Wait, what - I last posted in August?!

Yeah, yeah, I know.

This is clearly, ridiculously, overdue. And for that I humbly beg forgiveness and bow before you in the hope that you'll see fit to pat me on the shoulder and tell me it's fine.

It's just that summer turned out to be a crazy old time. After writing the last post, my freelancing work stumbled and lay motionless on the pavement of life for a few weeks. I went to London to meet with a TV producer to become 'the new face of archaeology'.... yeah, seriously... and no I'm not going to be... and then I was offered another job out of the blue.

In fact, I was offered several jobs out of the blue. All in the same week. And it was a hard choice to make, but I went with the biggest and best option for me and I'VE BEEN BUSY EVER SINCE OH SO BUSY YOU WOULDN'T BELIEVE THE BUSY BUSYNESS.

Anyway. That's my life over the last 4 months. For those keeping score, I did not get picked in Pitch Wars, although I believe I was close to getting a mentor, but my dastardly word count got in the way. Which is fair enough, because those guys were doing all that out of the kindness of their hearts and who'd want to volunteer their time to critique the biggest manuscript ever(TM)?

Still, Pitch Wars was a lot of fun and I highly recommend it!

Now I must return to the real world and sleep. There WILL be more regular posts to come from me soon and then in 2016 I'm hoping to up the ante with an interview about trolling with a wonderful author and TV commentator, a trip down memory lane with a gorgeous actress, and possibly a film producer or two.

In the meantime, Thursday looms large, when I get to pick up a story I last put down 32 years ago, as an excited 7-year old watching Return of the Jedi with his friends for his birthday.

As cynical as I normally am about sequels and prequels and reboots and whatnot... what an amazing thing this is turning out to be. That final trailer especially, which, for a moment, transported me through 32 years of time and space - thanks to the magic of a worn out spaceship and John Williams' finest score.

The force hasn't always felt that strong with me recently, and I may yet need to find my way back to the right path, but by goodness this beautiful thing is keeping me sane. Bring on the film!

PITCH WARS: The one with the bio

Okay, it's crunch time. My Pitch Wars submission has been flung into the ether, hopefully to land with the mentor of my dreams. And it's time to write a little bit about me, should anybody come a-stalking. So here we go.


FADE IN:

INT. DUNGEON, GENERIC FANTASY CITY - NIGHT

A scruffy-looking writer, DAN, is dragged along a corridor by a stocky wolf-headed guard. A thousand bloodshot eyes - other Pitch Wars candidates perhaps - blink at him from within the shadows of their cells.

GUARD

It's question time for you, my boy. I suggest you tell the mentors
 what they need to know and maybe they'll go easy on you.

A door opens and floods the corridor with bright light. A hand appears and beckons them closer. Dan looks up in horror before the guard pushes him through and the door shuts.

GUARD
(mutters)

May the saviour have mercy on your soul.

He shudders and moves on quickly.

INT. INTERROGATION CELL - MOMENTS LATER

We see Dan manacled to a mushroom chair at a tree stump desk. Behind the desk, in an exact copy of the Iron Throne, sits the HEAD OF THE LEAGUE OF STALKY MENTORS.

HEAD STALKY MENTOR

Writer, Dan. You have been caught lurking around camp Pitch Wars and
charged with infiltrating our contest with your YA Fantasy manuscript.
I suggest you talk and talk quickly. Who are you and
 what exactly do you want with us?

Dan glances around the cell. There is a rippling Stargate-style mirror to the side. Likely this is where the other mentors watch and scheme. He sits up as bravely as he can, his fingers digging into the fungus armrests.

DAN

I'm a... writer. But I guess you already knew that, right?
(laughs nervously)
Annnyway. I live on the edge of the beautiful Peak District
 in the UK with my Australian wife, two boys, and a dog named Indy. I'm a
freelance copywriter by day, having quit my job last year to finally
become a full-time writer. Which is great, because
I get to do copywriting and fit in work on screenplays and other things!

HEAD STALKY MENTOR
Screenplays?

DAN

Yes, I love them. And I've got a couple in development too. Fingers crossed
there could be some exciting times ahead. But...
(shakes head sadly)
 ...my manuscript is my first love. I've sweat blood and
 tears and, well, actual sweat into it over the years. And after a while
 of sitting on the sidelines watching others enjoy Pitch Wars success,
 it just seemed like the time was right for me to finally
 jump into battle with this accidental YA Fantasy. 

HEAD STALKY MENTOR
Accidental?

DAN
I'm actually a qualified archaeologist and this book started out as an undergraduate
thesis about end of the world myths. It didn't do so well academically, but my Professor
thought it'd make a great story. So I took the idea of placing a cast of characters in
that kind of pre-catastrophe Atlantean setting and ran with it. And while I wrote
the story I intended, I hadn't categorised it in my head as YA. Like so many
things we write, sometimes it's only clear at the very end.

HEAD STALKY MENTOR

Right. And what do you want from us?

DAN
This story, I think it's pretty great. I've had a brilliant editor tell me as much too.
It's just... precariously balanced on the cusp of being something agents
 and publishers are looking for today. So I need help. Ideally a shit-hot mentor to
work with. Someone with an eye for what will really make it stand out and hook interest.
Someone bold, who isn't afraid of tackling something pretty epic.

