Okay, so here’s the thing. No one likes being edited. Any author, any writer who tells you that he or she enjoys the process, is lying. That’s all that there is to it.
Second truth: everyone needs to be edited. Everyone. Every writer has idiosyncracies at best and errors at worst, and there is no way that the writer can be aware of them all. The fact is that one editor probably won’t be aware of them all, either, but he or she has a lot better chance of it than does the writer.
So where does that leave you?
You’ve written your book. You’re about to embark on a search for an agent or publisher. You decide that the first thing to do is to get it — your masterpiece, that is — professionally edited. Right?
Wrong.
I’m not saying that your book doesn’t need editing; au contraire, I’m quite willing to bet that it needs a lot of editing. But that same amount of editing is also going to be very expensive, and it may not be the best use of your funds at this time.
Instead, consider this: what you really want to do is capture the attention and interest of a literary agent or of a publisher. That’s your real goal here, not having a picture-perfect manuscript.
What will you be sending out in your quest for arousing that interest? Certainly not the entire manuscript! Instead, you’ll be sending out a proposal, which will include — at most — three chapters of the manuscript. It will also include other essentials, such as a synopsis, an analysis of competing books already in the marketplace, a statement of your platform, an outline, and other components.
You’re starting to get the idea: I can tell. Your first order of business is to make this proposal the best proposal it can possibly be. So by all means have it edited — and have those first three chapters edited, also — and hold off on the whole manuscript until someone has asked you to send it to them.
You can have someone write the proposal — it’s one of the things that I do for clients — but that’s relatively expensive. Consider writing your own and then sending it to a top-notch editor. You’ll pay up to a couple thousand dollars, but you won’t be in for too much; and if no one asks for it (perish the thought!), you’ll still be able to pay next month’s rent!
And then you’ll be … beyond the elements of style!
Posted in Proposal, Submissions, Getting Published, Editors, Publishers, About Writing, Editing on October 31st, 2007
All right, it’s not going to sound like this article has very much to do with language, but bear with me. I’ll try to twist it aound there before I’m finished. Maybe.
The truth is, my mind is filled with swirling colors and haunting music. I’m in Philadelphia this weekend at FaerieCon, a gathering for all things and beings magical, mystical, and downright strange. There are Good Fairies and Bad Fairies (you can probably guess which I find more interesting), Green Men and satyrs, even a dragon or two … and it’s all fabulous good fun.
Saturday morning I sat and listened to a lecture by Tolkien illustrator Ted Nasmith, and afterward my stepdaughter Anastasia brought up what she calls Tolkien’s ability to multitask, writing and lecturing and, in the midst of it all, managing to create several complete languages.
And they are extraordinary. A list barely scratches the surface of the riches and complexeties of languages invented for a race that exists only in one’s mind, yet whose history, sociology, and psychology are so clearly understood and articulated that, to many and for all these years after his death, they seem real. It’s not just a gift, though I’ll never argue that Tolkien wasn’t gifted; it’s also an enormous undertaking that could only be done from some sort of passion in the soul.
And for those of you who look to this column for practical advice, I had a nice long talk with Kerry Estevez, the editor over at Medallion Press, who noted that many, many more books would be accepted if writers (and, for that matter, literary agents) would just read the submission guidelines and follow them. Doesn’t sound that difficult, folks. She’s currently looking for historical fiction/fantasy, and if there’s some romance woven in, so much the better!
So pay attention to guidelines for the good of your publications list, and pay attention to the fairies for the good of your heart. And you’ll be … beyond the elements of style!
Posted in Proposal, Books, Submissions, Getting Published, Editors, Words, Fiction on October 15th, 2007
Okay, you’ve all been kind as I’ve wandered off a bt in the past few weeks, so I thought I’d offer something useful this week by way of expiation. So I thought I’d give you a quick cheat-sheet on what editors are looking for these days in manuscripts. This information is distilled from talking with a number of agents and acquisitions editors over the past year, so hopefully it’s both relevant and recent.
So what do they want?
First off is, alas, nothing to do with the work itself; it’s audience demand. Is there an audience demand for this book? If not, it’s over before it’s even begun.
Second is still not about the book itself, it’s author platform and marketing. Will you be able — and willing — to promote this book? How? Do you have a specific plan? What is it?
Third is — finally — about the book itself. How does it differ from other, possibly similar, works? Can it stand apart … and stand alone?
Fourth is cost. Publishers are far more willing to take a risk on a book that costs less to produce. What this generally translates into is word count: long books had better be extraordinary and a sure thing.
Fifth: timing. This can move up to number one if the issue the book deals with is in the news and likely to stay there for the time it will take to bring the book to market.
