Every journey to publication is unique. This illustration shows the scope of the writing and editing process and a possible path one might take. Each stage can take days or months, depending on the writer's and Support Stars' schedules and the length and complexity of the work in progress.
Let's chat about your project and where you might be in the writing and editing process. Maybe I can help.
“From line editing to character development, plot holes, continuity issues, grammar, and spelling, she does it all ... Kate doesn’t treat you like a customer but as a friend. She handles your book, and your voice as an author, with the utmost respect. I cannot recommend Kate enough.”
-Author Regine Abel USA Today Bestselling Author
What does your collaboration constellation of support stars look like?
You know the old "it takes a village to raise a child"? Well creating a book is the same. The more eyes you can get on your story, and all along the way, the better. This illustration describes some of the folk who might support you on your journey to publication.
Need a friendly, experienced editor
who'll encourage and support you as you journey toward publication?
Contact BFF Editing today!
Every writer's journey is unique, but these are some common milestones. Hope it helps you see a bit along the path before you.
Alpha Read -
Many authors have the benefit of an alpha reader, even if they don’t call them that. They are the first set of eyes to see an author’s writing. The alpha reader is, many times, another writer or critique partner. Sometimes a trusted relative or friend performs this service. They can be extremely helpful in giving the author another perspective.
The alpha reader is the workout buddy. They see the untoned and unflattering beginnings of the body you are building. They should be honest yet supportive and encouraging.
The alpha reader is the workout buddy. They see the untoned and unflattering beginnings of the body you are building. They should be honest yet supportive and encouraging.
Developmental Edit -
This editing stage is where a professional editor offers support and guidance as the writer crafts their story outline, creates the structure, develops the plot, characters and themes, wrestles with tension and pacing, settles on a consistent narrative style, sorts the POV (point of view), present or past tense, etc. The developmental edit looks at organization, continuity, and big-picture elements of the story.
Developmental editing is like going to a physical therapist who works with the bones and muscles to make sure they are balanced and strong enough to support the weight of the writer’s meaning and vision.
Developmental editing is like going to a physical therapist who works with the bones and muscles to make sure they are balanced and strong enough to support the weight of the writer’s meaning and vision.
Beta Read -
Authors need to know if the story resonates with readers. “Beta” is a term adapted from computer software development. The ideal beta reader gives honest feedback (see beta readers) about how the story and characters affected them. Sometimes authors request that a beta be alert for certain things, like how quickly they felt a connection with the protagonist, whether they found the dialogue natural, or situations funny, etc.
Sensitivity/Inclusivity Read -
Authors might also need to know if any elements of their story would upset readers. (See the conscious language section of my Topical Resources page for more on this.)
Both the beta and sensitivity reader report how the story makes them feel, offering feedback and guidance from your future readers' perspectives. They test the reflexes and strength of the story to show your where you still need work.
Both the beta and sensitivity reader report how the story makes them feel, offering feedback and guidance from your future readers' perspectives. They test the reflexes and strength of the story to show your where you still need work.
Substantive/Content & Line Edit -
The substantive or content edit is similar to the developmental edit in that it looks at the overall story structure, but whereas the developmental edit looks at big-picture elements, substantive editing looks at tightening the prose and crafting the language so the meaning is clear.
The line edit focuses on each line or sentence in the context of the story and takes into consideration vocabulary and syntax, word choice and connotation, the structure of the sentence, and the meaning it conveys.
Substantive/content and line editing are like a personal trainer who works with the muscle and connective tissue of the story. This is the stage when we tone, tighten, and trim away the fat to make the story sleek, strong, fit, and functional.
The line edit focuses on each line or sentence in the context of the story and takes into consideration vocabulary and syntax, word choice and connotation, the structure of the sentence, and the meaning it conveys.
Substantive/content and line editing are like a personal trainer who works with the muscle and connective tissue of the story. This is the stage when we tone, tighten, and trim away the fat to make the story sleek, strong, fit, and functional.
Copy/Mechanical Edit -
Copy editing checks grammar, spelling, and punctuation. Mechanical editing is about the manual of style used, which deals with spelling, abbreviations, punctuation, capitalization, formatting, etc.
Copy and mechanical edits both deal with the overall look of the piece. I think of the copy editor as the dresser who advises you on wardrobe and cosmetics. These details make the piece feel and look put together and professional.
Copy and mechanical edits both deal with the overall look of the piece. I think of the copy editor as the dresser who advises you on wardrobe and cosmetics. These details make the piece feel and look put together and professional.
ARC Read -
Readers of Advanced Review Copies, or ARCs, get to see a story just before publication with the understanding that they will post reviews of the book on social media and buying platforms. Authors like to have reviews all ready to go on launch day so potential buyers can see what others thought. Sometimes, if authors are open to this, ARC readers might also provide last minute feedback on typos, inconsistencies, or responses to the story, but that is not the purpose of the ARC team of readers.
Enlisting the aid of ARC readers is like asking your friend if they think you look okay or taking them along on an outing to help boost your confidence.
Enlisting the aid of ARC readers is like asking your friend if they think you look okay or taking them along on an outing to help boost your confidence.