Dan cringes as the Head Stalky Mentor's eyes roll a full 360 degrees in their sockets. 

HEAD STALKY MENTOR
You didn't overdo the word count did you? We keep telling you guys-

DAN

Look, maybe I did. But it is Epic Fantasy! And I promise any courageous
mentor that it'll be worth any extra effort if they pick me.
Not only am I lovely to work with...
(flashes his best smile)
...and I think they'll enjoy this book, but let's face it, who could resist
the chance to go down in Pitch Wars history as succeeding
with an epic fantasy that was actually epic!

HEAD STALKY MENTOR

Let me get this straight. You want to convince the mentors
to put in even more of their valuable time into working on your
huge manuscript by appealing to their record-setting ego?

DAN

I'm desperate.

The Head Stalky Mentor leans forward and stares deep into Dan's soul. 

HEAD STALKY MENTOR

Fair enough. You will now be judged accordingly.

They both turn slowly towards the mirror. The rippling increases in intensity as the mentors beyond make their decision...

FADE OUT.

FADE BACK IN:

HEAD STALKY MENTOR

Oh and now you should totally check out the other
Pitch Wars mentee bios at Christopher Keelty's site. Enjoy!

FADE OUT AGAIN.

PITCH WARS Episode I: The Search for Mentors

So, what are we, three days since I mentally signed up for Pitch Wars? And yep, things are already spiralling out of control in all the best ways.

Finding My Yoda

First came the search for mentors. You can find them all here on Brenda Drake's website and the first thing you'll notice is that there are a GAZILLION of them. Which is absolutely brilliant, considering all the aspiring authors out there looking to impress. At least this way statistics are on my side, right?

However, a gazillion (or rather 108) takes a while to get through. So it's taken me a few days to check each one out - especially considering all the magnificent GIFs I've been caught up watching.

No, seriously.

*Ahem* Anyway. Sadly it turns out that all the mentors are fantastic. So I now have more than five potentials that I have to whittle down. But that's okay, because I still have a week to stalk and stalk and favourite and engage and charm these people.

Engage!

Seriously though, the engagement has been the most fun part. By following these magnificent mentors and chatting to them, asking questions, watching other conversations unfold, and seeing what words of wisdom - and likes and dislikes - are revealed, I've learned so much. More than I ever thought possible in only a couple of days. (It's all on the hashtag #PitchWars. Go look if you don't believe me.)

Fear and Loathing

Of course, this isn't all good news. Any bravado I once had has now been shot to shit, and I'm now sitting here a quivering mess wondering if I know my category well enough (I'm sort of accidental YA, so, yeah), what books I'm comparable to, do I have a high-concept pitch, is my synopsis too long or too short, and whether my word count is going to end up on some kind of Pitch Wars hall of infamy post.

But...

At least I'm worrying about these things! Which has reignited my passion for this long-in-labour book. Which has led me to trying to strengthen what I can at this point.

And thus when I happened across a long-time writerly/editorial chum on Twitter offering special Pitch Wars critiques (there are a few of these about, so keep checking the #PitchWars feed), I had to take her up on it. Because a pair of fresh eyes - especially those with previous PW experience - might just pick up on something that will get me over the line.

And now?

I have a week to polish up my submission as much as I can before it's critiqued. I have a week and a half to decide on those five mentors whose hands I will place my very existence.*

Game on.




*I may have oversold this. It's a query and the first chapter of my book. Whatever. 

PITCH WARS: The Adventure Begins

If you're a writer, and you're on Twitter, you'll probably be familiar with Pitch Wars.

A contest run by the amazing Brenda Drake, it's where unpublished writers get to pitch their manuscripts to mentors (from agents to editors to published writers), after which the mentors pick a mentee and they work together for a couple of months on making that manuscript shine. Then they pitch to agents. Then they get multi-million dollar book deals. Then comes the fame, fortune, and endless requests for autographs wherever they go.

Or something like that.

For the past few years I've sat and watched the (extremely well) organised chaos with interest. I've seen writers find success. Or find writing soul mates. Or both.

I've enjoyed the pitches and used the ones that worked best to help figure out what my own should be.

But it's all been somewhat lurky on my part (NOT creepy lurky, just quiet lurky). Usually just checking in on Twitter to see how it's all unfolding - in between writing short stories, new scripts, or simply trying to catch up on naps from the whole having kids and not sleeping for 5 years thing. (Admittedly other crazier parent writers blink away the tired and write through the night and that's probably why they almost always end up being successful... but whatever, I've needed the sleep because I'm getting old.)

ANYWAY.

This year I'm going to change that. I've got a manuscript that I've been told is ready to rock. I've got a little more time on my hands thanks to the whole working-from-home malarkey. And I'm in the mood to get this &!£Q£(*£Q book out there and over that final hurdle of not being quite what agents and publishers are looking for.

So here we go. They might not be all that well thought out, but I'm going to write as many posts as I can over the next few weeks to show the various stages I'm at, what I've learned, where I could do better, and how I think it's going.

