Authors often contact me asking my opinion about their editors\u2019 advice. \u201cDo I have to follow her suggestions?\u201d \u201cShe\u2019s trying to change my voice, what shall I do?\u201d<\/p>\n
Some of my own clients question my recommendations. And that\u2019s okay. I always tell them, \u201cIt\u2019s your manuscript. You make the final decision.\u201d Of course, I explain the reasons for my suggestions as I am a teaching editor. And I can only hope that they will do what is truly best for their book projects. I encourage them to lead with their heads, not their emotions.<\/p>\n
I urge clients and other authors who resist an important editorial suggestion, to do some research. And I would say the same to you: Read other books similar to yours to discover whether or not the suggestion makes sense. Just because a seasoned author uses a unique technique in his writing or the organization of the book, doesn\u2019t mean that you can pull it off. I advise authors who want to try something clever, to study the masters and make sure that what they are attempting really works in their manuscripts.<\/p>\n
Authors of fiction sometimes become jealously attached to what they consider their voice. I hear from authors, and work with some, who constantly complain that I (or their editor) am changing their voice. It is obvious that many of these people don\u2019t know what their voice is. Most of them haven\u2019t been consistent in presenting their voice and when the editor attempts to repair the damage, the author hollers, \u201cYou\u2019ve changed my voice!\u201d <\/p>\n
I was once told, after a session of editing, that I didn\u2019t understand a particular culture. Well, my editorial suggestions actually served to validate and strengthen the author\u2019s attempt at representing the culture as she had wandered far off of the path. She had inadvertently inserted some dialog and phrases that were inappropriate to the ethnic group in that time period. <\/p>\n
It\u2019s easy to get out of character or to flub up on the integrity of your story. That\u2019s one reason why you hire an editor. Her eyes are trained to notice these things. I also recommend, in some cases, that the author ask friends to read the story or the nonfiction book. While friends may not be able to help you with the intricacies of editorial work, they can:<\/p>\n
\u2022 Give you their impression of your story or nonfiction book.
\n\u2022 Point out areas of confusion.
\n\u2022 Note where the story drags.
\n\u2022 Tell you where you\u2019ve contradicted yourself.
\n\u2022 Find a mistake or two in spelling, etc.<\/p>\n
Your job, then, is to embrace their comments and those editorial suggestions by your professional. Make the changes you agree with. And where you do not agree, step outside of yourself long enough to do some research on your own. <\/p>\n
\u2022 Read similar books by other authors and honestly compare yours with these. Have you actually achieved your goal in your book? Or is your editor right, your writing isn\u2019t advanced enough to attempt something too creative and unique?<\/p>\n
\u2022 Get other opinions. Your editor could have a bias or isn\u2019t qualified to edit a manuscript of this type. I always recommend hiring an editor who is knowledgeable about publishing and who is familiar with your genre\/topic.<\/p>\n
As you can see, there\u2019s more to working with an editor than is obvious at first glance. <\/p>\n
If you have a manuscript ready to go, contact me for a free editorial evaluation. I will look at 20 pages and report the types of errors and problems I see (if any). If you want me to evaluate whether I believe it is publishable or not, I charge $100 for 150-175 pages. My editing service is $50\/hour. I can provide an estimate upon seeing your manuscript. PLFry620@yahoo.com. <\/p>\n
I am also offering an online self-editing course that could save you lots of money for your final edit with a professional.
\n http:\/\/www.matilijapress.com\/course_self-editing.htm<\/a> <\/p>\n