'ts of Writing Erotica. I may not be an erotica writer but I am an erotica reader and I'll be sharing my thoughts for those looking to get into this lucrative genre.
Looking forward to seeing everyone there.
Thursday, 1 September 2016
The Self-Confidence Roller Coaster
Every professional writer I've ever talked to, from New York Times Bestsellers to first time self-published, goes through the same emotional process about their work, running along the spectrum from "It's brilliant" to "It's crap" and back again.
Personally, I go through a kind of separation anxiety. While I'm working on a manuscript, I have a decent awareness of the level of quality (backed up by my beta readers). But after I walk away, all the flaws become magnified in my mind. I start obsessing, convinced that my writing is nothing but the flaws, that they overwhelm any other redeeming features.
The longer I go without looking at a particular work, the worse I convince myself that it is and the harder it becomes to make myself go back to it.
This becomes a particular challenge since I find I also need at least two or three weeks of separation in order to approach the manuscript with fresh eyes. When I finally pull it open, I'm mentally cringing but as I force myself to peek through my fingers, I discover that it isn't as bad as I thought. I've done more work than I remember, I've set up and resolved my subplots properly (and if I haven't, it's usually a quick fix).
The more I go through it, the more relief I feel. I start to feel proud of what I've done again. I start to have faith in my skill and my work again.
What I've learned is that I need to remind myself that those feelings of anxiety and unworthiness are as false as any message that comes from depression. While I don't wish to overstate my abilities, I shouldn't underestimate them either.
Maybe this is part of the "Impostor Syndrome" that Dr. Young spoke about at RWA. It's too easy to dismiss skill as luck or chance. False modesty becomes underestimation which becomes a sense that one has falsely represented his or herself. After all, if it's only luck, then there isn't anything to fall back on when luck fails. As it inevitably will.
But the thing is, no one becomes successful only by luck. It plays a part in providing opportunities, but without the talent and drive to take advantage of those opportunities, there cannot be any achievement.
Easy to say, not so easy to believe, not deep in the gut where our secret fears hide.
Personally, I go through a kind of separation anxiety. While I'm working on a manuscript, I have a decent awareness of the level of quality (backed up by my beta readers). But after I walk away, all the flaws become magnified in my mind. I start obsessing, convinced that my writing is nothing but the flaws, that they overwhelm any other redeeming features.
The longer I go without looking at a particular work, the worse I convince myself that it is and the harder it becomes to make myself go back to it.
This becomes a particular challenge since I find I also need at least two or three weeks of separation in order to approach the manuscript with fresh eyes. When I finally pull it open, I'm mentally cringing but as I force myself to peek through my fingers, I discover that it isn't as bad as I thought. I've done more work than I remember, I've set up and resolved my subplots properly (and if I haven't, it's usually a quick fix).
The more I go through it, the more relief I feel. I start to feel proud of what I've done again. I start to have faith in my skill and my work again.
What I've learned is that I need to remind myself that those feelings of anxiety and unworthiness are as false as any message that comes from depression. While I don't wish to overstate my abilities, I shouldn't underestimate them either.
Maybe this is part of the "Impostor Syndrome" that Dr. Young spoke about at RWA. It's too easy to dismiss skill as luck or chance. False modesty becomes underestimation which becomes a sense that one has falsely represented his or herself. After all, if it's only luck, then there isn't anything to fall back on when luck fails. As it inevitably will.
But the thing is, no one becomes successful only by luck. It plays a part in providing opportunities, but without the talent and drive to take advantage of those opportunities, there cannot be any achievement.
Easy to say, not so easy to believe, not deep in the gut where our secret fears hide.
Monday, 29 August 2016
Weekly Update: August 21 to August 27
Weekly word count: 2000
Not my most productive week, but I was on vacation and I finished my manuscript last week (still doing some happy dancing over that one). I got to take my kids out swimming and to museums and other touristy stuff, so I'm still calling it a good week.
This week, it's back to work. Aside from the final preparations before school starts, I need to get Inquisition to the editor, my two short stories polished for the anthology submission and Rose on the Grave ready for publication in late September.
I also have to get everything ready for Can-Con and my table and workshops. It's going to be a lot of fun and it's creeping up fast this year.
Back to the grindstone.
Not my most productive week, but I was on vacation and I finished my manuscript last week (still doing some happy dancing over that one). I got to take my kids out swimming and to museums and other touristy stuff, so I'm still calling it a good week.
This week, it's back to work. Aside from the final preparations before school starts, I need to get Inquisition to the editor, my two short stories polished for the anthology submission and Rose on the Grave ready for publication in late September.
I also have to get everything ready for Can-Con and my table and workshops. It's going to be a lot of fun and it's creeping up fast this year.