If you're also new to Pitch Wars, why not sign up so you can follow my little adventure and maybe it'll encourage you to get involved at some point? Or if you're old to Pitch Wars you can watch and laugh as I flail about like an idiot who has no idea what he's doing (which is true), before resorting to burying my manuscript in the garden and going back to archaeology.

It's Day 1 (for me at least). The mentor blog hops are up and I'm about to start looking for the five I want to work with. Join me?

Ashley R. Carlson: How to be an award-winning self-published author

I first happened across author Ashley R. Carlson in the magical world of Twitter, where I heard that she was writing a steampunk fantasy book called The Charismatics. 

The words 'steampunk fantasy' will never not grab my attention, mainly because that's the genre I've written a novel in myself and I love the potential that it offers. And so it transpired that I followed Ashley's journey as she decided to self-publish - and so far has been doing an AMAZING job, to the point where she's even picked up some awards.

I must admit that I've been against the idea of self-publishing my current novel for a long time, but watching authors like Ashley kick all kinds of ass is making me rethink my (probably rather stupid) stance. So I figured I'd have a chat with her about the whole thing, from her decision to avoid the traditional route to her writing and marketing processes...

 

Amazing author Ashley R. Carlson

You say on your blog that you considered traditional publishing for about two hours before deciding it wasn’t for you. What were the key aspects of self-publishing that sold you on that route?

Ah, yes, I remember saying that. Now, after meeting Chuck Wendig at Phoenix Comicon 2015 (and chatting with him for a solid hour, which was AH-mazing), I have mixed feelings about traditional publishing versus self-publishing.

However, when I first started writing seriously, the reason I was so drawn to self-publishing was that I liked how easily (in a sense) I could get my work out there into the world. Yes, I had to hire a cover designer, formatter and editor. Yes, I did do over six drafts altogether of my debut novel, “The Charismatics.” But a book that I started in May of 2014 was published and in the hands of readers by that December—and to me, that was intoxicating. The publishing gates were opened SO much wider with the popularity of the e-reader and KDP, and I think that it’s exciting. It *did* allow for a lot of sub-par content, but I think that when a self-published book is of a certain caliber, it will find an audience. The most important things to do are to keep writing, and to keep writing well.

Plus, when you’re a self-published author with a built-in readership and strong author platform, traditional publishing houses will probably give you a much better chance to wow them—they are in the business of making money, so if your work has proven to be successful as a self-published author, it’s a win-win for you both.

These days even traditionally published authors have to get their hands dirty with those things most introverted writer types hate – namely marketing and having to be social! Yet your approach to this side of the business is quite fantastic (with guest post blogs, interviews, video blogs and even motivational speaking). What's your secret?

By nature I am a pretty extroverted person, so this hasn’t been hard for me to delve into (the social media side of building my author brand). The other thing that’s really important to me, just as a person, is being authentic. I’m very open (as you can see from my “Dating Fails” YouTube video), and I never want to be “spammy” about my books or an annoyance. I want people to enjoy reading my tweets or Facebook posts because I make them laugh or show my personality, not because I’ve screamed BUY MY BOOK ON AMAZON at them twenty times that day through Hootsuite.

Social media marketing is a delicate matter—yes, tell people about your books. Be proud of your work. But also just be a fun person; if you do that, people will check out your website and your books anyway. I tweeted something funny recently to my friend and author Jenny Bravo, and a reader responded, “If your book is as entertaining as this tweet, I’m buying it.” And I’m pretty sure they did.

My heroes along the way have been Chuck Wendig, Ksenia Anske and Hugh Howey—all amazing writers and self-published authors paving the way for us, writing inspiring and informative blog posts, and doing what I try to emulate: being real people.

You self-published The Charismatics in December last year and you’ve already picked up an award for it. Congratulations!  How did that come about – is submitting your work for awards something that’s key to raising your profile in the world of self-publishing?

Thank you! I’ve gotten two distinctions/awards so far (Self-Publishing Review’s Grand Prize/First Prize in Fiction 2015 Awards, and the Indie B.R.A.G. Medallion for excellence in self-publishing), and yes, I submitted to both of them. I’m fairly certain you always have to submit your own work to contests to be considered (or your traditional publisher has to), and I think it’s a great way to receive validation of your work. It’s not necessarily going to bump sales, at least not right away, but I think it gives a self-published author that “leg up,” like “Hey, my stuff is REALLY GOOD!” (according to those people/organizations).

Just keep in mind that all of these contests cost money, and sometimes upwards of $100 to enter. So I always weigh the pros and cons before submitting, and don’t spend a LOT of time or money searching for contests. If a promising one comes my way, then I do it, but otherwise I’m writing.

Most self-published authors (hell, most authors generally) have day jobs they have to write around. But you’re also an editor and motivational speaker. How do you juggle all these things with the actual process of sitting down to write? 

When I was working at a restaurant until this past April (the terrible day job you were referring to), I did have a hard time writing, mostly because I was very tired. It took me six months to write my recent novella, “Misery and Marlene,” while working full time, whereas I published a 93k fantasy novel in the same amount without a job last year.

