Polar Bear Editor

You’re going to come across a lot of writing advice as an author. Whether you seek it out or people who find out that you write offer their ‘nuggets of wisdom’. There’s some truly sage advice out there. There’s also tons of utter crap.

This post is geared towards the advice you would read in a writing book or on writing blogs (even this one!) or social media. It’s not geared towards advice or feedback you receive specifically about your work.

In my post titled “Do All the Don’ts” I indulge in a little ranting about some of the most common advice out there. This is going to be less angry and ranty. Probably.

I’m not familiar with the origin of all tidbits of advice but what I do know is such advice is based on the preferences of the advice giver. And if they’re simply repeating oft recurring ones they may not even know why that advice exists.

I don’t want writers getting discouraged because they are overwhelmed by all the advice and trying to implement ALL of it in hopes of creating a book that hits everyone in that sweet sweet readerly spot.

Keep in mind, there is no book that everybody likes. Not a single book. Harry Potter? Nope. The Bible? Nope. Catcher in the Rye? Nope. Any Stephen King novel? Nope.

Take such general writing advice as guidelines for experimenting. Do the do’s and do the don’ts. Mix it up. Do other things. Challenge your story telling capabilities. Not every experiment is going to work. That’s simply the nature of experimentation. If it doesn’t work move onto the next thing. Don’t throw anything away. You can always come back to and see how you’ve grown. Or you can evaluate what went wrong and how you can improve it. Or, maybe what you thought was an utter failure, upon future inspection, you find it wasn’t the mess you thought it was when you wrote it.

When you receive feedback on your writing and it contains the oft repeated advice, ask yourself if the person is simply relaying advice they believe is a standard truism of good writing or if they believe it actually applies to your writing. And the same when you provide feedback.

Now, I’m not saying that such advice never applies, I’m saying it doesn’t ALWAYS apply. My frustration lies in it being printed as though it’s the only way to be a good writer and newbies especially, internalizing that advice and getting discouraged from writing or getting stuck in writing that ends up boring them failing to realize how fun experimentation is. Or failing to realize experimentation is an option.

I encourage you to experiment and have fun with writing. There are as many ways to tell a story as there are people on the planet. Probably more.

Jeannette is the Lead Editor at Polar Bear Editing.

Her favorite things are being difficult, wearing make-up, talking to her children, and spending too much time hanging out on twitter.

Contact her to see how you can work with her [email protected]

While writing your novel you have this vague idea that your novel will require professional editing. Whether you plan to self-publish or traditional publish you realize that some kind of editing occurs. Or at least that it should occur.

Many authors who haven’t worked with an editor may not realize the different kinds of editing that editors do. Editors typically have a specialty. For example, there are academic editors, science editors, medical editors, business editors, etc. And within those specialties, they can further be broken down into even smaller niches. I am a fiction and memoir editor. But that still doesn’t cover the different TYPES of editing that happens within those specialties.

The different types include the following categories; content, copyediting, and proofreading.

Those unfamiliar with the broad spectrum of editing tend to think of copyediting and proofreading as editing.

Copyediting entails correcting grammar, punctuation, typos, misspelled words, double words, incorrect words, etc. It also corrects for clarity and consistency. There may also be fact checking but it’s not typically the domain of a copyeditor.

Proofreading is done after everything has been corrected. Mistakes will be corrected but otherwise the writing is polished. Proofreading is done after everything is otherwise perfect. You do not proofread until all elements are exactly as they should be. Ideally anyway.

Content editing involves several sub-types of editing. Basically, a content editor is looking at the content and assessing it. Included under this umbrella are manuscript assessment, critique, line editing, and structural editing. A developmental edit will include most of these over several passes between you and your editor. A manuscript assessment is a lighter version of a critique. An editor will break the story down into basic components of plot, dialogue, character, style, and descriptions. Every editor is a little different in how they approach this but that’s basically what you can expect. While the assessment will provide an overview of these categories a critique will dig deeper with the analysis. Structural editing digs more into the plot. Line editing is more or less what it sounds like. It’s distant cousins to copyediting. The editor goes line by line and edits for style and clarity.

There will be variations among editors in how they precisely define the terms.

The purpose of this post is to broaden what you make have thought of editing and its functions. When you reach out to an editor you don’t need to know exactly what you want or need. The editor will assist you with understanding what they offer and what to expect.

Most of my colleagues that I interact with are professional, kind, and above board. I want authors to feel comfortable reaching out to editors to discuss their options, budgets, and see if they’d be a good fit, if you find an editor is pressuring you into a service, I suggest to cut contact with them.

Final thought Jerry Springer style: Proofreading is the absolute last thing you do. Because, you know, you’re reading the proof.

Toodles!! Xoxo Jeannette

Jeannette is the Lead Editor at Polar Bear Editing. 

Her favorite things are being difficult, wearing make-up, talking to her children, and spending too much time hanging out on twitter. 