Proofread -
It takes many eyes and multiple rounds of editing to catch all (or nearly all) the typos and little errors humans invariably make or miss. Proofreading is a stage of the publication process that originally applied to the word-by-word comparison of a first printing with the final draft or "proof" of the story to ensure the typesetters hadn't accidentally changed anything. In digital publishing, this term usually refers to a final polish (the term used in BFF Editing) of a manuscript after it's been formatted, in PDF form.
Proofreading is like checking in the hall mirror right before you walk outside to make sure your shoes match, slip isn’t showing, tie is straight, and hair is behaving.
Proofreading is like checking in the hall mirror right before you walk outside to make sure your shoes match, slip isn’t showing, tie is straight, and hair is behaving.
Tell me what you need in an editorial collaborator, and I will do my best to guide you to the appropriate assistance, whether with me or a trusted peer.
Let's shed a little light on some common terms used in the publishing biz
and how they are understood and used in BFF Editing -
ARC -
Advanced Reading/Review Copy (aka galley, manuscript, proof) - a document (hopefully edited if not also proofread) that an author sends out to a trusted list of faithful fans, usually a few weeks prior to publication. The goal is to get supportive readers to post reviews (see Reviews, below) on or before the book goes live.
Advanced Reading/Review Copy (aka galley, manuscript, proof) - a document (hopefully edited if not also proofread) that an author sends out to a trusted list of faithful fans, usually a few weeks prior to publication. The goal is to get supportive readers to post reviews (see Reviews, below) on or before the book goes live.
Beta Readers -
Muy importante! See beta readers and editing stages and support team and BFF Beta Brigade.
Muy importante! See beta readers and editing stages and support team and BFF Beta Brigade.
Contracts -
Hiring an editor is a business arrangement involving description of services, money, legalities, deadlines, rights, and responsibilities. A contract is necessary to state, in a fair and unambiguous way, the parameters and details of the arrangement. See Megan Harris’s “8 Must-haves for Freelance Editing Contracts.” (See also writer-related legal issues section on the Topical Resources page.)
Hiring an editor is a business arrangement involving description of services, money, legalities, deadlines, rights, and responsibilities. A contract is necessary to state, in a fair and unambiguous way, the parameters and details of the arrangement. See Megan Harris’s “8 Must-haves for Freelance Editing Contracts.” (See also writer-related legal issues section on the Topical Resources page.)
Conventions -
The societally agreed-upon rules of language—both verbal and written—are conventions. Written conventions are slower to change and refer specifically to capitalization, grammar, punctuation, sentence structure, and spelling. Contemporary fiction dialogue often reflects the more quickly changing societal norms of verbal conventions.
The societally agreed-upon rules of language—both verbal and written—are conventions. Written conventions are slower to change and refer specifically to capitalization, grammar, punctuation, sentence structure, and spelling. Contemporary fiction dialogue often reflects the more quickly changing societal norms of verbal conventions.
Copy Edits - (see editing stages)
Developmental Edits - (see editing stages)
Dialogue Tags -
(e.g., said, asked, whispered, replied - see: dialogue section on my topical resources page)
Dialogue tags are identifiers, usually attached to the quote by a comma (unless it is a question or exclamation). Fancy or creative dialogue tags (as well as adverbs) should be used sparingly so as not to distract the reader. (Also Note: wheezing, simpering, groaning, snarking, breathing, smiling etc. are not dialogue tags but rather "action tags.") Sometimes no tag is needed if it is obvious who is speaking or that a question has been asked. Even said, if used repeatedly, can distract your reader. Try to identify speakers using description and action sentences for variety, interest, mood, and to show rather than or in addition to telling.
(e.g., said, asked, whispered, replied - see: dialogue section on my topical resources page)
Dialogue tags are identifiers, usually attached to the quote by a comma (unless it is a question or exclamation). Fancy or creative dialogue tags (as well as adverbs) should be used sparingly so as not to distract the reader. (Also Note: wheezing, simpering, groaning, snarking, breathing, smiling etc. are not dialogue tags but rather "action tags.") Sometimes no tag is needed if it is obvious who is speaking or that a question has been asked. Even said, if used repeatedly, can distract your reader. Try to identify speakers using description and action sentences for variety, interest, mood, and to show rather than or in addition to telling.
Editing Support -
(see support team)
alpha, beta, and ARC readers; writing critique partners; developmental, copy, and line editors; formatters; proofreaders
(see support team)
alpha, beta, and ARC readers; writing critique partners; developmental, copy, and line editors; formatters; proofreaders
Galley Proof -
An older term for a manuscript or WIP that has not had a final edit or proofread (as opposed to a final proof)—often used as an Advanced Review Copy.
An older term for a manuscript or WIP that has not had a final edit or proofread (as opposed to a final proof)—often used as an Advanced Review Copy.
Google Docs -
Google has a format for sharing documents. Multiple readers can be invited to comment on or edit the same piece simultaneously and/or interactively. Schools use this for peer group projects (saves paper!) The editing tools are adequate for simple tasks (though it can't compete with MS Word).
While perhaps useful when working with multiple beta readers, almost every professional editor I know dislikes editing in Google Docs. If your editor agrees to working in GD, they will likely make and work on their own copy to avoid confusion and that someone-is-looking-over-my-shoulder feeling. :)
What I use Google Docs for is creating a style sheet. I start with a template. Then as I work on the manuscript, I gradually fill in the specific details and share it with the author.