But now that I have my own business, Utopia Editing & Ghostwriting Services (contact me for possible hire!), I have the freedom to make my own schedule—and that means writing comes first. Currently I’m rereading The Charismatics in preparation for writing the sequel, but once I get started I’ll plan on doing my required 2k words every morning before diving into my editing projects for the day. It’s a balance, but if you want to be a writer, then you have to WRITE. Whenever I talk to people who say “I’ve always wanted to write a book” (and you wouldn’t BELIEVE how many times I hear that, it’s hilarious), I just say, “What’s stopping you? Start writing! Now! Go!” And then I push them towards a computer. Just kidding. Maybe.

Let’s say you’re a writer with a pretty solid draft and you want to self-publish. What do you need to consider before you hit the upload button?

There are several main issues. Here is my timeline for reference, in chronological order:

1. Beta feedback for 2-3 drafts (or hiring a content editor for this).
2. Editor for proofreading/copy-edits.
3. Book formatted for ePub, MOBI, and paperback if you’re doing one.
4. Cover designed, and deciding whether this will also be paperback. That affects what sort of cover you want, and you also need to know your final page count so the designer can size the spine. Also keep in mind that CreateSpace for paperbacks take several days to link up to Amazon when selling copies, so if you have a “publish date” and want both paperback and e-book for sale at the same time, then you need to coordinate appropriately.
5. Book launch (if you’re doing one). That could include paid advertising, blog tours, posting on Facebook/Twitter/Instagram/wherever, giveaways, and even an actual book signing.
6. After all that is said and done … write the next book!

A little bit about the author:

Ashley R. Carlson grew up wanting a talking animal friend and superpowers, and when that didn’t happen, she decided to write them into existence. She lives in Arizona with four (non-talking) pets and one overactive imagination. She is the owner of Utopia Editing & Ghostwriting Services LLC, a company that makes editing, content creation and marketing easy and fun. Her award-winning fantasy novel, “The Charismatics,” can be found on Amazon and her website. See more of Ashley R. Carlson’s writing or editing services at: www.ashleyrcarlson.com.

You can find Ashley at:

Website: https://www.ashleyrcarlson.com

Email: ashleyrcarlson13@gmail.com

Utopia Editing & Ghostwriting Services LLC: https://ashleyrcarlson.com/editing-services

Twitter: @AshleyRCarlson1

The Magic of Soundtracks

It's always struck me as a little odd that the success of a film - whether critical or financial - always seems to rest solely on the actors and director. For me, a truly great soundtrack is the key to everything. Get that right and you can build worlds and establish emotional connections with the audience regardless of what is actually happening on-screen.

I think this applies to writing as well. Of course, we can't provide soundtracks with our books (yet - I'm sure Amazon are working on it), but we can infuse our writing with the same magic that a truly great soundtrack offers. Music opens portals to other universes we can barely even imagine. Allows us to feel the story we want to tell, as we pull the words from our head and put them down on paper.

As most writers of fiction will tell you, a good playlist is almost a necessity when writing.

Sadly, a couple of weeks ago we lost one of those genius portal-openers. James Horner was a legend, a magic-making giant of the industry. Even if you don't know his name, you'll have heard his music - Aliens, Star Trek II: Wrath of Khan, Titanic, Field of Dreams, Braveheart, Apollo 13, Avatar, Willow... the list goes on and on.

But my absolute favourite (and one of the best soundtracks ever) is The Rocketeer. A dream score that I find myself searching out whenever I want to write pretty much anything.

So I wanted to say a belated thank you, Mr Horner. For allowing us to travel beyond this world and bring back some of the magic that we so badly need. You'll be truly missed.

And to anybody who hasn't yet heard The Rocketeer soundtrack, click below and enjoy the ride...

Michael J. Martinez: Inside the editing process of a professional writer

A couple of weeks ago we discussed all things editing with a professional editor. 

For part two of Editing Month (which we'll have to do again next year, so please remind me), I wanted to get a writer's view on the revision process. Not just any old writer, mind you, but a multi-published author who's been in the game for a while and thus would undoubtedly have wise words to share. Thankfully I knew just the man for the job!  

Michael J. Martinez is the writer responsible for launching 18th-century sailing ships into space, and in doing so "seamlessly blends popular elements from science fiction and fantasy, producing a work that raises the bar for both..." (Publishers Weekly, March 2015). His first two novels - The Daedalus Incident and The Enceladus Crisis (the latter of which I had the pleasure of beta reading) - have met with much critical fanfare, and the trilogy wraps up in spectacular fashion today with the launch of The Venusian Gambit!

Though busy with his book release tour, Michael kindly took a little time from his schedule to chat to me about his editing process and about editing in general...

   

Michael J Martinez (photo by Anna Martinez)

You're a fairly prolific writer. Yet whether you're blogging or spinning yarns across the universe, the quality is consistently top notch. Tell us about your editing process - do you edit as you write or amend at the end?

First off, you're way too kind. I certainly don't give my blog posts the same care and feeling as my fiction, so that's nice of you to say. As for my process, it's very much informed by my years as a wire-service journalist. I typically don't edit as I go. For longer works, I outline extensively, then write to that outline. If things wander off course, that's fine - I'll let it wander. Then, I go back and do a full revision. Then another. And possibly another after that, time permitting. I try not to circle back in media res. Ever forward. It gives me that sense of accomplishment I need to keep plowing through the draft. 

