What My Editor Has Done For Me

There is a big question out there of what, exactly, and editor does, and what makes a good one.  This is especially true when people are, say, considering who to vote for in the Best Editor, Long Form category in the Hugos-- a category that my editor, Sheila Gilbert, is nominated for.

So, just this week I had a long conversation with Sheila, mostly about my draft for The Imposters of Aventil.  This book is the third Thorn book, and it's also the midpoint in what I'll call "Phase I" of my over all Maradaine plan.  It's the first book where the integrated elements of the various Maradaine series show come into play.

So Sheila has to walk something of a balance act in helping me with the development.  She has to be able to fundamentally get what I'm doing and what I want to accomplish, while at the same time maintain enough outsider perspective to see if the pieces I'm placing make sense and I'm not just in my head.  She pulls at the loose threads and asks me what I'm going to do with those.  She keeps me on the big picture and on the details.

Which, for a book like Imposters, which is the biggest thing I've done so far, in many ways, is so crucial.

(Don't worry-- it's longer than the other books, but it's FAR from a doorstopper.)

Without that kind of editing, I wouldn't be able to do everything I want to do.

So now, I have to get back to doing it.  These books don't write themselves.  (Or re-write. Or edit. Or proof.)

Developmental Editors

Developmental editors are a thing?

When did this become a thing?

I want one.

Guess I can't really write much of a post about something I didn't know about.

5 Things to Look for When Hiring a Dev Editor

In the world of self-publishing, more than a few authors skip the Dev Edit in favor of good CP or Beta Reader. I am not one of those authors. I have great CPs; however, I very much want and need the perspective and experience a Dev Editor brings to my manuscript.

Note: If I were signed to a publishing house-- small, medium, or large--then the editor assigned to me by the publisher would be my developmental editor (among the many other hats the House Editor wears). 

In addition to the great list Jeffe gave on Sunday about 5 Traits of an Ideal Development Editor, here are...

5 Things to Look for When Hiring a Dev Editor

• They're upfront about rates 
• Look for per-word rather than per-hour rates. You have no control over how quickly the editor does their job. Going rate for a dev editor is $0.025/word for two passes--one for the original submission and one post-first-round edit.
• Some editors offer per-project rates. Do the math, if the project cost is more than the per-word cost, negotiate or find a different editor.
• It is not uncommon for an editor to ask for a percent of the total price up front. This secures your slot in their schedule and confirms commitment from both parties. Paypal is the most common transaction platform.
• If you're like me, your word count will increase--possibly by 10k words--during the editing process. Make sure you've negotiated that probability when talking rates. You may well owe the editor more money in the final payment to cover that bump in word count. 
• They have experience in your genre(s)
• This is imperative. An erotica dev editor is not suited for your space opera. An epic fantasy editor should not be futzing with contemporary horror. You are paying for an expert who knows your genre's tropes and your genre's audience expectations. They're also on point with the past, present, and dawning trends in your genre (regardless of whether you've written to a trend).
• Check their client lists. If they're not posted on the website, ask. Then take the extra step and go to the library and/or buy a few of the books on which they worked by different authors. If you don't have time to read the whole book, then read the opening chapters, random bits from the middle, and the endings. You're not reading for author voice, you're reading for quality of story construct. Keep in mind not every author takes their editor's advice, and not every manuscript can be salvaged by two editing passes. This is why you have a random collection.
• Beware of "all-in-one" companies that offer dev edits but do not disclose the editor or the editor's verifiable qualifications. 
• They communicate in an effective and timely manner
• They should be responsive from the initial inquiry straight through to final edit and invoice. At no point should you ever have to hunt down your editor. A big part of this is a matter of professionalism and applies to any freelancer. It still has to be said because it still applies to a dev editor. If they can't manage their email, imagine what they're doing (or not doing) to your 100k book.
• By contrast, a dev editor is not there to be your therapist or to rewrite the book for you. 
• Phone Calls & Web Chats: Don't assume phone-call reviews of the edits are part of the service provided. Web chats for brainstorming fixes may not be included either. If you are the kind of writer who needs or expects those services, negotiate that up front with the editor. Some dev editors are totally fine with it, some aren't. It's on you make sure your needs are understood and will be met before you agree to employ the editor.
• They provide more than a paragraph of summary comments
• The value of a dev editor directly correlates to the quality of feedback provided. This is what sets them apart from the avid reader, book critic, grammarian, or academic who might be a fan of your genre (or you) but is not qualified to be a dev editor.
• The final product they send back should include a summary that hits on the big picture things including themes, plots, character dev, and even particular stylistic tics you have of which you may not be aware. If you're writing a series and you're using the same editor, the summary should also include comments about the progressing arc of the series.
• The summary should include what works well along with opportunities for improvement. They should be able to communicate this clearly without being an asshole and without being too timid. 
• (You should also be able to take said feedback without being an asshole or too timid.)
• A dev editor should be able to articulate why things work and why they don't. Again, the difference between a beta reader and a professional dev editor. 
• It's okay to ask for an example of a summary letter when contacting a potential editor. Similarly, some editors may ask you for your first chapter so they know whether they want to take you on as a client. 
• They provide more than line-edits in the document
• Note: your dev editor is not your copy editor, but they will call-out glaring issues.
• Beyond noting grammar flaws, there should be comments in the document about what is working and what isn't. "Pacing falls flat here." "Action not true to character here." "Complex setting used only once in story here. Restage?" 
• If you receive a document with nothing more than homophone catches and punctuation fixes, they haven't done their job. 
• Most editing is done via MS Word's Track Changes and sent electronically. I know a few trad publishing houses who still send hard-copy edits. That's atypical in the self-publishing world.