Google has a format for sharing documents. Multiple readers can be invited to comment on or edit the same piece simultaneously and/or interactively. Schools use this for peer group projects (saves paper!) The editing tools are adequate for simple tasks (though it can't compete with MS Word).
While perhaps useful when working with multiple beta readers, almost every professional editor I know dislikes editing in Google Docs. If your editor agrees to working in GD, they will likely make and work on their own copy to avoid confusion and that someone-is-looking-over-my-shoulder feeling. :)
What I use Google Docs for is creating a style sheet. I start with a template. Then as I work on the manuscript, I gradually fill in the specific details and share it with the author.
HEA or HFN -
"happily ever after" or "happy for now"—referring to the ending of a book
"happily ever after" or "happy for now"—referring to the ending of a book
Mechanical Edits - (see editing stages page)
Microsoft Word -
MS Word is a word processing system with a huge capacity for creating and editing graphics and text. The editing tools are advanced and Track Changes mode keeps a record of the changes introduced to the text. Styles are an incredible resource for formatting. Comments in the margins are a helpful way for editors and authors to communicate. The Find/Replace tool is beyond useful.
MS Word is a word processing system with a huge capacity for creating and editing graphics and text. The editing tools are advanced and Track Changes mode keeps a record of the changes introduced to the text. Styles are an incredible resource for formatting. Comments in the margins are a helpful way for editors and authors to communicate. The Find/Replace tool is beyond useful.
Pantser -
describes a person who "flies by the seat of their pants" - who writes a story without a strict or detailed outline. They may have a scene or idea for inspiration or only the main characters or a general story line in mind, letting the story emerge and/or the characters dictate the direction and shape of the story. (See the description in The Write Practice:"Pantser, Plotter, and Plantser: The 3 Dominant Types of Writers" by The Magic Violinist))
describes a person who "flies by the seat of their pants" - who writes a story without a strict or detailed outline. They may have a scene or idea for inspiration or only the main characters or a general story line in mind, letting the story emerge and/or the characters dictate the direction and shape of the story. (See the description in The Write Practice:"Pantser, Plotter, and Plantser: The 3 Dominant Types of Writers" by The Magic Violinist))
Pass -
a read-through of a manuscript. I will read through a manuscript at least twice in each round of editing.
a read-through of a manuscript. I will read through a manuscript at least twice in each round of editing.
Plotter -
describes a person who plots out their story outline in detail with character arc details, story beats, etc. (See the description in The Write Practice:"Pantser, Plotter, and Plantser: The 3 Dominant Types of Writers" by The Magic Violinist)
describes a person who plots out their story outline in detail with character arc details, story beats, etc. (See the description in The Write Practice:"Pantser, Plotter, and Plantser: The 3 Dominant Types of Writers" by The Magic Violinist)
POV -
stands for point of view and usually refers to the point of view from which a narrative is being told, either in first or third person
stands for point of view and usually refers to the point of view from which a narrative is being told, either in first or third person
Reviews -
Reviews are the blessing and bane of the publishing author. Authors need and appreciate when readers write constructive, informative reviews on Amazon, Goodreads, BookBub, Kobo, etc. Reviews advise potential buyers, help authors improve their craft, and the scores affect the algorithms that determine ranking and marketing, etc.
Unfortunately, reviews/reviewers are not always trustworthy and can do a lot of damage as well.
Reviews are the blessing and bane of the publishing author. Authors need and appreciate when readers write constructive, informative reviews on Amazon, Goodreads, BookBub, Kobo, etc. Reviews advise potential buyers, help authors improve their craft, and the scores affect the algorithms that determine ranking and marketing, etc.
Unfortunately, reviews/reviewers are not always trustworthy and can do a lot of damage as well.
Round of Editing -
Many of BFF Editing Services include multiple rounds of editing, passing the document back and forth between author and editor.
Many of BFF Editing Services include multiple rounds of editing, passing the document back and forth between author and editor.
Silent Edits -
Some of an editors tasks are mundane and not worth bothering the author with. These tasks we sometimes opt to make "silently," meaning we turn off Track Changes. Such tasks include eliminating extra spaces, making straight quotation marks "curly," and formatting all the ellipses and all the em dashes to be consistent with CMOS--or the author's preference in the case of ellipses--and reformatting to eliminate issues like tab indents or multiple returns to get to a new page.
Some of an editors tasks are mundane and not worth bothering the author with. These tasks we sometimes opt to make "silently," meaning we turn off Track Changes. Such tasks include eliminating extra spaces, making straight quotation marks "curly," and formatting all the ellipses and all the em dashes to be consistent with CMOS--or the author's preference in the case of ellipses--and reformatting to eliminate issues like tab indents or multiple returns to get to a new page.
Street Team -
can refer to the author’s fan club or reader groups on various platforms. They support their favorite author and help them promote their books. Here's a great description found in Writer's Digest.
can refer to the author’s fan club or reader groups on various platforms. They support their favorite author and help them promote their books. Here's a great description found in Writer's Digest.
Style -
- Style can refer to the author’s manner of writing: how their voice is conveyed, the tense in which it is written, the mood of the story, the point of view, the syntax, and word choice.