Sixth and final is whether or not the manuscript will fit this particular publisher’s list. “Sorry, it doesn’t meet our current needs” can, unfortunately, mean just that.
So there you go. Bear these points in mind as you prepare your next book proposal and you’ll be beyond the elements of style!
Posted in Proposal, Submissions, Getting Published, Editors, Publishers on September 3rd, 2007
What is it that publishers are looking for? Are they waiting for the next Dick Francis, the next Stephen King, the next Danielle Steel? Does the nonfiction proposal you craft have to be about whatever happens to be popular – next year? Or do you have a chance of getting out of the slush pile and published, even if your book doesn’t fit into any of those stereotypes?
The answer is, yes. You have a chance. But you need to play by their rules in order to get there.
The first thing that agents, editors, and publishers are looking for, before any other consideration, is marketing. They want an author who can promote his or her book. Wait a minute — isn’t that like putting the cart in front of the horse? Shouldn’t the book, first and foremost, be brilliant and original before worrying about marketing?
You’d think so. But that would mean that you’re not playing by the rules. And the first rule in publishing is Market Thyself.
Like it or not, a sale is much more likely if you are an expert writing about your subject of expertise, whether in fiction or nonfiction. Look at all of the novels about forensics experts written by forensics experts, the novels about lawyers written by lawyers. Editors and publishers want to know that you know what you’re talking about. If you’re an expert, then they assume you do, and can promote you that way. If you’re not an expert, think about taking one on as co-author.
And that is just the beginning. You need to make it clear from the start that you will do what it takes to advertise your book. That you’re ready and willing to construct and maintain a Web site, that you’re ready for book tours, that you’ll break down doors to get reviews and interviews. Show yourself to be creative, energetic, and perseverant, and you’ve come a long way toward winning your editor’s heart.
The second thing that you need to project is professionalism. Take the time to learn what is expected of you, and do it. If the publication wants submissions between October and June only, submit between October and June only. Show in your query letters that you are not broadcasting them randomly (even if you are) but know something about the publishing house to which you’re addressing yourself.
Don’t call the editor unless she or he invites you to do so. Don’t ever send anything that is hand-written. Don’t ever mention that your mother likes your work.
If you want to be treated as a professional, act like one!
Finally, be able to encapsulate your concept or idea in as few words as possible. If you can’t articulate it, no one will buy it. Try what is called an “elevator conversation” — describe your book in the time it would take you to tell someone about it on an elevator. Can’t do it? Then you’re not ready to try and get a publisher’s attention.
If you don’t know what you’re doing, it will show. This is your job now, treat it the same way you’d treat any new job: by playing by the rules, being flexible and professional, and by using every opportunity to press your concept home.
It can be done, but not unless you’re willing to do your homework — first! And then you’ll be … beyond the elements of style!
Jeannette Cézanne
Customline Wordware, Inc.
Posted in Submissions, Publishing, Getting Published, Editors, Publishers on December 17th, 2006
“Clauses and Commas Make a Comeback: SAT Helps Return Grammar to Class”
Yesterday’s Washington Post (http://tinyurl.com/y62s8j) carried an article about grammar coming back into style. The teacher profiled isn’t unique (and thank goodness for that – perhaps a new trend is starting!); and the article itself is full of generalizations and oversimplifications; but it’s a trend worth noting and applauding. Anything emphasizing the value of learning correct grammar, usage, and so on can only be… beyond the elements of style!
Posted in Editors, Grammar on October 24th, 2006
We’re still a few months off from November, but I’d like to spend a few moments this Friday giving thanks anyway.
It’s been an insanely busy week here at Customline Wordware, and I’ve found my brain working more slowly than usual. At times like this, one really appreciates one’s friends and colleagues.
So I’ll talk about two of them. Those of you who listen to my radio show, The World of Publishing, have already met both these people: Susanna J. Sturgis and Dick Margulis.
Susanna J. Sturgis (Susanna’s Web site) is a brilliant writer and editor, who has opened my mind to literature I would not have explored on my own and has herself pushed the envelope in helping establish a feminist presence within the science fiction genre and community. She listens to my often-snide comments and puts them in context, and has been willing to share a lot of her own hard-earned wisdom and techniques with me. She’s turned me on to music I’d never heard before and her blog (Susanna’s Bloggery) is filled with thoughts I wish I’d had. (Read her words. Often.) And when my world is particularly crazy, she always provides a dose of sanity and calm.
