Tag: editing

August 24, 2022

Why Dark Fiction Writers Need Proofreading

You’ve made the wise decision to have your dark fiction manuscript line edited and copy edited. Is it ready for submission or self-publication? Not quite. If you want to polish your prose to perfection, you’ll hire a proofreader.

What is proofreading?

Editing involves major changes to your story, its structure, and language, but proofreading is the final stage of the editing process, when a skilled proofreader fixes minor misspellings, typos, punctuation mistakes, formatting issues, and other inconsistencies.

Editing stages leading up to proofreading

The number one mistake writers make when hiring a proofreader is that they believe they need only proofreading when, in most cases, their writing would also benefit from a previous level of editing. (For a pictorial representation of the entire editing spectrum, see What Do You Need on the Fiction Editing Spectrum.)

Manuscript evaluation

Manuscript evaluation offers an educated opinion, in writing, about how your draft stacks up to published fiction standards. The editor evaluates and reports on such elements as structure, plot, pacing, characterization, point of view, description, setting, and more. Most importantly, a professional critique includes what you could do to sharpen these elements and make your story better.

Developmental editing

Developmental editing evaluates the building blocks of a story, checking that they’re present and working well together. It ensures that your structure and plot are solid, characters well-drawn and motivated, point of view correctly executed, setting and description vividly drawn, dialogue rings true, mood and tone support the overall story.

Line editing

Line editing enhances your writing style so that your language is clear, flows effortlessly, and reads well. Refining paragraph and sentence construction ensures that all the right building blocks are in place and maximizes the effectiveness of your ideas. Misspellings, wrong words, awkward phrasing, and more are corrected. Line editing tightens your writing.

Copy editing

Copy editing hones your writing style by correcting spelling, grammar, syntax, and punctuation errors; ensuring that your writing adheres to editorial style standards; clarifying the text by eliminating ambiguous or factually incorrect information; flagging continuity inconsistencies; and producing a smooth reading experience.

Proofreading

While line editors and copy editors correct inaccuracies and hone your writing style, they won’t catch every mechanical error. The proofreader’s job is to scour your manuscript and find any mistakes that may have slipped through the editing cracks. This means proofreading falls at the very end of the editorial process, after your manuscript has undergone both line editing and copy editing.

Make sure you’ve thoroughly revised and edited your work before you pursue the final stage of proofreading. (There’s no point spending time and money fixing minor errors if you might later cut entire sections or restructure paragraphs and sentences.) Only have your manuscript proofread after you’ve completed a final edited draft that you’re pleased with.

In fact, if you send a proofreader a manuscript riddled with grammar mistakes, difficult sentences, and convoluted paragraphs—things you’re unable to see but stand out like flashing neon to an editor—they may decline the job and recommend a previous editorial service.

Why is proofreading important?

A manuscript sprinkled with typos, grammar errors, or textual inconsistencies will derail readers from the fictive dream you’ve worked hard to induce. Proofreading is crucial because it enables your narrative to mesmerize readers without disruption.

Proofreading polishes your work with a professional finish. This is vital if you want agents or publishers to consider your work or, if you’re pursuing self-publishing, you desire to build a loyal readership. When readers encounter an unedited or unproofed book, they’ll probably assume you couldn’t be bothered to invest in your own work. If you skipped these essential steps and your work shows it, why would they read any more of your dark fiction?

Proofreading is indispensable because, if you omit it and readers encounter more than a few typos or grammar errors in your novel, any remaining errors will negatively affect their reading experience. Many disgruntled readers are willing to go out of their way to complain about slipshod editing and proofing in reviews of your work. Falling stars = dwindling sales.

In today’s world of self-publishing, proofreading is a nonnegotiable step in the editorial process. As in indie author, you may be looking for ways to cut costs and thus be tempted to proofread on your own. But indie books have grown in quality in recent years, raising the bar and increasing competition. Getting your work professionally proofread is now not only common practice but a necessity for success.

What does a proofreader do?

Proofreaders won’t overhaul your story content or provide in-depth feedback on your work. This is the job of previous editors (see What Do You Need on the Fiction Editing Spectrum?). Proofreaders arrive like Mary Poppins at the tail end of the editorial process to fine-tune and polish your edited work.