Back to the grindstone.
Thursday, 25 August 2016
Ink Tips: The Different Types of Editing
Since I'm about to plunge into my third major foray into the editing process, I thought I'd share some suggestions from my own experience.
Anyone will tell you that if you want to be a writer, then you need an editor. But as a self-published author, it can be a challenge to try and figure out what type of editing service is needed and how much it should cost. There are editors charging thousands of dollars for what amounts to a run through Microsoft spell check, and there are editors who can help to polish a work until it shines, bringing out nuance the author never knew were there.
First rule of thumb: ask for references and get a sample. Word spreads fast among the publishing community about the scams and tricksters. Even if an editor is claiming to be "new" then they often have some background that authors and other editors will know about. Once an author has some recommendations, then ask the chosen editor for a sample of their editing work. That will give a good idea of what to expect before you pay for a full manuscript to be edited.
That still leaves plenty of choices to make. Most private editors will offer both packages and an a la carte option for their services, which can include:
Developmental Editing:
In a developmental edit, the editor looks for potential plot holes, weak characters or world-building. This is invaluable, particularly for new writers. I highly recommend it as a way to avoid common errors, author blindspots and improve writing skills.
Fact-checking:
Fact-checking is just what it sounds like, an editor or several editors will go through a manuscript to look for factual or cultural errors. The tricky part for this service is making sure that the editor is in fact familiar with the area of history, culture or location that an author is using. Personally, I prefer to use my research contacts to go over any potentially sensitive issues, since I've already vouched for their knowledge.
Line or Copy Editing:
In a line edit, the editor goes through line by line, looking for inconsistencies, continuity errors, grammar problems, odd phrasing, spelling issues and other potential challenges. It's a time consuming and detailed process and thus one of the most expensive editing options but to me it is non-negotiable. If I'm only going to do one type of editing, this is the one.
Proofreading:
This is very basic spell and grammar checking, looking for missing or extra punctuation or words. Usually it's done as a single read through. I save this kind of check for the end of the editing process and I'll ask several sharp-eyed friends to have a look through.
Anyone will tell you that if you want to be a writer, then you need an editor. But as a self-published author, it can be a challenge to try and figure out what type of editing service is needed and how much it should cost. There are editors charging thousands of dollars for what amounts to a run through Microsoft spell check, and there are editors who can help to polish a work until it shines, bringing out nuance the author never knew were there.
First rule of thumb: ask for references and get a sample. Word spreads fast among the publishing community about the scams and tricksters. Even if an editor is claiming to be "new" then they often have some background that authors and other editors will know about. Once an author has some recommendations, then ask the chosen editor for a sample of their editing work. That will give a good idea of what to expect before you pay for a full manuscript to be edited.
That still leaves plenty of choices to make. Most private editors will offer both packages and an a la carte option for their services, which can include:
Developmental Editing:
In a developmental edit, the editor looks for potential plot holes, weak characters or world-building. This is invaluable, particularly for new writers. I highly recommend it as a way to avoid common errors, author blindspots and improve writing skills.
Fact-checking:
Fact-checking is just what it sounds like, an editor or several editors will go through a manuscript to look for factual or cultural errors. The tricky part for this service is making sure that the editor is in fact familiar with the area of history, culture or location that an author is using. Personally, I prefer to use my research contacts to go over any potentially sensitive issues, since I've already vouched for their knowledge.
Line or Copy Editing:
In a line edit, the editor goes through line by line, looking for inconsistencies, continuity errors, grammar problems, odd phrasing, spelling issues and other potential challenges. It's a time consuming and detailed process and thus one of the most expensive editing options but to me it is non-negotiable. If I'm only going to do one type of editing, this is the one.
Proofreading:
This is very basic spell and grammar checking, looking for missing or extra punctuation or words. Usually it's done as a single read through. I save this kind of check for the end of the editing process and I'll ask several sharp-eyed friends to have a look through.
Formatting:
This is a type of editing that usually happens after the manuscript is ready for publication. An editor goes through the final ebook to make sure that page breaks are where they are supposed to be, that the links work properly, etc. I generally handle this myself but it's a time consuming process.
Editing is a lot of work, usually as much or more than the initial writing and unlike writing, it can't be a solitary effort. But it's worth it, making all the difference in a manuscript that will have readers eagerly waiting for more.
This is a type of editing that usually happens after the manuscript is ready for publication. An editor goes through the final ebook to make sure that page breaks are where they are supposed to be, that the links work properly, etc. I generally handle this myself but it's a time consuming process.
Editing is a lot of work, usually as much or more than the initial writing and unlike writing, it can't be a solitary effort. But it's worth it, making all the difference in a manuscript that will have readers eagerly waiting for more.
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