- A Manual of Style is an authority publication for a field (academic, literary, scientific, journalistic) such as Associated Press or Chicago Manual of Style in the US. These standards provide uniformity for the industry or field in which they are adopted.
- A House Style Guide is the condensed version of a Manual of Style followed by a particular company or firm.
- A Style Sheet is also based on a particular Manual of Style and spells out the very specific decisions on style that are made for a particular piece of writing.
Substantive Edits - (see editing stages)
Track Changes -
This is a tool that ... wait for it ... tracks changes in a Microsoft Word document. :)
An author can see, accept, or reject any additions, deletions, corrections, re-arrangements, or whatevs. Comments in the margin can explain or point out specific changes or portions of text.
(See the tutorials section of my Topical Resources page for more on Track Changes.)
This is a tool that ... wait for it ... tracks changes in a Microsoft Word document. :)
An author can see, accept, or reject any additions, deletions, corrections, re-arrangements, or whatevs. Comments in the margin can explain or point out specific changes or portions of text.
(See the tutorials section of my Topical Resources page for more on Track Changes.)
WIP -
Work In Progress - this is also pretty self-explanatory in the right context. We call a manuscript a WIP while it is in the midst of being created and edited.
Work In Progress - this is also pretty self-explanatory in the right context. We call a manuscript a WIP while it is in the midst of being created and edited.
I'd love to chat about how BFF Editing might help you refine your story
so that it clearly communicates your message
in a way that engages and informs.
so that it clearly communicates your message
in a way that engages and informs.
Dear Book Friend,
Beta Readers are the North Star in your Collaboration Constellation!
To improve your craft and become a better writer, it is essential to get reader feedback on your story! You need to hear both what you’re doing well and where there’s room for improvement. And because appreciation of story and art is subjective, you need to get a variety of perspectives and impressions. I suggest a minimum of three. But realistically, to guarantee adequate responses, consider six to ten.
Ideally, betas should be readers rather than writers. Many writers exchange work with other writers, which can be extremely helpful too. But this should be done in the context and expectation of writing critique, not beta feedback.
Solicit trustworthy, reliable readers to be your betas, and give them a framework for their feedback that would be helpful, including a deadline.
Are you trying something new? Do you have growth edges (love that phrase!) you’d like to work on? Alert your beta readers to those issues or areas for specific attention. Even if you just want general feedback, but especially if dealing with new or inexperienced beta readers, providing guidance will likely be appreciated. Otherwise you may get generic, unhelpful responses—positive or negative—which are equally unhelpful.
Beta Readers are the North Star in your Collaboration Constellation!
To improve your craft and become a better writer, it is essential to get reader feedback on your story! You need to hear both what you’re doing well and where there’s room for improvement. And because appreciation of story and art is subjective, you need to get a variety of perspectives and impressions. I suggest a minimum of three. But realistically, to guarantee adequate responses, consider six to ten.
Ideally, betas should be readers rather than writers. Many writers exchange work with other writers, which can be extremely helpful too. But this should be done in the context and expectation of writing critique, not beta feedback.
Solicit trustworthy, reliable readers to be your betas, and give them a framework for their feedback that would be helpful, including a deadline.
Are you trying something new? Do you have growth edges (love that phrase!) you’d like to work on? Alert your beta readers to those issues or areas for specific attention. Even if you just want general feedback, but especially if dealing with new or inexperienced beta readers, providing guidance will likely be appreciated. Otherwise you may get generic, unhelpful responses—positive or negative—which are equally unhelpful.
Giving specific parameters and guidance will, hopefully, make the feedback more pertinent. Limiting the number of issues you’d like them to watch for will make them less likely to get overwhelmed and run for the hills! And asking them to fill out a questionnaire afterward will lessen your influence on their reading.
Copyright your material, and send it out in an encrypted PDF or a view-only Google doc. (Rooted in Writing has an amazingly comprehensive collection of beta reader resources for authors that I feel no need to try to improve upon or reproduce. Thanks Amber!)
Have you written outside your personal experience? Consider hiring a sensitivity reader. As author Anna Hecker describes in Writer’s Digest, these knowledgeable editor/readers can help authors identify and correct wording or descriptions that could trigger, or details that are incorrect, off base, stereotypical, offensive, or antiquated. Check out the detailed explanation and data base in Write in the Margins. You’ll find more about this in the conscious language section of my Topical Resources page.
Trying to juggle all the comment-laden documents from your trusted beta readers can feel overwhelming. Some authors like to share the manuscript via Google docs where they can be combined into a Shared document. Readers can even interact with one another that way. This method obviously has pros and cons.
If you prefer to use MS Word, Jami Gold has a wonderful step-by-step tutorial for combining comments into one document for easier consumption. This compilation can illuminate patterns and highlight issues of particular concern.
Copyright your material, and send it out in an encrypted PDF or a view-only Google doc. (Rooted in Writing has an amazingly comprehensive collection of beta reader resources for authors that I feel no need to try to improve upon or reproduce. Thanks Amber!)
Have you written outside your personal experience? Consider hiring a sensitivity reader. As author Anna Hecker describes in Writer’s Digest, these knowledgeable editor/readers can help authors identify and correct wording or descriptions that could trigger, or details that are incorrect, off base, stereotypical, offensive, or antiquated. Check out the detailed explanation and data base in Write in the Margins. You’ll find more about this in the conscious language section of my Topical Resources page.