This means proofreaders won’t copy-edit your manuscript, making changes they’re not being paid to make. But a reliable proofreader will ensure that your manuscript is free from spelling, grammar, and other errors that could ruin the reading experience and discredit your writing—and you.

Proofreading for print publishing

In print publishing, proofreading is done after the manuscript has been laid out and a “proof” copy printed. This version is what a proofreader works on.

The proofreader’s job for print layout is to conduct a thorough quality check before the book goes into print production. They may compare the original, edited manuscript to the proof, making sure there are no omissions or layout errors. The proofreader checks line spacing and page numbering, and fixes awkward word or page breaks. If the proofreader encounters too many errors, they may return the proof to the copy editor for further work.

Proofreaders consider the entire book, not just the chapter text. They’ll check your epigraphs, acknowledgments, and dedication pages, as well as your table of contents—everywhere text appears.

Tasks of a proofreader

Although professional proofreaders possess a keen eye for detail, that’s not enough. They must also employ a reliable and repeatable method to detect every minor error in your text, from misplaced commas to misused words. They’ll also correct typographical and layout issues in print proofs, such as inconsistencies in font use or incorrectly spaced lines in a paragraph.

The following list is by no means exhaustive, but here are some issues proofreaders check:

• Words that sound alike—homophones (for example, they’re, there, their)
• Definite and indefinite articles (a, an, the)
• Prepositions and prepositional phrases
• Comma use
• Hyphens (-), en dashes (–), and em dashes (—)
• Apostrophes
• Capitalization of terms, titles, and proper names
• Treatment of numbers
• Formatting of dialogue
• Paragraph indentation and spacing
• Page numbers, headers, footers
• Pagination

Effective proofreading requires multiple passes, each round focusing on only one task.

Can you do your own proofreading?

The short answer is, “Yes, but.” The long answer explains why not.

Any kind of proofing you do yourself helps to produce a cleaner manuscript. Whatever gets your work closer to the finish line is a good thing.

But you, as author, being the only one to proofread your own work? I caution against it. No matter how sharp you are, you will skip over typos and issues you’ve seen dozens of times during revision because you’ve become used to seeing them.

So, relying on only your own proofreading isn’t recommended. You’re so accustomed to your text that you could miss mistakes. A professional examines your manuscript with fresh eyes and is less likely to skip over errors.

Bottom line: catch as many errors as you can, but don’t skip hiring a professional proofreader.

The cost of proofreading

How much does third-party proofreading cost nowadays?

Proofreading and editing businesses usually advertise set per-word rates, sometimes with different prices based on turnaround time. On average, expect to pay $0.01–$0.04 per word (around $2.00–$10.00 per page).

The editing and proofreading service, Scribendi, lets you calculate the cost of proofreading based on your word count. For example, an 80,000-word novel takes two weeks and costs $1602.86 (as of the date of this post). That comes out to $0.02 per word, or $5.01 per 250-word page. A 4000-word short story with one-week turnaround time costs $129.33 ($0.032 per word, $8.08 per page). With 24-hour turnaround, cost increases to $163.17 ($0.041 per word, $10.20 per page).

Reedsy proofreading costs about $0.015 per word, or $3.75 per page.

I proofread for $0.009 per word, or $2.25 per page. See Current dark fiction editing rates.

Do you need a proofreader?

Proofreaders are your last line of defense against errors in your work. When you’re ready to professionalize your manuscript, I’m here to help.

If you need any kind of editing for your dark fiction, including proofreading, check out What Do You Need on the Fiction Editing Spectrum? and Dark Fiction Editing. I have decades of experience and can help you polish your edited writing. Drop me a line about your current project. I’d love to hear from you!

What Do You Need on the Fiction Editing Spectrum?

When a fiction writer says, “I need an editor,” what exactly does it mean? What kind of editor? What kind of editing? This post discusses different levels and types on the fiction editing spectrum.

Five levels of editing

I offer comprehensive fiction editing at the following levels that range from high-level down to the nitty gritty:

The types of editing at each of these levels exist on the following spectrum.

The editing spectrum

As a results-oriented editor of dark fiction, I provide all five levels of editing, along with a few other services.

Wherever you are in your writing process with a piece of dark fiction, I can help you improve your work.