Scheduling: As in all aspects of self-publishing, schedule 2-3 months in advance of needing the dev edits and bake in wiggle room for date slippage during the editing process. Sometimes the edits you get back are WAY more time consuming to address than you'd initially planned. Sometimes, life happens--whether on your end or theirs--and dates have to slip. An extra week is wise.

Bonus Benefits: Many dev editors have teamed up with copy editors, which makes life easier on the author. Often the per-word edit cost includes one copy edit pass. If you're availing yourself of that, make sure the copy editor is a different person from the dev editor. You want fresh eyes on that detail-oriented task.

Where to Find Dev Editors: Networking with other authors. Trade Organizations. Writer's Associations. Publisher sites (many publishers employ freelance editors). As always, check WRITER BEWARE before hiring anyone.

Like Rocky Balboa said:

Once upon a time, when asked if he would like to invest in condominiums, Rocky Balboa said, "I don't use them. I'm Catholic."


I'm that way with developmental editors. I don't use them.

So for this week, I fear I'm not much use. I have used first readers, I have hired my own editors, but when it comes to developing my stories, it's just me.

I even had an editor I used once who, several times through the course of reading the first draft of my novel SMILE NO MORE, asked me to give her a clue. The challenge was simply that the story was told in three separate sub chapters for each chapter. First person recollections from Cecil Phelps. First person recollections from Rufo the Clown, and third person scenes told to fill in the events as they happened in the modern day. It isn't until a little over halfway through the novel that everything starts to dovetail, but it does, eventually.

Seriously. She'd ask for just a hint, just a vague notion of where the story as going. I kept telling her to keep reading and then, finally she said "Oh! That makes sense now."

That's just sort of the way I work. I know where I'm going. I know how I'm going to get there. Sharing that information tends to mess the whole thing up for me. No one sees it until it's done.


Is my way the right way? Probably not. But it's what I'm comfortable with.

Five Traits of an Ideal Developmental Editor

A good developmental editor is key for taking a book from good to great. Or from meh to great. Or even great wad of suckage to great.

