Tag Archives: structural editing

Writing: Shopping for an Editor

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I recently rejected an author’s manuscript and gave him the possibility of rewriting and resubmitting at a later date; a very rare thing to do both. At Chizine Publications we ask for three or four sample chapters and a short synopsis. I had already asked the author to send the full manuscript, after he made corrections, fixed grammar and numerous homophonic typos (bare/bear, to/two, hare/hair, staid/stayed, etc.), as well as adding details to certain sections that I had read.

When I read through the full manuscript I found many of the same errors and it looked like little had been changed if anything at all. Editors have many manuscripts to read, and day jobs on top of it in most cases. We get irritated when people don’t follow instructions, which can be anything from not submitting in the correct manuscript format, to sending inappropriate material, to not making an effort to correct what we ask for. Of course, a writer can ignore all of these things and just send to someone else.

I concluded that the writer needed to learn grammar and punctuation better and overall, story structure, but feeling his story had worth I gave a caveat of retrying with a rewrite, in time, but not right away. He wrote back and was surprised to learn that most publishers don’t give feedback nor mark the manuscript unless they’re buying the story (I had done both).  I also explained my irritation at which point he apologized because he had felt rushed and hired an editor to do the changes requested.

I sincerely hope he didn’t pay the editor that much because I don’t know what that editor did. He/she certainly did not read the sentences to catch the homophone typos, nor to check the sentence structure and catch the run-on sentences. It is possible that the author asked the editor to make corrections in regards to my notes. If that was the case then my notes only gave examples, not the full extent of what was needed.

If I’d been given such a job as a copy editor I would have been fixing those sentences. I’ve found with a few other clients that they had gone to bigger, more expensive editors first, paid out a ton of money and came back with a manuscript measled with errors. Anyone who takes on copy editing (this is different from structural editing) should look for grammar, typo and punctuation errors as the most basic step. If one is a structural editor then you’re looking at the overall plot and structure of the story.

Almost everyone can use a second set of eyes to catch errors because our fingers like to type different words than our brains think. I often put down for done or type meanign instead of meaning. And then there is the too close to the forest to see the trees syndrome. If you’ve written something and gone over it a few times you might miss a scene or a description that the reader needs to be able to understand the story.

If I was hiring an editor I would lace in a couple of different errors in a sample page or three and see what they caught. But that only works if you understand grammar and sentence structure enough. As it was, this writer left too much to an unknown quantity and didn’t check over the manuscript first so he ended up with many errors. He would have had to flesh out his own scenes because an editor cannot necessarily write in the same style nor know where the writer’s mind is for the story.

I sometimes wonder why I don’t charge more when I see the work done by more expensive editors. Like anything else, there are good and bad editors. Learning how to write will of course save you money and mean you need a copy editor’s services less. Getting comments from an editor, even if you’re rejected, are a plus. Many magazines and even book publishers send out form rejections that say something like, “This didn’t work for us.” If you get comments, if you get an invite to resubmit and rewrite, take it seriously and feel lucky that you got that far. Magazine and book publishers always have limited spots are there are always other good works on their way so don’t take any feedback for granted.

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Editing: A Job Interview

This happened some time last year when a job for editing showed up on one of editors’ lists I am on: a publisher looking for freelance content editors. I sent my resume in and got a forwarded email that said sign into an instant messaging group to discuss this. Now this was for book editing and that’s my specialty, been doing it for 15 years. So the managing editor asks if I use story arcs and I ask her to define what she means in terms of editing as people use this term differently. Basically, she means plot, conflict, resolution and flow. Etc. The usual. She says editing is usually between 25-50 hours a manuscript, which is fine; nothing unusual.Then I ask what they pay and she says 10%. O-kay. So I said, could you please break this down for me as I’m not sure what 10% is from and I’ve always worked hourly contracts before. (I mean it could be 10% of cover price and books printed, or sold, or 10% of wholesale.) I don’t know. It’s a simple question.

She then goes on to say that line editing is a waste of time and that if a writer can’t write, then they (the publisher) don’t want the book. I said, I understand, however when I did copy editing it was never for the same repetitive mistakes but sometimes to correct grammar, odd typos, and check for consistency (continuity). After all, we all miss things in our own writing from seeing it too often, and copy editors give a fresh eye to the grammar.

Then she says, “We love our proofreaders. We don’t need proofreaders.” She says this a couple of times, adding they have no work for hire. So I say, I’m sorry, I thought you were looking for content editors.

Through all this she has not yet given me that breakdown of 10% but basically, from what I can tell, the editor gets paid if the book sells. It could be $5 for all I know. I have already said, yes but I’ve worked hourly before so I don’t know how this breaks down. She says, “Hon, I’m not disputing (but she is) and I’ve worked for 5 publishing houses in 7 years.” I didn’t bother to get into the one-upmanship and say I’ve worked for as many if not more in 15 years. Hon? From someone I don’t know? That’s pretty condescending. It’s like she hasn’t read my resume, nor heard what I was saying and was on a personal crusade.

At this point I’m getting angry as she seems to presume I’m talking about proofreading. I’ve already talked about content and have said I’ve done proofreading, copyediting, line as well as structural and stylistic editing. I know the difference. I’m not sure she does. Then she blathers that she’s had 200 responses and needs to make sure she has a content editor (after once saying she had 3000 manuscripts and rejected them all).

I haven’t met this person in person but I’m already getting a sense that her pile is bigger than everyone else’s. And working for her would be a personality conflict waiting to happen. At that point I say, I think I’ll pass on this as I’d like to know I’ll be paid a base rate for what I do. MFG! Does this woman think all publishing is based out of her ebusiness? (Turns out she’s the CEO too.)

Fine, name as many publishing houses as you want, but don’t discount there is more than one way to do things and pay people. She seemed to believe her way of paying was the only way, and indeed it may be for ebooks, but it’s not for other publishers. Having worked for US and Canadian publishers, I know. I have invoices. I’ve been paid an hourly fee on all of them. In a few cases when I freelance I might have charged by the project but usually I charged by the hour.

I think I avoided a very uncomfortable and possibly not lucrative job editing books for peanuts.

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