Contact her to see how you can work with her [email protected]

When you hand your manuscript off to someone to read for the promise of feedback it can be nerve racking. There’s a pit in your stomach as you imagine all the horrible things they’ll think about your writing and thus think about you. There’s hope they’ll like it but then you start thinking of all the possible plot holes and typos and you spiral into a pit of agony. Why did you decide to write? Why? Why! You scream to the Gods. You’re in a dark room. Huddled in a corner. A meager spot light illuminates you as you rock yourself in the fetal position--clutching the sides of your head, yanking at your hair. What if they hate it and think I’m stupid? You mumble to yourself. What if they say it’s good but I know I KNOW they’re just saying that so they won’t hurt my feelings? You mumble louder and crazier.

So, yeah, it can be super dramatic. And then add paying a professional on top of that? Man, you’re a mess. Pull yourself together, dude!

I want to discuss emotionally preparing yourself for feedback on your novel. Either from a beta reader or an editor. Although, it can apply to reviews, I’m specifically talking about when someone is seeing your work in a raw format for the purpose of providing feedback on how they think it can be improved.

Let me talk about me. Because I’m a vain bitch. (Tell me I’m pretty and smart. And also a bunch of other wonderful things about me. *bats eyelashes*) A lot of the editing I do is critique. I can really burrow into that manuscript and nitpick the F*@K out of it. I’ll rewrite lines and cross things out. I even fact check when I feel something doesn’t seem right. (Don’t count on me to check all your facts. Or anyone else unless that’s what you’re paying them for.) I tear into character dynamics and if how they react to each other and outside things makes sense. I leave notes about how the descriptions are doing their job and the side characters are way more interesting than any of the main ones. I’ll let you know the way you set up events doesn’t even remotely make sense because of X, Y, and Z.

I mean, it can be absolutely brutal.

But that’s a good thing.

Take a deep breath.

Put your ego to the side.

And cuss me out and tell me I have no fucking idea what I’m talking about.

Then come back to the report and realize it’s all in the effort to make your work the best it possibly can be.

Once the sting is gone—and there’s always a bit of sting—let the excitement build of how you can edit your book into an even better book! After everything, I want you to have an excitement for getting into those words and building a stronger structure. You’ll build it better, harder, faster, stronger.

Confession time! I’m always nervous to hand in a report on a novel. I worry you’ll think everything I’ve said is rubbish and cuss me out (in your head or to other people. I’ve never actually had a client cuss me out). I spend so much time with a manuscript, analyzing, scrutinizing, and writing up my conclusions. I get emotionally involved in each project. I really try to emphasize that you know your book and the story you’re trying to tell better than I do. If my comments miss the mark on your story, it could indicate that the editing needs to focus on how to make your goals with the story clear.

That’s also why I like to have video chats with clients. So we can talk and they can get clarity on some of my comments. Or they can clarify what they were trying to do and I can provide additional advice.

When I’m editing a book, I don’t look at it and think it’s bad. If you’re worried that’s what I’ll think--STOP IT. I read a client’s work knowing this is raw material. It’s a bit like looking at an old house that needs remodeling and repairs. I see the shining potential and it’s exciting. I’ve only ever edited one book that I thought was total shit. And it was done as a sub-contractor so the author doesn’t know I edited it. Even so I’m not going to out him. It was a memoir and it wasn’t even that the writing was bad. It was that he was an awful person who thought he was a hero. My report was incredibly harsh. He took one piece of advice and left everything exactly the same. It was the equivalent of literary revenge porn. *shudders* I still have nightmares.

I’m not saying there aren’t arrogant editors and beta readers who think their opinions shine like rays of sunshine, glitter, and magical unicorns out of their anus but me and my colleagues ain’t them. As you’re reading the feedback keep in mind you’re reading opinions and all opinions don’t have to apply to your book.

Also, if I’m your editor…feel free to tell me how I’m wrong. It’ll hurt (I’m a sensitive and delicate soul after all) but having thick skin doesn’t mean it doesn’t hurt. It just means you’re able to realize the whole process exists for the purpose of improvement.

Jeannette is the Lead Editor at Polar Bear Editing.

Her favorite things are being difficult, wearing make-up, talking to her children, and spending too much time hanging out on twitter.

Contact her to see how you can work with her [email protected]

Follow on twitter: @Polar_Bear_edit

The other day my son popped his head into my office and asked how to spell “worshipping”. I spelled it w o r s h i p p i n g. He told me that his brother’s teacher said it was with one p. I was like no, it’s two ps. Obviously. I mean *I* would know, right? But then I was like “Hold up, let me Google this because maybe I am wrong”.

What I learned blew my ever loving mind.

Actually, no, it wasn’t quite so extreme as that. But I mean, I was a little surprised. Basically the spelling of ‘worshipping’ with two ‘p’s is considered British English and the spelling of a single ‘p’ is American English. Because, of course it is.