Trying to juggle all the comment-laden documents from your trusted beta readers can feel overwhelming. Some authors like to share the manuscript via Google docs where they can be combined into a Shared document. Readers can even interact with one another that way. This method obviously has pros and cons.
If you prefer to use MS Word, Jami Gold has a wonderful step-by-step tutorial for combining comments into one document for easier consumption. This compilation can illuminate patterns and highlight issues of particular concern.
I've created a Google doc with a sample letter of instruction for your beta readers which can be adapted to suit your needs followed by questions and prompts for beta readers to help them order their thoughts and direct their comments. Request this resource in the Contact form.
For professional beta reading feedback, consider hiring me for an Alpha Assessment, Basic Beta Read, or Beta Plus service. And with certain BFF Editing services, you can access the help of some kind, generous, and dedicated readers with my Beta Brigade. Contact me if this would be a helpful option for you.
Check out this comprehensive article on beta readers by Jason Brick on TCK publishing: Complete Guide to Beta Readers: How to Find and Work with Early Reviewers to Improve Your Writing.
Special thanks also to author/editor/blogger Jami Gold, to author/editor Laurel Garver, to author Anna Hecker, and to editor/coach Amber Helt for their insights and suggestions.
For professional beta reading feedback, consider hiring me for an Alpha Assessment, Basic Beta Read, or Beta Plus service. And with certain BFF Editing services, you can access the help of some kind, generous, and dedicated readers with my Beta Brigade. Contact me if this would be a helpful option for you.
Check out this comprehensive article on beta readers by Jason Brick on TCK publishing: Complete Guide to Beta Readers: How to Find and Work with Early Reviewers to Improve Your Writing.
Special thanks also to author/editor/blogger Jami Gold, to author/editor Laurel Garver, to author Anna Hecker, and to editor/coach Amber Helt for their insights and suggestions.
Need fresh eyes to give valuable feedback on a story or message you are WAY TOO familiar with to see clearly?
Contact BFF Editing today to see if my Beta Brigade can help!
Contact BFF Editing today to see if my Beta Brigade can help!
When you've done all you can to self-edit and revise your message or story, it's time to get fresh eyes on your work, your creation, your art. You have the final say and the responsibility (in self-publishing) to decide what goes out to the public, and it's your right to direct the process from the beginning to get it ready.
Making oneself vulnerable by inviting critique is an act of incredible courage as well as conviction.
The creative process is often quite personal. It can expose wounds or tender emotions. Establishing parameters and boundaries and specifying what kind of feedback you want to receive is something you can do to empower and protect yourself.
For instance, especially in the early stages, you can let your editor know if you prefer a certain style of feedback or if you'd prefer that feedback be limited to certain aspects of your writing - like natural dialogue, or consistency, whether characters are multi-dimensional or engaging, or whatever you are concerned about - and I (if you choose to work with me) will narrow my focus to address only that.
It's important for the artist to have a clear vision in their own mind and to be able to articulate it, even if they aren't quite sure about the steps or path to achieve it. I encourage writers to clarify for themselves and for me what their intention or vision is for the piece, to consider what their theme might be, to list what or who their influences are, and who their audience is.
I prefer to read the piece first without knowing any of that - just as most readers would. But if you can define and share those deeper, underlying values, I will take them into consideration and engage with the material from that standpoint in my second reading (if this is an edit) or in my assessment or feedback notes (if this is an Alpha or Beta read).
When you receive feedback on your creative work - this thing that you've poured yourself into - whether from me or a critique partner or a beta reader, you may struggle to separate your self from your work. But the critique is not of you or even of your talent.
Keep in mind that this creative process is just that - a process. We all have to start somewhere, and all creative endeavors start out a mess then go through stages where the image or language is blurry or imprecise or where the style or technique is halting or unsure. But gradually, through practice and patience and after many mistakes and revisions, the piece or form or ability will become clear and strong and beautiful.
So remember that a good editor wants to help your work shine. Our mutual goal is to send it out into the world in a polished condition that communicates your intentions and your message in a clear, effective, and maybe even an inspiring way, which often requires many drafts and collaborative efforts from a team of folk.
The creative process is often quite personal. It can expose wounds or tender emotions. Establishing parameters and boundaries and specifying what kind of feedback you want to receive is something you can do to empower and protect yourself.
For instance, especially in the early stages, you can let your editor know if you prefer a certain style of feedback or if you'd prefer that feedback be limited to certain aspects of your writing - like natural dialogue, or consistency, whether characters are multi-dimensional or engaging, or whatever you are concerned about - and I (if you choose to work with me) will narrow my focus to address only that.
It's important for the artist to have a clear vision in their own mind and to be able to articulate it, even if they aren't quite sure about the steps or path to achieve it. I encourage writers to clarify for themselves and for me what their intention or vision is for the piece, to consider what their theme might be, to list what or who their influences are, and who their audience is.
I prefer to read the piece first without knowing any of that - just as most readers would. But if you can define and share those deeper, underlying values, I will take them into consideration and engage with the material from that standpoint in my second reading (if this is an edit) or in my assessment or feedback notes (if this is an Alpha or Beta read).