DAEDALUS was your first published novel. What happened at the end of that all-important first draft - did you dive straight into revisions yourself,  let it stew for a while, consider hiring a freelance editor to help, or enlist the support of friends and family to critique?

 

Remember, The Daedalus Incident was my debut novel and, frankly, I had no idea whatsoever what I was doing. It never really occurred to me to seek help. If I remember correctly - it's been a while! - I stewed on it for a week or two, then printed it out and went to work on it with a red pen. I did a full revision, then started querying. Of course, this was a mistake, since the book was nowhere near ready and, frankly, I'd never actually written a novel before. It took a very patient agent in Sara Megibow and a series of intensive revisions before she offered representation. But with my background and a relatively rapid turnaround time, I managed to convince her that, at the very least, I could be taught! 

You have so many complex plot threads running through your books, how does the editing process allow you to tie all that together? 

I'm very much an outliner. I make a virtual corkboard in Excel before I write a single word. By the time I draft, I know the scenes, know how they weave between each other, how they come together. The editing process is helpful in cleaning things up, especially when the story takes a turn away from what I outlined. And yes, you can't be a slave to the outline. If I'm on a roll and coming up with great stuff, I'll run down that thread, keep going and revise later. By the time I'm done, the draft has already diverged from the outline, but I'll leave notes for myself in comments (I write in Word) to make sure I tie up those threads on revision. 

Was any more work required on that first book once you'd landed your agent? And what about after you got the book deal - was there still some knocking into shape to be done between you and the publisher/editor? Have you found the amount of work has lessened with each book?

Well, yeah. It took several revisions before Sara took me on, and I think two more before we were ready for submissions. That was all just to get the book into shape to make the sale. From there, any publisher/editor is going to want to make changes - as much as publishers would really like a ready-for-prime-time novel to plop in their laps, that never really happens. Ross Lockhart, my original editor at Night Shade Books, was pretty awesome. I don't think he had a heavy hand, but there were a few large-ish things that, I think, made the book immeasurably better. 

As for The Enceladus Crisis and The Venusian Gambit, there were definitely fewer revisions - a first draft and maybe three revisions for each book. I pretty much learned for the first time how to write a novel when I wrote Daedalus, so applying that learning made it easier to write the next two. I'm currently drafting a new novel and, let me tell you, even I'm surprised at how well it's going. I've learned a lot, and I credit Ross and my current editor, Cory Allyn, for whipping me into shape. 

What did you learn about editing with that first novel that you've since applied to your other books - and how has it helped?

I think the biggest thing I've learned is that the demands of the form can't really be dismissed or avoided. Your book needs a strong hook to draw the reader in within that first chapter or two. It needs to be constantly moving, either in terms of action or character arc. Sometimes, I would sit there and think, "Well, logically, they would just do this," wherein "this" would be incredibly boring. Sara would keep saying, "More mayhem!" Now, you still need your characters to make sense and for the plot to be logical and such, but stories aren't about things proceeding normally. They're about things hitting the fan. As a storyteller, you're constantly working to keep the reader's attention, and you have to do it in such a way that it's not a parlor trick, but a compelling part of the story. Basically, I learned that writing a story needs to take the reader into account and entertain that reader as you go. It's not art in a vacuum. 

An all round great guy, you can find Michael at: michaeljmartinez.net or follow him on Twitter: @mikemartinez72. (And if you haven't read his books yet, I highly recommend you rectify that immediately. In fact, I'm about to dive into the third, just as soon as I set this post live...)

Abigail Nathan: Hiring a freelance editor

First up in our self-titled Editing Month - which we are totally going to make a thing - is freelance editor Abigail Nathan of Bothersome Words.

I came across Abigail when I went looking for an editor myself. I'd spent a gazillion years writing and then revising my manuscript, before sending out to all the rejections - at which point I figured (obviously belatedly) "hey, maybe I'm not the best person to be editing my own work because clearly I'm missing what's not working". So I started a search for the editor to end all editors, and was quickly referred to Abigail. 

A supremely talented (and tactful) editor, who has worked with some of the biggest names in Australian publishing - from Hachette to Penguin to Random House - Abigail has kindly offered to answer a few questions about the amazing world of professional editors. If you're a writer thinking about getting in some outside help for you manuscript, this is for you...

Abigail Nathan of Bothersome Words

So, I'm writing a manuscript. At what point in the writing process can I approach an editor for help?

At whatever stage you like! But my personal recommendation is not to try hiring an editor until you have done as much work as you can on your own. That means going back over the first draft to self-edit it - and, if possible, maybe even getting some friendly/critical feedback from friends or family.

You’ll get the best value out of an editor if you’re not paying them to spend time picking up things you could have caught yourself. The more accessible you can make your work to the editor – that is, clear of obvious errors and mistakes – the more time and effort they can spend digging deeper.