But I can’t recall ever seeing ‘worshipping’ spelled with a single ‘p’. So I took to twitter with a poll to see how others spelled it.

I tweeted “vote the correct spelling. Comment with what you voted and what country you live in.”

My polls typically get a 100 votes-- give or take 50. This poll quickly amassed 537 votes. People are passionate about their spellings. I tallied the answers and here are the results:

“worshipping” 74%

“worshiping” 26%

USA, ‘p’=31

USA, ‘pp’=46

Other, ‘p’=6

Other, ‘pp’=47

According to my Google research a single ‘p’ is a 50/50 split in the USA. While the poll answers I received didn’t quite indicate that—it does show that the preference is for the double ‘p’. However, neither is wrong.

Whatever version you go with, remain consistent.

If you spend any time studying the English language and its rules you’ll learn it’s never straight forward! It has rules that contradict itself. Rules that only apply to a small fraction of the language. And most of the grammar that grammar snobs lob at insolent language users who dare break the precious rules of English are style preferences. So if a grammar snob snobs at you, just tell them that your grammar style sheet has different guidelines. Then stick your tongue out and run away.

Jeannette is the Lead Editor at Polar Bear Editing.

Her favorite things are being difficult, wearing make-up, talking to her children, and spending too much time hanging out on twitter.

Contact her to see how you can work with her [email protected]

I've been working with writers in a professional capacity for several years now and I've realized that writers might need some guidance when it comes to understanding the various types of editing and how an editor can help them. I took to Twitter to invite writers to 'ask an editor'.

Here is Katherine's tweet to me. She asks two great questions: When is the best time to get an editor and how does one go about finding a reputable one?

For this blog, I'm going to be addressing the first question and I will be answering the second one in a part two.

This is absolutely not a dumb question. It’s a legit concern authors who haven’t worked with editors have. Whether you decide to go the traditional or indie publishing route you can always benefit from working with an editor.

When is the best time to get an editor?

This depends on what your editing needs are. Here are some ideas to consider when you want to work with an editor:

After the first draft is finished.

After you’ve edited it.

After you’ve had beta readers look at it.

Before you’ve had beta readers read it.

When you’ve finished the story completely and want it copyedited.

When you’ve had it copyedited and want a final proofreading.

It can be confusing because there are various types of editing and knowing what kind of editing you want to use an editor for will inform your decision of WHEN to reach out to an editor.

Ways in which you can utilize a professional editor:

Feedback for the first five pages--on the hook, the flow, if it captures the reader, line editing, proofreading. This is good for people who decide to go the traditional publishing route and want to make sure the first five pages are stellar (but don’t neglect the rest of the book. If an agent requests a full manuscript you want it shiny). This is also good if you’d like to test how you’d work with an editor. Don’t be afraid to request a sample edit. Some editors do it for free others charge a small fee.

Feedback on the first seventy-five pages. This isn’t much different than the first five pages other than that it’s more pages. Whether or not you’ve finished the manuscript you can get something like this done. The feedback will help you decide in which direction you want to take the story.

Manuscript assessment. This is like a beta read on steroids. A professional editor will provide a full report on their analysis of your manuscript. This is great when you’ve done all you can on your own and want professional input.

Structural editing is similar to manuscript assessment but it’ll get into the grittier details. Both provide feedback on what works, what doesn’t, and in what ways you might consider editing it yourself. However, structural editing is more intensive and delves into the minutiae of specifics.

Designing your outline. Working with an editor to plan the beats of your story and the whole of the plot can help you focus your writing. I’ve helped clients with their outlines and they rarely stick strictly to them. (I don’t know of anybody who ever has!) The advantage of this is having someone who’s seen many outlines and their drafts, and their edits, and so on and so forth.

Help writing your synopsis. Again, this is more for the traditional publication route. Synopses can be incredibly tough for authors to do. There's the short synopsis and the long synopsis. Sometimes agents request one or the other.

Editing, proofreading, or copyediting your synopsis. If you’ve already written it and just want to make sure it looks as clean as possible, a professional editor will be able to help here.

Editing your blurb or description on the back of the book cover or on the website. Content editing to help entice readers and proofreading to ensure readers aren’t put off by typos and the like.

Line-editing. The story is done and you don’t want to fiddle with the character arc or plot but want to make sure the story reads smoothly and comes across clearly.

This list is, by no means, all-encompassing but I hope it gives you an idea that there isn’t a standard way to work with an editor. Your needs, preferences, and budget will vary. You can do all the research in the world but nothing replaces the experience of working with an editor.

Most editors are happy to talk to people with questions. Although, it’s not easy when you don’t even know what questions to ask and you might feel pressure to book a service when you’re not ready.

So, back to the question, “When is the best time get an editor?”, well, that depends on you and the kind of editing you want. I hope I’ve offered some assistance if not concrete answers. Because ultimately, each book has its own unique path to publication, even if some parts look similar.

Next post I'm going to talk about how you can go about finding a reputable editor.