When you receive feedback on your creative work - this thing that you've poured yourself into - whether from me or a critique partner or a beta reader, you may struggle to separate your self from your work. But the critique is not of you or even of your talent.
Keep in mind that this creative process is just that - a process. We all have to start somewhere, and all creative endeavors start out a mess then go through stages where the image or language is blurry or imprecise or where the style or technique is halting or unsure. But gradually, through practice and patience and after many mistakes and revisions, the piece or form or ability will become clear and strong and beautiful.
So remember that a good editor wants to help your work shine. Our mutual goal is to send it out into the world in a polished condition that communicates your intentions and your message in a clear, effective, and maybe even an inspiring way, which often requires many drafts and collaborative efforts from a team of folk.
Red Pen Reactions -
Let the overwhelm fade. Maybe wait a day or even a week until you are feeling ready to absorb the feedback. Let the comments sink in, and try to see through their eyes.
Resist the instinct to react defensively. Your book friend editor/beta reader does not hate your writing. They are, in fact, amazed by your creativity and impressed with what is obviously a huge accomplishment. Try to approach this step in the polishing process with openness so you can see where the feedback highlights places or phrases that could perhaps use a bit of tweaking. The feedback may pose pertinent plot questions or point to issues of inconsistency or insensitivity, which honestly reflect reactions you might get from readers.
This is what you need, asked for, and what you are paying your book friend editor or beta reader to do.
Resist the instinct to react defensively. Your book friend editor/beta reader does not hate your writing. They are, in fact, amazed by your creativity and impressed with what is obviously a huge accomplishment. Try to approach this step in the polishing process with openness so you can see where the feedback highlights places or phrases that could perhaps use a bit of tweaking. The feedback may pose pertinent plot questions or point to issues of inconsistency or insensitivity, which honestly reflect reactions you might get from readers.
This is what you need, asked for, and what you are paying your book friend editor or beta reader to do.
So here's a possible scenario:
You've written your novel/blog/op-ed/essay, and—with no small degree of trepidation—you've sent it off to your editor or alpha, beta, or sensitivity reader. Hopefully you've chosen to do this when you are in a place of detachment, ready to let someone else into your creative process for the good of the story.
When you receive your sample edit, reader feedback, or first round of edits, you may be wary to see what they think of your pride and joy over which you've labored—sweating bullets, and shedding copious tears —or perhaps you're stoked to get feedback on a story that flowed out of you like a gushing river.
I recommend you read the cover letter and editorial report before opening the Word document, and even then, it can be a shock. Your beautiful manuscript may be covered in markings, the margins full of comments, questions, and suggestions.
As you scan through the feedback you might feel overwhelmed.
Just pause a moment.
Breathe. Stretch. Go for a walk.
Drink a glass of water.
You've written your novel/blog/op-ed/essay, and—with no small degree of trepidation—you've sent it off to your editor or alpha, beta, or sensitivity reader. Hopefully you've chosen to do this when you are in a place of detachment, ready to let someone else into your creative process for the good of the story.
When you receive your sample edit, reader feedback, or first round of edits, you may be wary to see what they think of your pride and joy over which you've labored—sweating bullets, and shedding copious tears —or perhaps you're stoked to get feedback on a story that flowed out of you like a gushing river.
I recommend you read the cover letter and editorial report before opening the Word document, and even then, it can be a shock. Your beautiful manuscript may be covered in markings, the margins full of comments, questions, and suggestions.
As you scan through the feedback you might feel overwhelmed.
Just pause a moment.
Breathe. Stretch. Go for a walk.
Drink a glass of water.
Your editor may offer suggestions to help you learn skills and develop techniques to become a better writer and self editor.
However, it's hard to make oneself so vulnerable. As an artist, even though we know we need and have asked for help, we often struggle to throw off our defensive armor completely. We may expect to receive a blow in a spot where we've received a previous injury or where we're already bruised. So we instinctively raise our shields.
However, it's hard to make oneself so vulnerable. As an artist, even though we know we need and have asked for help, we often struggle to throw off our defensive armor completely. We may expect to receive a blow in a spot where we've received a previous injury or where we're already bruised. So we instinctively raise our shields.
If you are someone who resists or just can't seem to lean in to constructive correction or suggestions for improving your work or skills, try to re-frame the experience. As uncomfortable as it may feel, revision is a natural and healthy part of the process that will result in a better, more well crafted story.
Think of it like this:
A good editor is like a good massage therapist.
An experience on the massage table that is entirely pleasant and soothing would not provide any lasting benefit. Sure it feels nice at the time, but it isn't helping to unknot your muscles or bring long-term healing or ease.
A good massage therapist invites you into a safe environment they've created very deliberately. It's warm and welcoming to help you relax and feel comfortable. They ask if you have any specific concerns or if they should focus on any particular spots. They continue to ask questions to get to know you—like what do you do, do you work out, what issues or injuries have you had in the past—while warming up your muscles.
Their warm, sensitive, experienced hands search out and find your tight, strained, knotted, or misaligned muscles. And they alternate between soothing and digging into your muscles—often finding WAY more problem spots than you had any idea were there. This can certainly cause discomfort in the short run. And if you remain tense, defensive and resistant, very little will be accomplished. You'll leave in not much better shape than when you arrived.