You may only want to work on early issues with manuscript critique, story coaching, or developmental editing.

However, if you plan to produce a market-ready manuscript for self-publishing or submission to an agent or traditional publisher, you’ll want to run your work through the gamut of editing levels.

Here’s why this is important…

The importance of editing in stages

Why edit in stages? Simply because it’s humanly impossible to flag every kind of error in one pass.

Instead, to maximize the effectiveness of comprehensive editing, it’s industry best practice to perform each editing stage individually, progressing to the next only when the current stage is thorough and complete.

In other words, you should send your manuscript in order through each of the four editing stages. Doing so ensures you’re addressing problems logically and not wasting time and effort correcting passages that need to be rewritten or may be removed.

This means you complete story-level work (manuscript evaluation and developmental editing) before doing text-level work. Line editing should always come before copy editing, not after or at the same time.

An example of editing in stages

Here’s a writer’s original passage:

The toothless hag hissed; spraying blood over her furowed chin and the bouquet of leafy twigs she proffered. Her drooping body was covered with vines. He took them from her and she screamed to curdle the blood in his heart.

Here’s what a line editor would do to improve the passage:

The toothless hag hissed; spraying blood over her furowed chin and the bouquet of leafy twigs she proffered. Vines covered hHer drooping body was covered with vines. He took accepted them twigs from her and she screamed, to curdlinge the his blood in his heart.

Reads better, doesn’t it? But editing isn’t complete. A copy editor would clean it up like this:

The toothless hag hissed,; spraying blood over her furowed furrowed chin and the bouquet of leafy twigs she proffered. Vines covered her drooping body. He accepted the twigs from her and she screamed, curdling his blood.

Even better. A proofreader would use a fine-toothed comb to ensure the final edited paragraph was the best it could be:

The toothless hag hissed, spraying blood over her furrowed chin and the bouquet of leafy twigs she proffered. Vines covered her drooping body. He accepted the twigs from her, and she screamed, curdling his blood.

Granted, inserting a necessary comma isn’t much of a change in a single paragraph, but proofreaders find and fix many other minor issues in a whole manuscript.

Important: You should complete both developmental and line editing before you query agents or traditional publishers. If you’ll be self-publishing, you should complete all editing stages (developmental, line, and copy editing; then proofreading) before putting your book on the market. (Although, even if your book is already on the market, you may have the manuscript edited at some level and re-upload the corrected content.)

As a comprehensive editor of dark fiction, I supplement every level of editing with an editorial letter that explains and provides context for comments and edits I’ve made in your marked-up manuscript.

The bottom line

What you want most of all is a seasoned editor who understands the differences between the four levels of editing and who can explain what each will do to improve your dark fiction.

When you’re ready to take the next step to improve your writing, I can evaluate your manuscript, discuss your options with you, and lead you through the process of producing a polished piece of dark fiction. For more information, check out Dark Fiction Editing.

What an editor can—and cannot—do (and that includes me)

An editor can:

• Tell you why your story doesn’t work.
• Show you how to fix what needs fixing.
• Improve your story so that it reaches its full potential.
• Help you become a better, more skilled writer.

An editor cannot:

• Fix your manuscript for you.
• Guarantee anything, especially publication.

It’s up to you to make (or not make) the suggested changes. And, although no editor can guarantee publication, I can move you closer to your goals. Every edit is a learning experience that will help you become a better writer.

If you don’t know what kind of editing you need

Not sure what level of editing would benefit you most? Read through the following list and pick one or two that best represent your situation.

1. If you’ve completed a story and want an analysis of story elements, revealing what’s working, what isn’t, plus suggestions for improvement, you need manuscript evaluation.
2. If you simply need a sounding board to discuss your idea, get an opinion about your approach to writing, and ask writing craft questions, you need story coaching (which I provide through video consultation).
3. If you have an incomplete idea or unfinished manuscript you’re unsure what to do with, you need story coaching or developmental editing to help you complete a solid draft.
4. If you’ve finished an early draft of a work and need help to solidify it at the story level, you need developmental editing.
5. If you’ve completed a manuscript and think it’s pretty good but you want it streamlined and tightened, you need line editing.
6. If your manuscript has been through line editing, you need copy editing.
7. If your manuscript has been through the previous levels, you need proofreading.
8. If your manuscript has been through all the above, congratulations! You’re ready to submit or self-publish.