I firmly believe every novelist needs a good developmental editor.

Writers of short fiction benefit from them, too, but novels in particular, with all their unwieldy size and multiple threads really cry out for that help.

What does a developmental editor do?

They are the first stage of professional editing. (Feedback from critique partners and beta readers might come before this.) A developmental editor gives generalized feedback on how the story works - where it could be cut for pacing, where more detail can be added for clarification, where emotion can be amplified, perhaps even reordering of scenes for maximum effect. In short, a developmental editor does what it's impossible in most cases for an author to do: evaluate the work objectively.

But how do you choose a really good developmental editor?

I hear a fair number of authors recommend editors saying "they're really good and they don't change my voice!"

Cringworthy.

Why? Because this is utter nonsense. I don't get this writerly terror of having their voice changed. Let me give you a little clue, folks. I'll even all-cap it so it sticks to your brain better.

NO ONE CAN CHANGE YOUR VOICE BECAUSE IT COMES FROM YOU.

Okay?

Okay!

So, let's talk about the actual topic: Five Traits of an Ideal Developmental Editor

1. They can see both the forest and the trees
   
   An ideal developmental editor has a good feel for the overall scope of a story - or series - and can carefully track key worldbuilding details, to keep the story logic in place.
   
2. They care more about the book being good than your feelings
   
   This is particularly important for self-publishers, because the editor is hired by the writer, instead of by the publishing house. The temptation is to keep the client happy by telling them what they want to hear. This is not good for the book. Find an editor who's willing to tell you what you don't want to hear. Then listen to them.
   
3. They also tell you what works
   
   A good editor is able to give praise as freely and specifically as criticism. Beyond the soul-crushing of editorial critique, well-targeted love can show the flip side, where the craft and the story IS working. It's much easier to fix problems when you can study your own successes, too.
   
4. They're able to offer suggestions for fixes
   
   Not all writers like this, but I love it. A good editor can not only say "this isn't working," but offer ideas for rephrasing, clarification, adding, cutting, etc. A smart, talented and diligent editor cares as much about the book as the writers does and can often see what the writer can't.
   
5. They know the market
   
   The best developmental editors know their genre and what's acceptable within the reader contract. Making a book shine means knowing the potential readership and what they'll expect. Adjusting a story to adhere to genre conventions can mean the difference between delighted readers and an angry mob.

What else? Any traits of an ideal developmental editor that I missed?

Is The Slang Too Old?

I don't have much to say on this topic, since I write science fiction romance set in the far future and I've invented my own slang for those characters. I also write paranormal novels set in ancient Egypt and the slang I use there is VERY old LOL. But it fits the time period. Actually, the problem I have in those novels is the reverse - I have to be careful not to use words and terms that reference inventions and innovations that won't arise for thousands of years. I was rereading one of my old novels last night and found three gems I'd missed. No steel in 1550 BCE.  'Faux' - even Old French didn't exist that long ago. I don't remember the third one at the moment. I usually change steel or iron to bronze, which doesn't always flow smoothly to the modern eye, but I missed this one reference.

Here's an encounter from Dancer of the Nile, not that it's full of slang but I don't know what else to give you today! Nima the dancer is prepared to gamble with some very high stakes...

“Are you a gambling man?” She pointed at the object taking up most of the table beside him. “Do I see a senet board?”

                He rubbed his hand across the game board inlaid atop the gleaming container. “Indeed it is. You play?”

                As if she had all the time in the world, Nima walked to the game box, deliberately making her stride slow and sensuous, like the opening steps of a dance. Bending to give him a good view of her shapely bottom outlined by the dress pulled tight as she leaned over, Nima opened the bottom drawer of the case and plucked a shiny black pawn at random from inside. With an elegant gesture, she turned and extended her hand to the caravan master, the pawn sitting on her flat palm. “I challenge you to a game.”

                He stroked his bearded chin, leaned back as he braced one foot on a trunk and made a show of considering. “For what stakes?”