Of course, “as much work as you can do on your own” is different for everyone. It depends on what sort of editing you’re after, and whether you want the editor to act as a kind of teacher and/or mentor as well. It also depends how you feel about your own writing – not everyone is comfortable showing their writing to people they know, and they might not have a writers’ group they trust either. Some writers really struggle with confidence and need an editor who can step in at a fairly early stage to give them some kind of guidance and support. Other writers just don’t realise how much of a difference it can make to let the work rest for a bit and then go back and self-edit. It’s amazing how many obvious typos and silly plot errors you can find doing this.

The most important thing is not to rush. It’s tempting to think that once the first draft is finished, that’s the writer’s job done: the words are on the page and now someone else can be paid to do the clean-up. The reality is that editing is a collaborative process and you don’t save any time by giving an editor very raw text.

I've known writers who've lost money to people masquerading as professional editors. What’s the best way to find reputable editors you can trust?

The best way to find an editor you can trust is through recommendations from other writers. This can be a personal recommendation if you know people who have been happy with their editors or, if you don’t know any authors yourself, it can be helpful to check the acknowledgements pages of books you enjoy – specifically those in the same genre you are writing. Most countries will have a national organisation of editors which also includes a directory of members. Depending on the country, there may be separate branches for each state/territory/county, etc. There may not be any guarantee there, depending on the organisation’s requirements, but it’s a good start.

In the UK that organisation is the Society for Editors and Proofreaders (SfEP): http://www.sfep.org.uk

In the USA, you can try the Editorial Freelance Assocition: http://www.the-efa.org/

In Australia the national organisation is the Institute of Professional Editors (IPED): http://iped-editors.org/

Similarly, your state or country’s Author Guild is likely to have a list of recommended service suppliers. Writers’ centres, either your local or national branch, or one of the online versions, can also often recommend editors and may even have their own on-hand.

When you find an editor, make sure you ask them questions – you should soon get a good feel for whether they have any idea what they’re talking about. Most will be willing to give you an idea of who or what they’ve worked with before. They may have an online portfolio or list of people you can check, too.

Just as all writers have different styles, so do all editors. How can any writer be sure a particular editor is a good fit for their manuscript?

This follows on from the above. Editors all have their own style and approach to edits, and while I think we all try to adapt to the preferences or requirements of the writers we’re working with, some approaches will be a better fit than others. For example, some writers are happy to let the editor make all the changes they think are necessary, and they will just read over a clean version of the edited document and only check things that they have a problem with. Others prefer a more hands-off edit, where the editor makes queries and suggestions but doesn’t change too much of the text themselves. Still others prefer every edit to come with a full explanation.

Some writers need to be edited softly because their feelings are easily bruised, others have thick skin and want you to be as blunt as possible with them.

A lot of writers aren’t sure what sort of edit they even need. The best approach is to discuss expectations, requirements and process with the editor, to find out what they do and how, and decide whether that fits with what you hope to get from the process. Most editors will also be willing to do a sample edit for you if you ask – just be aware that this may or may not be free, depending on the editor, the edit required, and the sample size. A few pages should be enough to see whether the editor is on the same wavelength as you.

A writer contacts you but isn't sure what kind of service they need. What would your suggested plan of attack be?

First of all – don’t worry that you’re not sure. Your editor should be able to guide you. Contact more than one editor, and if they’re amenable, ask questions. You want to know what services they provide and what they personally include in each one. Some editors will do most of the work on the manuscript, others will include a detailed letter or report as well. Some will be willing to meet or phone afterwards to answer any questions, others will set limits on additional time or may charge for extra consultation.

In order to help you, an editor will need to know what you’ve written and how much work you’ve done on it. Is this your first draft or have you already worked with some other writers to develop and polish this seventh draft? Is it a book of poetry or the third novel in a fantasy epic?

The editor will also need to know what you want. What are you hoping to achieve from the edit? Are you trying to get the manuscript to a publishable standard with one editing pass or are you using the editing process as a way to learn and develop more slowly?

Your editor will also benefit from knowing your future plans – are you hoping to self-publish or will you be submitting your manuscript to agents and publishers?

Once the editor has all that information they should be able to give you an idea of your options. The editor might ask you for a sample of your work so they can provide you a quote. This is also an opportunity for them to see what stage they think your writing is at. If you have already told them what you hope to achieve and how much work has already been done on the manuscript, they should be able to advise you as to what sort of edit would best suit your work as it is now.

Okay, I've hired you! What should I expect to receive in return? 

This depends on the type of edit you signed up for and your editor’s particular approach! Editing services differ in title and approach in each country, and individual editors sometimes tailor their own process to suit either their working style or a particular author’s needs. Again, make sure you clarify what your editor means by each editing term.

Generally speaking, structural, substantive, or developmental edits will probably be supplied as a letter or report, rather than as a marked-up manuscript. These edits focus on the big picture; they give a general overview and may cover things such as plot inconsistencies, character flaws, or structural problems. This is the stage where you might discuss whether the story starts or stops in the wrong spot, or that the middle lags, or that a character doesn’t work. Suggested changes may result in major rewriting or moving around of text, so any mark-up on the manuscript is likely to be minimal. However, sometimes a structural edit or content edit may delve a bit deeper and then you could expect a lot more mark-up, but you’d probably get a letter/report as well.