If you’re still not sure what kind of editing you need or have questions, contact me and ask. We’ll figure something out that will best serve you, your story, and your writing career.

Dark Fiction Writers: Do You Need Editing?

You’ve been toying with a deliciously dark story idea but need professional direction before and during the writing process. Or you’ve drafted pages you’d like an opinion on before continuing your work.

Perhaps you’re nowhere near a polish; your manuscript needs evaluation and suggestions on the story level before you finalize writing.

Could be you’ve finished a short story, novelette, novella, or novel. Bravo! Now it’s time to polish your work for submission or self-publication. But, if you’re honest with yourself, you’re not so good at it.

Although you’ve done all you know to improve your dark fiction, you remain under-published—you’re still not getting those acceptances you long for. Or, if you’ve self-published, reviewers complain about mistakes in your writing. Cringe.

Is your writing as good as it could be?

Hey, we all know getting published is tough. But is the quality of your storytelling—or the way you write—prompting rejection?

If so, you could benefit from the services of a seasoned professional who specializes in editing dark fiction.

Why hire an editor?

You need editing:

• When you don’t know what’s wrong with your writing or how to fix it
• To give your readers an optimal reading experience, one that brings them back for more

What’s wrong with my writing?

If you’re just getting started writing dark fiction, you’re perplexed about why a manuscript isn’t working, or you’re less than stellar at self-editing, consider hiring a fiction editor. A qualified, professional editor can help you find what’s amiss in your manuscript, why it’s causing problems, and how to fix it.

As a teaching writer and editor, I’ll bring not only 35+ years of experience to bear on your project, but share the tools in my toolbox with you. This means I’ll review your work to identify areas for improvement and explain how to fix them—thus helping you become a better, more successful writer.

Why not give readers your best?

You also need editing because your readers deserve your best. Today’s discerning book buyers want stories that are engaging and error-free. (Just check the reviews of most self-published books, and you’ll see what I mean.)

Top-notch editing ensures you’re sharing the best version of your story—one that will entertain readers without distracting them with narrative blunders. A great story told well (free of grammar and spelling mistakes, of course) encourages repeat readers who’ll tell others about your work.

Are you ready for editing?

You are if the story you’re writing is important to you, and you realize you can’t do it on your own.

But first, let me ask…

Which of these 5 dark fiction writers are you most like?

Take the next step:

Whether you’re one of the writers above, somewhere in between, or totally “off the charts,” so to speak, I’d love to help you become a better dark fiction writer.

Haven’t you spent enough effort writing stories that fall flat with readers or, worse yet, get dinged in reviews? It’s time to kiss your current plateau goodbye and advance your storytelling and writing skills. Maybe there’s a deadline you need to meet with the best story you can submit.

If you’re curious to learn more about the kinds of editing recommended, head over to Dark Fiction Editing. Then strike up a conversation with me about your current project. I look forward to hearing from you!

August 1, 2022

How Line Editing Benefits Dark Fiction Writers

Good dark fiction isn’t just about story. Equally important are the clarity, readability, and style of your writing. After finishing a work of dark fiction, if you want to improve it, you need to concentrate on how you communicate your ideas. That’s where line editing comes in.

Can you do it all?

Examine how well your paragraphs and sentences fit together. Do they flow from one to the next? Do your words successfully evoke the tone you’re going for? Is your language precise and understandable, easy to read? Have you executed point of view consistently? Can you cut extraneous words and phrases? And catch those wrong words, overused words, junk words? Did you—?

Whew! Can you do all this—and a hundred other things to simplify and streamline your manuscript? If not, a line editor can.

What does line editing accomplish?

A line edit evaluates and enhances your writing style at the paragraph and sentence level. Line editors don’t scour your manuscript for mechanical errors like copy editors do. Rather, they focus on how you use language to tell your story.

Line editors analyze your writing line by line. They examine the building blocks of your story—chapters, scenes, paragraphs, sentences, clauses—to ensure these components work together.

During this stage, a line editor’s mission is to make your writing as clear as possible by looking at the content, style, tone, and consistency of your prose. Line editing is also called stylistic editing because it focuses specifically on your individual writing style.