                “If I win, you give us shelter for the night, and we go our separate ways in the morning.” She set the pawn on the board in the starting square. “If you win, we’re yours to do with as you please.”

                “Nima—” Kamin’s protest was instant and angry. In two steps he was at her side, yanking her to face him. “What are you—”

                Wrenching herself loose, she ignored him, facing Ptahnetamun again. “I’ve lived in border towns all my life, so I’ve heard of the honor code governing caravan masters. I want your word you’ll abide by the outcome of the game.” She held up one hand before he could speak. “No, I want your blood oath on it.”

                Jaw dropping, Ptahnetamun stared at her while his men muttered and even the serving girl looked impressed by Nima’s boldness.

                “Well? Do you agree to my terms or don’t you?” Nima drew herself to her full height and tried to feel impressive, despite her dusty clothes and tired body. He can’t back down from this challenge in front of his crew. I hope. Since he hesitated, she taunted him, paraphrasing a saying she’d often heard in the taverns where she danced. “Be aware I’ll pass you by as one who sails with the breeze, blessed by the Sun. I’ll be entering the House of Repeating Life while you, my opponent, will be stopped.”

                Next minute, Ptahnetamun threw back his head, roaring with laughter. “Spoken like a true gambler. I like your spirit, woman.” He pointed at Kamin. “Does your warrior agree to what you propose? The deal must include you both.”

                “Will you give us a moment?” Pulling Kamin aside, Nima turned so the gawking caravan crew couldn’t see their faces. Kamin’s cheeks were red, and his frown was truly impressive.

                Putting both hands on her shoulders, he gave her a little shake. “What in the seven hells are you doing? “

                She laid her hand gently over his mouth, leaning close as she whispered, “Trust me, please, Kamin? If he swears me a blood oath—”

                Shoving her hand away, he rolled his eyes. “And if you win,” he said furiously. “The throwing sticks are bound to be false-weighted somehow. It won’t be a fair game, not some friendly match in the tavern for mugs of beer.”

                “I’m hoping the sticks are false.” She smiled mischievously, letting her smile fade as he continued to glare at her. “Please? I know the stakes are high, but we’re not getting out of here otherwise. You’re one man surrounded by dozens, and he sees profit in selling us. This is the only way we stand a chance of escaping.”

                “You’re asking me to risk the success of my mission for Pharaoh, for Egypt, on how well you can cheat a cheater?” He closed his eyes for a moment, rubbing his brow.

                “Blood oath?” Ptahnetamun asked from his position next to the game board.

                Going on tiptoe to look over Kamin’s shoulder, Nima said magnanimously, “Nothing less. I’ll swear as well,” drawing a quickly smothered laugh from the ever-increasing crowd at her back.

                “She’s set the stakes.” The man who’d taken Nima on his horse came forward to offer the caravan master his dagger. “Challenge has been made.”

                “And accepted!” Ptahnetamun slammed his cup on the table so forcefully the base cracked. Rolling back his sleeve, he extended his thick wrist. “I swear by the twin gods of the caravan road to abide by the outcome of this senet game. She and her man go free in the morning if she wins.” He leered at Nima. “But she’ll be on her back in my bed by dawn if I win.” The crowd roared with amusement at this sally. Gesturing at Kamin, he finished his boasting. “Be sure I’ll sell his carcass for a tidy profit.”

The story:

Nima’s beauty and skill as a dancer leads an infatuated enemy to kidnap her after destroying an Egyptian border town. However, she’s not the only hostage in the enemy camp: Kamin, an Egyptian soldier on a secret mission for Pharaoh, has been taken as well. Working together to escape, the two of them embark on a desperate quest across the desert to carry word of the enemy’s invasion plans to Pharaoh’s people.