A good massage therapist may recommend stretches or exercises or adjustments in your posture to help you grow stronger and avoid these issues in future. If you don't heed this advice or view it as criticism of you as a person, you will have wasted your money and time and will not progress or improve. Their goal is to ease chronic discomfort and enhance mobility.
If you trust them, if you can relax and surrender to the process, work with them, and follow their advice going forward, your body will benefit from the attention. After some time, maybe with some training, you'll be able to move more freely and without pain.
Think of it like this:
A good editor is like a good massage therapist.
An experience on the massage table that is entirely pleasant and soothing would not provide any lasting benefit. Sure it feels nice at the time, but it isn't helping to unknot your muscles or bring long-term healing or ease.
A good massage therapist invites you into a safe environment they've created very deliberately. It's warm and welcoming to help you relax and feel comfortable. They ask if you have any specific concerns or if they should focus on any particular spots. They continue to ask questions to get to know you—like what do you do, do you work out, what issues or injuries have you had in the past—while warming up your muscles.
Their warm, sensitive, experienced hands search out and find your tight, strained, knotted, or misaligned muscles. And they alternate between soothing and digging into your muscles—often finding WAY more problem spots than you had any idea were there. This can certainly cause discomfort in the short run. And if you remain tense, defensive and resistant, very little will be accomplished. You'll leave in not much better shape than when you arrived.
A good massage therapist may recommend stretches or exercises or adjustments in your posture to help you grow stronger and avoid these issues in future. If you don't heed this advice or view it as criticism of you as a person, you will have wasted your money and time and will not progress or improve. Their goal is to ease chronic discomfort and enhance mobility.
If you trust them, if you can relax and surrender to the process, work with them, and follow their advice going forward, your body will benefit from the attention. After some time, maybe with some training, you'll be able to move more freely and without pain.
I'm sure see where I'm going with this. I think it's a pretty apt analogy!
I hope you can step back from identifying personally with your writing and relax into the process. Focus on improving your technique and skills with the help of your trusted editor.
And visit them regularly. The better they know your work, your voice, and your concerns, the more help they will be as you polish and prepare your work for publication.
I hope you can step back from identifying personally with your writing and relax into the process. Focus on improving your technique and skills with the help of your trusted editor.
And visit them regularly. The better they know your work, your voice, and your concerns, the more help they will be as you polish and prepare your work for publication.
Looking for a friendly, experienced editor
who'll encourage and support you as you journey toward publication?
Contact BFF Editing today!
who'll encourage and support you as you journey toward publication?
Contact BFF Editing today!
Editors prefer (agents and publishers require) that authors send their manuscripts in a "standard" Word format. But what does that mean, specifically? First, you should always check the house style requirements for specific agents/publishers, but what I'm about to share is pretty standard.
The following directions are for a PC (I'm working on directions for Mac) -
Hint - it really helps to have the Show function turned on when working with layout, styles, and formatting. You can do this by going to the Home tab, Paragraph section, and clicking on the "Show/Hide" symbol in bottom right corner (kind of looks like a backward capital P). This will make things simpler for you as it will show the hidden formatting directions in your document.
In Word's Layout tab, Page Setup section, please set up your manuscript to have:
In the Home tab, Font section, please set your fonts like this:
In the Home tab, Paragraph section, click on Indents and Spacing to set up your manuscript like this:
Please do not use a series of "returns" as we would say back in ye olden days of typewriters (i.e., hitting Enter multiple times) to get to a new page (to start a new chapter, for instance). Instead, insert a page break at the end of each chapter so that the new chapter begins on a new page. To do this, use the format settings in Word like this:
Center your title page starting a third of the way down the page with:
Next, please label your manuscript pages with title and author in top right (Header) and page number in bottom right (Footer).
Undoubtedly, multiple ways exist to achieve basically the same results. However, in my experience, having the header text against the right margin separates it visually from the text in the manuscript. And having the page number on the right side of the footer makes it easy to find.
First:
Then create your Header. Place your cursor on the first page of Chapter One, and:
You don't want a title/author header on your Title page. So if one has appeared:
To add a page number to the Footer in Word:
Bits and bobs to make your editor's job easier:
*You can find the Navigation pane in the View tab, in the Show section (or you can use the shortcut: ctrl+f). You can search your document for specific words, pages, images, Heading, etc. You can also move whole sections of your document around from the Navigation pane rather than copy and pasting the text in the manuscript.
How to create a Table of Contents:
I hope these directions and hints prove helpful and if you have any questions or suggestions, please feel free to contact me! I'm always interested and eager to improve my content to make it more helpful for my writer friends.
The following directions are for a PC (I'm working on directions for Mac) -
Hint - it really helps to have the Show function turned on when working with layout, styles, and formatting. You can do this by going to the Home tab, Paragraph section, and clicking on the "Show/Hide" symbol in bottom right corner (kind of looks like a backward capital P). This will make things simpler for you as it will show the hidden formatting directions in your document.