A manuscript assessment or appraisal will usually take the form of a report. This is essentially a readers’ report but also includes considerations of style, structure, publishability, audience, etc. It is unlikely to involve any manuscript mark-up, but more detailed appraisals may use sample text from the manuscript to highlight and illustrate specific areas of interest.

Copyediting and line editing are more micro edits. They will focus on word choice and sentence construction, as well as, possibly, small plot details. These edits are completed as mark-up on the manuscript – usually using track changes in Word but sometimes in hard copy on the manuscript. You may also receive a letter or report detailing some of the changes made, particularly if there are repeated errors, or plot and style considerations that require more space to explain than is available in the comment function.

Proofreading is the final stage. This is always carried out on the manuscript, often in hard copy, but often on-screen. Ideally this is a check of the final layout, so it may be completed as mark-up on a PDF or in Word. Because this is a final check, you may only receive an email or letter confirming the tasks undertaken. Ideally there are no major changes at this point, so a report or proper letter should not be necessary.

Of course, this question specifies you have paid and received the edit! Some edits will be completed in stages, so you may have a back and forth with the editor – the edit may take several passes with each of you accepting, rejecting or querying changes before the edit is “final”. As mentioned above, once you have paid for the edit, your editor may be open to answering queries and giving advice about the manuscript as part of their service. Alternatively they may consider further advice and assistance to be additional work, so check whether you need to pay them by the hour or whether it’s an included cost.

You've finished writing your book... now what?

What's that? You've finished writing your book?! Holy shit, great work! 

You've just accomplished what most people in the world aspire to do 'one day', but never actually do because they have yet to discover just how hard and potentially soul-destroying it can be - banging away day after day on a keyboard, locked away from any semblance of civilisation, as your life slowly ebbs away into the ether.

"...I've been writing for HOW long?!"

But you're a rockstar. You pushed through all those social event invites and opportunities to shower and eat and be outside in the human world. You learned to live without knowing what day it was. You wrote your little bottom off. And consequently you totally deserve the wild night out (or in) filled with all kinds of wonderful drunken debauchery to celebrate. Because YOU BLOODY WELL WROTE A BOOK! 

*cartwheels*

Cut to: 

The morning after. Or (for some of you energetic types) the month after. You pick your head up and try to focus. What were you celebrating again? Oh yeah, YOU WROTE A BOOK! 

All is good. So good, in fact, that you immediately stand up, put your hands on your hips and survey the world before you like the writing god that you are. 

Then two little words cross your mind.

"What now?"

For most people - me included - this next part was easy. OBVIOUSLY the 'what now' involved sending the hot little manuscript out to agents and publishers as fast as possible. Because these guys have been waiting their whole lives for this story. They've suffered the Harry Potters of the world only because they had nothing else to run with. They simply can't go another day publishing such dross. Wait 'til they get a load of you - lord and saviour of storytelling! 

And even better? Today you don't even have to include other people in your publishing dream. Simply sign your soul away to the mighty Amazonian Overlord and upload it for immediate global gratification. Cue media attention, 'the next big thing' news stories, blogger groupies, film deals, and lifelong happiness.

Ahem.  

<dials back sarcasm>

<pushes glasses up nose>

<looks serious>

Okay, look, it's not that it CAN'T happen that way. It has obviously been done. But for most of us - those who offer the craft a little more respect and/or those of us without such gigantic balls - there's a totally different 'what now' that comes after writing a book. A 'what now' that might make you cry at the very thought of it, but one that is essential, can actually be damn good fun, and will ultimately MAKE YOU A BETTER WRITER.

Which is revision. And rewriting. And editing. 

Because it's a book. You bled into it and gave it life, but now you need to sew up the wounds and clean it up a bit. Although you might well have a great first draft, I guarantee you it isn't perfect - it will never be perfect - and you can and should make it better. 

So how do you go about editing your manuscript? 

Well, for most it's a case of doing the hard yards yourself. As we let our work settle, perhaps hidden away in  drawer for a few weeks to get it out of our system (how many weeks is really up to you, but I give mine at least a month), we can read up on the editing process, learning how to do it best - before embarking on a few rounds of revisions to bring the best out of our characters and story. Perhaps we ask for feedback from others (family, friends, or the fabled Critique Partners), or perhaps we don't. Either way, the level of eventual suckage/brilliance is all on us. 

But others know that sometimes writers aren't always the best judge of their work. Even after a few weeks away from a project, we can still read it and 'fill in the blanks' where everyone else would disappear down an unexpected plot hole. In which case, after you've done as much as you can, a fresh pair of eyes is needed. And what better pair than those of a professional editor?

At this point I could drone about my own experience with these paths (yes I took both), but I thought it might be more fun and educational to get the inside skinny from a couple of industry pros. An author and editor who know the business of editing backwards.

So coming up we've got two interviews of editing goodness that will blow your mind. One with a (soon to be) three-time published, critically acclaimed author; the other a professional editor who has worked with some of the biggest names in publishing in Australia.

Up for it? Good. Let editing month commence!*

*This is not a thing that I know of, but I think it should be, so let's run with it for now, okay?

photo credit: idle machines via photopin (license)

Tonya Kuper: Is interning for a literary agency a good step to getting published?

