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Red Pencil in the Woods highlights

Last week I was at Red Pencil in the Woods in Seattle (Kenmore), put on by the Northwest Independent Editors Guild. It was a great event: the cost was very reasonable, the Bastyr University campus was beautiful, and the program was well choosen and presented. I will definitely look out for the next one.

Conference highlights

Carol Saller: “Finding Our Way: Writing and Editing in the New Publishing Landscape”

This was the keynote speech by Carol Saller, the Subversive Copy Editor and senior manuscript editor at the University of Chicago Press. She referred to a report from the Association of American Publishers using BookStats that seemed to show that revenues for print overall were increasing. She also went through an overview of the different kinds of publishing available:

• Conventional: publisher pays production costs, writer gets percentage of the net revenue. A large number of copies of the book are printed together.
• Print on demand (POD): a printing technique that makes it practical to print small batches of books.
• Self-publishing: the author handles the whole production process. See CreateSpace, which provides a collection of online tools, both free and paid, to set up a book.
• Subsidy publishing: the author and publisher split the cost of production and the author gets a higher percentage of the royalties than in a conventional publishing system.

E-book panel

A panel on e-books that discussed some of the advantages of e-books (authors can continue to sell books that would otherwise not be kept in print) and some of the technical challenges of the formats. Not all e-book publishers eat their own dog food.

How to write an effective book proposal by Jennifer Worick and Kerry Colburn

See how to write an effective book proposal for a summary of this presentation.

Carol Saller on subversive copy editing

The last session of the day was Carol Saller again, talking about her philosophy for harmonious copy editing: carefulness, transparency, flexibility.

• Carefulness: Before you change something, make sure that it should be changed. An example of lack of carefulness would be meticulously changing every single instance of a misspelling that turns out to be a special term commonly used in the field. To make sure you do no harm, use Google to search for terms that look odd, and if you see an error repeated consistently, query it.
• Transparency: Show your changes. Explain to the author ahead of time what changes they can expect, and if you’re using a word processor, track your changes. Explaining your changes, showing them, and making it easy to roll them back builds trust with the author.
• Flexibility: This is the subversive part. Some styles are really pretty arbitrary (for instance, whether you put a comma between the author and date in a citation). If an author wants to do something that is against the house style but isn’t actually going to hurt readability, maybe it’s OK.

Other notes about the conference

• Kyra Freestar’s conference notes at The Editor’s POV. Includes some follow-up and notes on the keynote speech about the future of publishing and the panel on e-books.

What to put into a book proposal from Jennifer Worick and Kerry Colburn

At Red Pencil in the Woods last weekend I heard a great talk on how to write an effective book proposal from Jennifer Worick and Kerry Colburn of The Business of Books. Some of the key points were:

Why do you need to write a proposal?

A book proposal is like a business plan. It tells the publisher:

• What your idea is
• Why this idea is interesting and marketable
• Why you are the right person to write this book
• How the book can be marketed

Even if you are going to self-publish, the proposal helps you to focus your concept and find your readers.

The key parts of a proposal

Jen and Kerry recommend that you set out these main points. You can tailor the format for each publisher or agent’s specifications.

1. Introduction: Explain and sell the general concept. Some good ways to begin are with a startling statement or statistic (75% of Americans . . .) or a question (What would you do if . . .).
2. About the book: State the genre or category, e.g., where it will be shelved in the bookstore, and the format (hardcover, trade paperback, mass market paperback), dimensions, price range, etc.
3. Competing titles: Get to know the section of the bookstore where your book will be shelved. Name four or five books in the same category and explain how your book is similar and where it is different. Focus on books that have been published in the last ten years, and any “category-killers.”
4. About the author: What’s your connection to the material? What makes you easy to work with and marketable? Mention interesting achievements, past careers, and skills.
5. Marketing: Present clippings and logs for any promotion you did for earlier books. Mention any events, seasonal tie-ins, or regional and historical connections that can be used to promote the book. Describe any social media platform that you can use to promote the book with giveaways, contests, etc.
6. Outline: Show that you know what the structure of the book will be.
7. Sample text: Depends what the publisher or agent requests, but usually the introduction and one chapter.
8. Extra materials: Include material that supports your proposal. It might be clippings to illustrate trends that you described, more information about you, and even audio and video clips that show you giving interviews or doing demos from the book.

More information on writing proposals and query letters

• Dos and don’ts for submitting stories from the Science Fiction and Fantasy Writers of America FAQ for Beginning Writers
• “On Agents & Queries” by Meg Waite Clayton. Possibly the most important piece of information in the article: “My queries can go through 20 drafts.”

The Artful Edit: On the Practice of Editing Yourself by Susan Bell

Be your own editor

You won’t always get the perfect editor for your book, and you can’t rely on editors having time to do all the work they’d like to. Be your own editor as much as you can.

Susan Bell’s The Artful Edit is a guide for writers to help them edit their own work and to get the most out of their collaboration with an editor. Bell considers different strategies for editing during the writing process and suggests ideas for getting a fresh view of your draft. She then deals with the nuts and bolts of what to look for when editing. Later in the book, she steps back to look at the role of editing in art by interviewing non-print artists about how editing has improved their work and looking at some famous writer–editor relationships.

The book contains a lot of practical advice and examples. There are checklists and exercises to help you focus on specifics. Bell quotes from letters between F. Scott Fitzgerald and his editor, Max Perkins, to show how they worked on The Great Gatsby and quotes passages from different drafts of the manuscript to show the changes they made.

Although the book has some concrete stylistic advice (remove excessive “be” verbs, watch out for redundancy), this is not a style guide. Read it if you’re interested in larger issues (intention, structure, theme) and if you’re interested in thoughts about the role of the editor in creative writing.

Be a mechanic, not a judge. When you edit, do not ask yourself: Do I like this? Ask instead: Does this compel me and can I follow it? If the answer is no, figure out why.

—Susan Bell, The Artful Edit

Tips for getting distance from your draft

From The Artful Edit

• Read it aloud, with or without an audience
• Print it in a different font
• Read it in different surroundings
• Take a long break: don’t look at the manuscript at all for a few weeks
• Go through the manuscript with someone else
• Hang the pages on a line or lay them out on the floor to help you visualize the flow and layout
• Send it away: giving your manuscript to someone else can make you see it with new eyes

Reviewed from a library copy of the book.

A Prehistoric Odyssey by Marie Mai Perron

A book that I copy edited last spring just came out a little while ago. It’s a great story, and I thoroughly enjoyed working on it.

When his friend tells him he’s solved time travel, Matthew Carrington jumps at the opportunity to prove his theory that dinosaurs could have been as intelligent as mammals. But in his desperation to save his career, he is forced to accept too many compromises in planning the expedition. Facing the prehistoric environment with incomplete information, unreliable technology, and a dangerously unstable team, science soon takes a back seat to survival.

The prehistoric environment is vividly described, with plenty of biological detail. The characters are very real, and their motives and agendas play out in a way that’s inevitable and surprising at the same time.

A Prehistoric Odyssey is for sale at iUniverse.com
ISBN: 978-1462018666
See a preview