The goal of a skilled line editor is to tighten your writing and make it sing.

What’s the difference between line editing and copy editing?

Line editors share certain attributes with copy editors: attention to detail and interest in how language works at the sentence level. But their tasks differ.

Although both line editors and copy editors work line by line, they look for different issues. Line editing focuses on your writing style; copy editing concentrates on the nitty-gritty of mechanics—spelling, grammar, syntax, and punctuation.

When you should hire a line editor

Line editing should take place after your story draft is complete. In fact, line editors prefer that you’ve done everything you can yourself and see no further way to improve your writing before you share it with them. (I’m one of them.)

If your manuscript has gone through developmental editing, line editing is the next step in the editing spectrum (link coming soon).

Tasks of a line editor

Line editors tackle many issues to make your manuscript better. Here are a few of them.

• Restructure paragraphs and sentences to maximize comprehension, simplicity, and flow
• Break up long paragraphs
• Fix run-on sentences or incomplete sentences
• Revise awkward sentences, split long sentences, streamline sentences with clauses and parentheticals
• Catch misspellings, wrong words, double words, overused words
• Cut unnecessary phrases and words
• Eradicate junk words
• Substitute stronger words for commonly overused words (very, just, still, walked, etc.)
• Suggest stronger words for weak nouns and verbs while minimizing adverbs and adjectives
• Correct dangling participles
• Flag POV errors and explain why and how they need to be rectified
• Tighten dialogue and mend faulty attributions

What I typically do during line editing

During the course of a line edit, I may:

• Point out inconsistencies in the story line
• Flag scenes where the action is confusing or your meaning unclear
• Query you in a manuscript comment about whether you’ve requested and received permission to include those song lyrics in your epigraph (you can’t use them for free, and if you use them without permission, you can be sued for copyright infringement)
• Correct the spelling and capitalization of 7-Eleven and all trademarked names to protect you from legal action
• Recast sentences that begin with There are and It is (no-nos, by the way)
• Mark redundancies that repeat the same information in different ways
• Indicate where tonal shifts occur
• Eliminate confusing or unnecessary narrative digressions
• Suggest changes you could make to improve pacing
• Flag clichés and prompt you to use fresh phrasing
• Vary sentence lengths

I also check for any discrepancies in your setting, plot, and character traits to ensure internal consistency. For example, if you wrote on page 29: “Derek scrubbed a hand over his blond crewcut,” but on page 74 you wrote, “Derek tore at his long, brown hair,” I’ll bring it to your attention. Why?

Because readers hate such gaffes and will drop stars off their reviews of your book. As a writer striving for excellence, you don’t need that.

The cost of line editing

How much does third-party line editing cost?

Editing businesses usually advertise set per-word rates, sometimes with different prices based on turnaround time. On average, expect to pay $0.02–$0.04 per word (around $5.00–$10.00 per page).

The editing and proofreading service, Scribendi, lets you calculate the cost of editing based on your word count. (They lump line and copy editing together.) For example, an 80,000-word novel takes two weeks and costs $1602.86 (as of the date of this post). That comes out to $0.02 per word, or $5.01 per 250-word page. A 4000-word short story with one-week turnaround time costs $129.33 ($0.032 per word, $8.08 per page). With 24-hour turnaround, cost increases to $163.17 ($0.041 per word, $10.20 per page).

With Reedsy, line editing is lumped in with copy editing and costs about $0.02 per word, or $5.00 per page.

I line-edit for $0.02 per word, or $5.00 per page. If you contract for both line and copy editing or line, copy, and proofreading, I offer a discount. See Current dark fiction editing rates.

How we can work together

In addition to doing the edits, I will, if you want, talk through my edits and answer any questions you may have. See video consultation (link coming soon).

If you submit a clean, well-written manuscript, I may be able to do line editing in a single pass; but it will more likely involve two rounds between us. Editing, like writing, is an iterative process.

Need a line editor?

If you’re ready to take your writing to the next level, I’m here to support your goals.

If you need any kind of editing for your dark fiction manuscript, including line editing, check out The Editing Spectrum (link coming soon) and Dark Fiction Editing. I have decades of experience and can help you improve your writing. Then drop me a line about your current project. I can’t wait to hear from you!