Dick Margulis (Dick’s Web site) has intimidated me for as long as I’ve known him. This man is just too perfect. He’s an editor’s editor; he guides his clients with caring and aplomb through the maze of self-publishing; he always has time to answer even the most inane of questions – while making one feel that they weren’t all that inane, after all. I check his blog (Words/Myth/Ampers & Virgule) regularly for updates on language and publishing (and so should you), and he’s the first person I think of when I have a phrase to untangle or an elusive term to track down. When a plea for help is thrown out in an editors’ forum, I think, “I’ll answer that when I have time, not right now.” Dick thinks, “I’ll answer that right now.” And his answers are invariably thoughtful and complete.
I’m immensely grateful that these two people are in my world. Take a moment and visit their Web sites and blogs. You may find that one of them is just the right fit for your next project.
They are most definitely… beyond the elements of style!
Posted in Editors, Creativity on August 18th, 2006
Many first-time authors find themselves in the literary equivalent of sticker shock when it comes time to send their manuscripts out to be edited. And it’s never fun to be the bearer of bad tidings.
On the other hand, authors generally don’t understand the combination of expertise, time, effort, and scheduling it takes for an editor to work on their manuscripts. I am reminded of the air conditioning technician who came to repair a unit and, locating the special place to aim, kicked it smartly, causing it to start up again. The homeowner was astonished when presented with a bill for two thousand dollars. “But all you did was kick it!”
“That’s right,” rejoined the technician. “But it’s knowing just where to kick — that’s why you called me.”
Editing is a little like that. Anyone can rephrase words on a page; but it’s knowing which ones to change, and why; it’s having knowledge about different style guides, technical issues, domain information, the world of publishing in general, and — well, it’s about knowing just where to kick.
So there are some good reasons for the cost of editing. Add to that the understanding that freelance editors pay for everything out of their income — taxes, rent, equipment, professional memberships — as well as the reality that some manuscripts do in fact require a great deal of work, and you’ll start to have a sense of what goes into the cost of editing.
Weigh that against the advantages of having your manuscript edited, and you’ll realize that in the long run, it’s well worth the cost. You’ll never have a second chance to make a first impression, and the same is true for your writing.
And then you’ll be… beyond the elements of style!
Posted in Frustration, Editors, Process Matters on August 7th, 2006
What is it that publishers are looking for? Are they waiting for the next Dan Brown, the next Stephen King, the next Danielle Steel? Does the nonfiction proposal you craft have to be about whatever happens to be popular – next year? Or do you have a chance of getting out of the slush pile and published, even if your book doesn’t fit into any of those stereotypes?
The answer is, yes. You have a chance. But you need to play by their rules in order to get there.
The first thing that agents, editors, and publishers are looking for, before any other consideration, is marketing. They want an author who can promote his or her book. Wait a minute - isn’t that like putting the cart in front of the horse? Shouldn’t the book, first and foremost, be brilliant and original before worrying about marketing?
You’d think so. But that would mean that you’re not playing by the rules. And the first rule in publishing is Market Thyself.
Like it or not, a sale is much more likely if you are an expert writing about your subject of expertise, whether in fiction or nonfiction. Look at all of the novels about forensics experts written by forensics experts, the novels about lawyers written by lawyers. Editors and publishers want to know that you know what you’re talking about. If you’re an expert, then they assume you do, and can promote you that way. If you’re not an expert, think about taking one on as co-author.
And that is just the beginning. You need to make it clear from the start that you will do what it takes to advertise your book. That you’re ready and willing to construct and maintain a Web site, that you’re ready for book tours, that you’ll break down doors to get reviews and interviews. Show yourself to be creative, energetic, and perseverant, and you’ve come a long way toward winning your editor’s heart.
The second thing that you need to project is professionalism. Take the time to learn what is expected of you, and do it. If the publication wants submissions between October and June only, submit between October and June only. Show in your query letters that you are not broadcasting them randomly (even if you are) but know something about the publishing house to which you’re addressing yourself.
Don’t call the editor unless she or he invites you to do so. Don’t ever send anything that is hand-written. Don’t ever mention that your mother likes your work.
If you want to be treated as a professional, act like one!
Finally, be able to encapsulate your concept or idea in as few words as possible. If you can’t articulate it, no one will buy it. Try what is called an “elevator conversation” - describe your book in the time it would take you to tell someone about it on an elevator. Can’t do it? Then you’re not ready to try and get a publisher’s attention.
If you don’t know what you’re doing, it will show. This is your job now, treat it the same way you’d treat any new job: by playing by the rules, being flexible and professional, and by using every opportunity to press your concept home.
For additional thoughts on what an editor wants — and doesn’t want — check out Miss Snark and the Evil Editor (you’ll find the links to their blogs on your right).
It can be done, but not unless you’re willing to do your homework first! And then you’ll be… beyond the elements of style!
Posted in Editors, About Writing on July 27th, 2006