In Word's Layout tab, Page Setup section, please set up your manuscript to have:
- Margin: 1 inch
- Size: Letter
- Orientation: Portrait
- Use Page Breaks after title page, chapters, etc. rather than tabbing down to the next page
In the Home tab, Font section, please set your fonts like this:
- Size: 12-point text
- Font: Times New Roman
- Color: black on white background
In the Home tab, Paragraph section, click on Indents and Spacing to set up your manuscript like this:
- Alignment: Left (ragged right)
- Indentation: Special - First line: 1.27 cm (use this setting rather than tabs or spaces to indent paragraphs)*
- Spacing: Before - "0" and After - "0" (no extra space between paragraphs)
- Line Spacing: Double
Please do not use a series of "returns" as we would say back in ye olden days of typewriters (i.e., hitting Enter multiple times) to get to a new page (to start a new chapter, for instance). Instead, insert a page break at the end of each chapter so that the new chapter begins on a new page. To do this, use the format settings in Word like this:
- Place cursor at end of the chapter. Go to Layout tab, Page Setup section and click Breaks. From the drop-down menu, in the Page Breaks section, click Page.
- OR place cursor at end of chapter and type ctrl+enter, which will also create a page break.
Center your title page starting a third of the way down the page with:
- Title
- Subtitle
- Your Name
- and your latest word count to the nearest hundred
Next, please label your manuscript pages with title and author in top right (Header) and page number in bottom right (Footer).
Undoubtedly, multiple ways exist to achieve basically the same results. However, in my experience, having the header text against the right margin separates it visually from the text in the manuscript. And having the page number on the right side of the footer makes it easy to find.
First:
- Place your cursor at the end of the Title page text (or at the end of any other front matter, e.g., table of contents, note from author, etc.)
- Then to ensure your page numbers start at the beginning of the manuscript and not on the title page or in the front matter, go to the Layout tab, Page Setup section and click Breaks to open menu.
- Under Section Breaks, click Next Page.
Then create your Header. Place your cursor on the first page of Chapter One, and:
- Go to the Insert tab, Header & Footer section.
- Click Header and, from the drop-down menu in the upper right, choose the style you prefer. (I personally like Filigree.)
- Type your title and author name. (Note, if you've used Styles to create your title page, these will auto-populate—yay!)
- Click X to Close Header & Footer or double click on the body of your text in the manuscript, either of which will make the H&F toolbar disappear.
You don't want a title/author header on your Title page. So if one has appeared:
- Double click on that header text that you wish to delete and the Header & Footer toolbar will appear. (Double clicking in the Header or Footer area of the page is another way to reach this toolbar.)
- Then go to the Options section and select Different First Page. This should make it disappear from your title page.
- Click the X to Close Header & Footer (or double click on body of manuscript text) to make the H&F toolbar disappear.
To add a page number to the Footer in Word:
- Place your cursor on the first page of Chapter One.
- Go to the Insert tab, Header & Footer section.
- Click Page Number to access the menu, scroll down to Bottom of Page, then slide your cursor across to the menu where you'll select a style of page number of your choice to appear on the right. (I personally like Bar 4 as it corresponds nicely with Filigree.)
- Then click the X to Close Header & Footer (or double click on the manuscript page) to close the toolbar. You should be all set.
Bits and bobs to make your editor's job easier:
- Please ensure that only ONE space appears between sentences. (Modern kerning eliminates the need to double space between sentences like we used to do with typewriters. See this article by Erin Wright for help with this.)
- Indicate a Scene Change (for a change in location or time or POV) with extra space between paragraphs and a centered dingbat or dinkus, such as ### to avoid reader/editor confusion. If you don't signal to readers in any visual way other than a space, it might end up at the bottom of a page where they wouldn't notice. (Your formatter will need to adjust this later, but for now this is helpful.)
- If you are versed in using Styles (section in the Home tab) or want to learn, you can start by creating your Title page with the Title style (As mentioned earlier, if you've already done this, it will auto-populate your Header's author/title information). You can also create Headings for each of your chapters so that they are consistent and more quickly searchable in Navigation*. Having your chapters formatted as Headings will also enable you to create a Table of Contents.
*You can find the Navigation pane in the View tab, in the Show section (or you can use the shortcut: ctrl+f). You can search your document for specific words, pages, images, Heading, etc. You can also move whole sections of your document around from the Navigation pane rather than copy and pasting the text in the manuscript.
How to create a Table of Contents:
- Create a blank page after your Title page, and place cursor at the top of the page.
- Go to the References tab and Table of Contents section.
- Click the Table of Contents button and select the style you prefer.
- If you make any changes to your document after that, don't forget to update your table of contents. After you've made the changes to your document, go back, place cursor in the T of C field and right click.
- Select "Update Field" in the first popup box and "Update Entire Field" in the second one. This will update your T of C to reflect any page shifts or chapter title changes you've made.
I hope these directions and hints prove helpful and if you have any questions or suggestions, please feel free to contact me! I'm always interested and eager to improve my content to make it more helpful for my writer friends.
Let's chat about how I might help you refine your story
so that it clearly communicates your message
in a way that engages and informs.
so that it clearly communicates your message
in a way that engages and informs.
“I loved how personable Kate was during our chats and emails, making it feel like I was talking to a good friend, and she was always open to explaining her suggestions if I didn’t understand something. She has this way of still being friendly while offering critiques, so I never felt like I was being made fun of for missing things. I felt like Kate wanted what was best for my story and really put her heart into helping in any way she could.”
- Author Michelle A. Marie
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