July 22, 2022

What Developmental Editing Can Do for Writers of Dark Fiction

Developmental editing, also called substantive or content editing, focuses on improving big-picture narrative elements in your writing. This kind of editing occurs early in the writing process. For fiction, developmental editing considers these aspects:

• Genre concerns
• Story structure
• Characters and characterization
• Narration, point of view, and use of narrative modes
• Plot and pace
• Setting
• Theme
• Mood and tone
• Style and voice

Examples of developmental editing

As a developmental editor, I give your manuscript a careful reading to evaluate the previously listed elements. Here are examples of the primary ones.

Structure

When I analyze the structure of your story, I look for, at minimum, a clear beginning, middle, and ending. For longer works (novelettes, novellas, and novels), I check for scaffolding such as three-act, hero’s journey, or eight-stage organization. (These are just a few; there are others.) Are all signposts in place and connecting material in proper proportion?

Plot and pacing

With plot, I check for a clear cause-and-effect chain from beginning to end, keeping an eye out for possible contrivances. Does the protagonist (and other important characters) have a clear story goal? Sub-goals?

While pursuing those goals, your main character must encounter meaningful conflict based on significant stakes. In your protagonist’s monumental effort to resolve conflict and attain their story goal, are the climax and resolution logical yet satisfying?

The pace between major plot events should vary yet steadily mount toward the conclusion.

Characters and characterization

Evaluating characters and characterization asks if the protagonist, antagonist, and secondary characters are well-drawn for their purpose. Are they believable and consistent, properly motivated to pursue their story goals through heightening conflict?

Does the main character learn and change through the course of the work, demonstrating their ability to resolve the conflict?

Narration, point of view, and narrative modes

Have you chosen the most effective narrator for your story (external or internal)? How about the most effective point of view for the narrator to relate the story events and action? I have an eagle eye for catching and correcting POV errors, mistakes that can distance readers from your story or prompt them to quit reading altogether.

Line editing more fully evaluates your use of narrative modes—dialogue, internalization (character thoughts and feelings), action, description, and exposition. But during developmental editing, I suggest how best to use these modes to narrate or dramatize particular passages.

Setting

Setting includes geographic location and time.

You should set your story in the only place it could happen.

Its sub-settings, such as your protagonist’s home or a dark alley where significant action takes place, should contribute to conflict by threatening your characters or constraining them from reaching their goals.

Time in setting refers to the time period during which your story events take place (past, present, future) as well as the time of each scene. To evaluate your story’s use of time, I ask questions such as:

• Does your story adhere to the limitations of the time period in which it’s set?
• Does your narrative progress along a defined timeline or, if told out of chronological order, are the time points for each scene clear and understandable?
• Is time revealed at the beginning of each scene so that readers understand the progression of scenes or any skips in time?

The cost of developmental editing

How much does third-party developmental editing cost?

Editing businesses usually advertise set per-word rates, sometimes with different prices based on turnaround time. On average, expect to pay $0.02–$0.04 per word (around $5.00–$10.00 per page).

The editing and proofreading service, Scribendi, does not offer developmental editing, only line/copy editing.

With Reedsy, developmental editing for an 80,000-word novel costs about $0.0252 per word, or $6.30 per page.

I do developmental editing for $0.018 per word, or $4.50 per page. See Current dark fiction editing rates.

The goal of developmental editing

The goal of developmental editing is to ensure your work is sound on a structural and storytelling level. As a developmental editor, I analyze the previous aspects of your story to identify missing elements or, if present, to determine whether they’re working.

A developmental edit may require you to restructure your manuscript. Usually, you will need to rewrite to address issues identified and resubmit for a second evaluation.

Only when your story is effective as it can be should you pursue line editing and copy editing.

What I do as a developmental editor of dark fiction

When a writer of dark fiction sends me their manuscript for development editing, I make notes as I read carefully. I evaluate and comment on most of the above elements and suggest options and improvements. I return the commented manuscript (change-tracked Microsoft Word) with a cover email that discusses my findings and summarizes my recommendations.

As a developmental editor, I will evaluate, critique, guide, and help you shape your work—even if you’re still writing it. After you produce a strong story, I’m available to further refine your writing with line editing and copy editing. Each step will bring you closer to the possibility of publication.