Literary agents are often thought of as the gatekeepers of the publishing industry. So where better to learn about the keys that open the gate? 

With many intern roles available for literary agents across the world (several of which can be worked remotely thanks to the magic of the internetz), there is more opportunity than ever for aspiring authors to get the inside scoop of what makes a literary agency tick. Get to know how agents think, discover for yourself what stands out in the slush pile... the knowledge is all there waiting to be taken and twisted for your own evildoings / honest search for publishing stardom.  

One such writer who took this route is superstar debut author Tonya Kuper, the former intern/Publicity Manager for The Seymour Agency. Her YA novel 'Anomaly', about a teenage girl who discovers she has the power to alter reality, launched late last year and is garnering some pretty damn great reviews already.  

Being the first book in the now hotly anticipated 'Schrodinger's Consortium' trilogy, Tonya has now decided to step away from the literary agency to focus on writing. However, I was lucky enough to bag a little time in her busy launch schedule to ask a few questions about her experience working for a literary agency while on her own publishing journey...

Tonya Kuper (photo credit: Hooton Images)

Most writers have non-writing related (and possibly very dull) day jobs to support the writing. Yours was working in the publishing industry for a literary agency! How did you end up there?

I was an educator turned stay-at-home-mom and began writing as a hobby. Eventually, I took the writing more seriously and wrote my first full-length novel and began my second when I started considering an internship to learn more about the publishing industry. So I was already writing, and had queried my first and second book by the time I finally landed an internship at a literary agency. 

Of course, I had to let my position of intern and Publicity Manager at the agency go eventually in order to devote more time to writing once I was sold to a publishing house. So, technically, I'm no longer working for the agency - I'm now one of their authors - which is pretty crazy-cool!

What did your role with the agency involve?

I dealt with clients (signed authors) by helping them promote their books and events and organizing agency events. I also dealt with querying authors via email and social media on behalf of the agency.

A literary agency seems to me to be the perfect place to develop your writing knowledge and confidence (especially if you get to dive into the slush pile). What have you learned there that’s helped get you to the stage of being a published author?     

For one, it helped me figure out what works and what doesn't as far as execution goes. For example, what vital information, action, and reaction needs to be included and when. Also, it helped me realize just how subjective this industry is and how hard an agent works. And, yes, I did read slush! And it taught me so much about the importance of those first few pages.

It just so happens that your agent works at the same agency. How did you get signed up?

My agent actually asked for an R&R way before I started working at the agency. She eventually offered me representation after I took the position. 

There are probably a lot of authors out there writing bestsellers, but who are put off taking their work further thanks to a rather daunting query process. As an author who's worked on ‘the inside’ what would you say to encourage them to start querying with agents - is an internship with a literary agency a good step to take?  

As writers, you can't let self-doubt or fear rule you. If you have dreams about landing an agent, tackle querying with the same passion that motivated you to write in the first place (after you polish that manuscript ;D ). If it were easy, everyone would do it. So it's up to you to take that next step and not give up.                     

An internship definitely gave me great experience and practice in figuring out what worked and what didn't, but I should say that getting such a gig isn't necessarily going to help a writer get agented or become a better writer. Great writing lands agents. And great writing comes from reading and writing. A LOT.


Tonya Kuper is a young adult author living in Omaha, Nebraska with her two cool boys and husband. ANOMALY, the first in the Schrodinger’s Consortium trilogy, is her debut novel by Entangled Teen. Tonya is a music junkie, Star Wars dork, and Sherlock lover.

The Blog Awakens

*Yawns*

*Stretches*

And so we come to the inevitable first post of the year after a little bit of time away hibernating/running around after excitable kids over the holidays.

So. How are you? Good? Good!

I'm probably about a week late for an end of 2014 reflection, because we've already said our goodbyes and moved onto life with 2015. So I'll just say that it was one of those years where I possibly found the right path again, and it was a hell of a lot of fun. From starting the supersecret movie/comic project to quitting the rat race to start my own little copywriting business (StoryInk Creative FTW!), to getting this blog back up on its feet - 2014 definitely holds up in my all-time list of best years.

So what's coming in 2015?

Well, I'm REALLY hoping to finally spill the beans about the supersecret project, because it's actually very cool and it could end up being a very interesting insight into the 'behind the scenes' of such things. Hopefully I'll be able to bring you news around April.

I'm also looking forward to working with some more wonderful clients after a fortuitous and rather brilliant start writing copy for Wakelet - a platform that allows you to take control of a world of content in ways you really need to go and see for yourself. (Seriously, it's going to be huge.)

And, of course, there is this here blog. Get ready for some more fantastic guest posts from professionals in the publishing and film industries, as well as other writing-related geniuses. Plus I'll be throwing in my two cents' worth whenever I can with news, insights, sneak-peeks at artwork(!) and other helpful (and maybe not-so-helpful-but-hopefully-still-interesting) posts of my own.

First up, we've got a brilliant interview next week with debut author Tonya Kuper about whether interning for a literary agency is a good step towards getting published - subscribe today so you don't miss it!