As they flee for their lives, these two strangers thrown together by misfortune have to trust in each other to survive.  Nima suspects Kamin is more than the simple soldier he seems, but she finds it hard to resist the effect he has on her heart.  Kamin has a duty to his Pharaoh to see his mission completed, but this clever and courageous dancer is claiming more of his loyalty and love by the moment. Kamin starts to worry, if it comes to a choice between saving Egypt or saving Nima’s life…what will he do?

Aided by the Egyptian god Horus and the Snake Goddess Renenutet, beset by the enemy’s black magic, can Nima and Kamin evade the enemy and reach the safety of the Nile in time to foil the planned attack?

Can there ever be a happy future together for the humble dancer and the brave Egyptian soldier who is so much more than he seems?

Amazon  Barnes & Noble   All Romance eBooks  iTunes   Kobo   Google Play

Perils of the Writer: Being all 'hip' and 'with it'

I'm rather fortunate-- in a strange sense of the word-- that I right secondary-world fantasy, and thus I get to use my own phrasing and slang that is world-specific.  There's no need to be current or modern in a way that might date my work faster than I would hope.

I have friends who've written things set in "now", and because of the time it takes to get something sold or publish, the "now" has drifted away from them to a point where their story feels like a relic.  Or-- a real danger when writing near-future SF-- when I read Snow Crash, it was already the same year of the "future" of the book.  

I have been accused of using language that feels too "modern" for a fantasy novel-- though I think that comes from the strange expectation that fantasy needs to use some sort of faux-archaic tone, which I do not agree with.  Now, this might cause my books to get dated sooner than I would hope.  We'll have to see.

But the question at hand is also: can you write in a way that speaks to younger audiences without making your work seem dated-- or worse, like your some out-of-touch fogey trying to hard to "relate" with these kids today?  I think you can if it's authentic.  If it comes off as pandering-- like you're putting on a voice to target the youth market-- then they'll know.  And they won't like it.

Now, I've got plenty of work to do today in the word mines (and up here in the real world), so I'm off to it.  And if you're attending the Writers' League of Texas conference this weekend, look me up.  I'll be the one in the vest.

Are References Ever Too Old for Contemporary Writing?

Q1: Have I ever removed or edited a reference and/or saying because it's "too old" for my audience?

A1: Since I don't write YA, NA, or anything remotely related to children, "too old for my audience" is not a problem I have. "Too Young for Me" is something of which I am aware (you will never find the word "bae" in my work. Nope. I'm too damn old.)

Q2: Have I ever removed or edited a reference and/or saying because it's "too old" for my character(s)?

A2: Not so much for age as for the appropriate level of formality. This is particularly true in writing High Fantasy, less true when writing Contemporary Fantasy rooted in Western culture.

Q3: Have I ever removed or edited a Brand Name because it's "too old" for the story?

A3: In my Urban Fantasies? Yes. I try to never include Brand Names because what's popular today is riddled in ignominy tomorrow and out of business the day after, BUT sometimes they sneak in there. (I'm lookin' at you Lucite, Hakey Sack, and Frisbee).

Q4: Have I ever removed or edited a piece of technology because it's "too old" for the story?

A4: In Contemporary Fantasy? All. The. Time. I try to stay current on our constantly evolving technologies so as not to overly date a character who's supposed to be on-trend. It's little things that wave the "Get Off My Lawn" flag. Nobody "flips open their phones" anymore, and "swiping" means more than stealing these days. And thank gods for smartwatches and projection keypads because now my protagonist who wears form-fitting dresses can stop stuffing her phone in her bra.

Q5: Have I ever removed or edited a reference because it's "too obscure" for the audience?

A5: Rarely do I remove it. When I do, it's usually because it's part of a joke that's falling flat for all my pre-print readers. Otherwise, obscure references are fun little Easter eggs to drop that'll give an extra grin for anyone who gets the reference but by no means detracts from the narrative for anyone who doesn't get it.  I love to drop Easter eggs.  I am that girl. Not apologizing.