July 19, 2022

What Copy Editors Can Do for Fiction Writers

What exactly are copy editors, and what do they do for writers, especially writers of dark fiction?

What copy editors are not

Copy editors are not writers (although I’m both a writer and an editor). They’re not rewriters. They’re not developmental editors, line editors, or proofreaders.

What copy editors do

Copy editors review an author’s text to do the following:

• Correct spelling, grammar, syntax, and punctuation errors
• Ensure that the writing adheres to the standards of their chosen (or assigned) stylebook
• Clarify the text by eliminating ambiguous or factually incorrect statements
• Produce a smooth reading experience

Copy editors correct mechanical errors

Copy editors must know how to spot and correct grammar and spelling errors as well as syntax and punctuation mistakes.

Copy editors adhere to style standards

Mastering grammar, syntax, and punctuation begins and continues with becoming thoroughly acquainted with the dictionary and the latest version of a style guide such as The Chicago Manual of Style or The Associated Press Stylebook. I use CMOS.

Copy editors check facts

Copy editors may also need to fact-check information in manuscripts. With a discriminating eye, they consider each statement and ask: is the information, as stated by the writer, factually correct? Some research may be required to determine accuracy.

If a fact—whether appearing in narrative or dialogue—is ambiguous, copy editors may contact the author with a polite note pointing out the issue and asking for clarification.

Correcting factual errors and ambiguities prevents misreading and misunderstanding, which could potentially prove disastrous to readers and consequently costly to the author and publisher.

The cost of copy editing

How much does third-party copy editing cost?

Editing businesses usually advertise set per-word rates, sometimes with different prices based on turnaround time. On average, expect to pay $0.02–$0.04 per word (around $5.00–$10.00 per page).

The editing and proofreading service, Scribendi, lets you calculate the cost of editing based on your word count. (They lump line and copy editing together.) For example, an 80,000-word novel takes two weeks and costs $1602.86 (as of the date of this post). That comes out to $0.02 per word, or $5.01 per 250-word page. A 4000-word short story with one-week turnaround time costs $129.33 ($0.032 per word, $8.08 per page). With 24-hour turnaround, cost increases to $163.17 ($0.041 per word, $10.20 per page).

With Reedsy, copy editing is lumped in with line editing and costs about $0.02 per word, or $5.00 per page.

I copy-edit for $0.012 per word, or $3.00 per page. If you contract for both line and copy editing or line, copy, and proofreading, I offer a discount. See Current dark fiction editing rates.

The goal of copy editing

The goal of careful copy editors is to produce clean, consistent, and correct manuscripts that fulfill the intentions of both writer and publisher. Attention to mechanics, style standards, accuracy, and readability is how copy editors achieve these ends.

Need a copy editor?

If you need any kind of editing, including copy editing, for your dark fiction manuscript, check out Dark Fiction Editing. I have decades of experience and can help you improve your writing.

March 10, 2012

Treat Your Digital Fiction Like Software

How You Can Constantly Improve Your Indie-Published Work

When traditional publishing ruled, once a book was printed, it was set in stone. That’s why they employed editors and copy editors to improve the story and ferret out all the mistakes: once the book was typeset and thousands of copies printed, it couldn’t be corrected. But we’re in the digital age now.

If you’re an indie author, you’re responsible for everything: the writing, the formatting, the editing, the publishing, and the marketing. It’s hard to guarantee perfection at every step. The good thing is, nothing’s set in stone. In today’s publishing world your books are tantamount to software. If you didn’t get it right the first time, there’s always version 2.0.

At one point I debated whether this was ethical. After my initial release of a book, should I change it? I was still recovering from the bircks-and-mortar bookstore/paper tome/traditional publishing paradigm. Now I think, If you know it needs to be corrected or can be improved, can you ethically not give your readers the best product you’re capable of providing?

If you discover you need to make corrections to a work already published, you can do so and simply upload a new version to your favorite sales portal. Along with the power of having your own digital Gutenberg comes great responsibility.

As a technical writer 25+ years in the software industry, I adhered to this principle in the millions of pages of documentation I wrote and published: If it needs fixed, whatever the reason, fix it and republish ASAP.

Going the extra mile is in your favor. If you get a less than spectacular review and the reader complains about something you can change, do so as quickly as possible to prevent others from jumping on the bandwagon. For instance, if a number of reviewers (precious few nowadays) bitch about how much they hated the ending, REWRITE IT.

Like the in-house Quality Assurance department, your beta readers don’t always catch everything before you publish. Once your work is in the hands of the public, you become Helpdesk and Support Services, fielding complaints and logging issues for product improvement. Your product.

I’m not advocating changing your fiction at the whims of your readership. If you made a decision that you know is right for your story, stick with it. Yet if it concerns some other issue you can rectify, do so. Reminder: it pays to take your time and ensure you’re putting your best out there the first time.

Sure, some readers will always own 1.0. These are the breaks. But some of your readers getting an improved pub is better than all of them getting version 1.0 with all its bugs. It’s just not necessary with digital texts.

Amazon lets you notify readers that a new version is available. I did this once for a classic I had republished because an OCR scanning error turned into a factual error that I didn’t catch. I don’t recommend you do this unless absolutely necessary. Especially with fiction, once it’s read, it’s read.

But if you get a chance to improve your published work—whether it’s to correct typos, smooth out a scene, fill in a plot hole, or post a new cover—by all means, do it. Constant improvement is the professional stepstool to greater sales.

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June 17, 2011

The Resurrection of DEATH PERCEPTION

About two weeks ago, I got the idea to revise my Seton Hill University thesis novel, DEATH PERCEPTION. But that created a dilemma for me: revise an old project, or work on a new one? Here’s how I came to my final decision.

Since graduating from the Writing Popular Fiction masters program in 2006, I had made several rounds of revisions on the book, a supernatural crime story. I would go through it and make a lot of changes, then I’d bury it again. I never felt it was complete. Certainly not good enough to be published. And frankly I was so sick of it I couldn’t gain any perspective. Am I improving it, or am I making it worse? I could never tell. After its mouldering in the grave for a good three years, I unearthed the manuscript once more, scraped off the decay, and decided to take another look.

I was suprised. Sure, there were a couple chapters that were clinkers, churned out under the pressure of a term deadline nearly a decade ago. But most of it was good. Really good. At one point, I thought, I can’t believe I wrote this…

Perhaps my skills and judgment have matured. More so, I think I’ve gained confidence in my abilities. Somewhere during my continuing studies and coming out process, I gained that perspective I needed to be able to judge my own work with a more objective eye.

And I discovered something uncanny. Those frustrating holes in my manuscript that I didn’t know how to fill in past revisions were suddenly waiting like placeholders for knowledge I now possessed. Someday I plan to blog about the prescient and prophetic aspects of fiction writing, but for now I’ll say that not only with THE SIXTH SEED, but also with DEATH PERCEPTION, plot situations that I wrote about years ago have come to pass in my personal life. Let me explain.

DEATH PERCEPTION is about a young man who operates the crematory at the local funeral home. He discovers he has a gift for discerning the cause of death of those he cremates. Not a big deal since they’re already dead. However, when what he discerns differs from what’s on the death certificate, he finds himself in the midst of murderers.

Have I started to cremate the deceased in my spare time? No. (But the onsite research was fascinating!) Yet the abilities my protagonist Kennet Singleton develops—powers I wrote about from pure imagination a decade ago—I am now experiencing in my own life.

My study of spiritualism, mediumship, and healing through the Morris Pratt Institute is providing me with the knowledge I need to fill those holes in my manuscript. And having since experienced psychic phenomena for myself, I’m able to add realism to Kennet’s otherwordly perceptions. (For more about this, see “Visitation from the Summerland” at my other blog, Building the Bridge.)

So how did this create a dilemma for me?

I’ve been planning a new novel, DEAD CEMETERY, working on setting, plot, and characterization in my spare moments the past few months. I’m itching to spend more time on it, but am constrained by my spiritualism schoolwork. When I received the idea (actually, an intuitive prompting) to revise DEATH PERCEPTION, I felt it would only further postpone my work on the new book (which, of course, it is). But once I got into DEATH PERCEPTION, I realized that I might be able to finalize revisions and actually get it published.

So that’s what I decided to do: revise and publish DEATH PERCEPTION so that I will have something to market while I work on DEAD CEMETERY.

With the help of Spirit, I’m learning to spin plates like a real writer. I’ll let you know how it goes.