Editors and How to Choose One
Editors and How to Choose One
By Audrey Owen
You’ve chosen your topic, finished your research, and done your writing. You may even have contracted graphics and layout. You believe you are ready to publish, and self-publishing technology, like Print on Demand or e- book production, make it possible for you to rush in and do just that.
There’s good news and bad news.
The good news is that you absolutely can publish what and when you like.
The bad news is, so can anyone else, and discerning buyers know that. Many are rightfully wary of self-published material.
So how do you make your work stand out in the self-publishing world?
You provide an excellent piece of writing and you present it flawlessly.
That is where the editor comes in.
It’s unfair but true that you are judged not on your brilliance at developing plot and character, your gripping descriptions, nor on your realistic dialogue, but on your spelling and grammar.
Think of a bride all dressed for her wedding. What is most important? I’d argue it’s the character and personality of the bride. But if she shows up with ketchup on her dress or mud on her shoes, what will everyone be thinking through the ceremony?
You may be the most brilliant and insightful person ever to publish, but if your writing is less than pristine, you will not sell many books. Sure, you may be able to get a few under the radar of people who buy without chcecking the goods, but you won’t get the repeat sales. You won’t get the unexpected gold mine of unsolicited reviews. And you won’t get the best recommendation of all, word of mouth.
Trade publishers ensure that their authors produce the best works possible by hiring editors. Every trade book you have ever read went through at least four stages of editing.
Once someone in acquisitions decides the book has potential, an editor does a substantive edit. The editor reads the whole manuscript and looks for ways to improve it on a global level. Did you include all the information you needed? Is your point clear? If it’s fiction, are characters, plot, setting and theme working together in the best possible way? The editor writes Fix Notes tor the writer, suggesting changes. There may be several rounds of substantive editing before moving on.
The next round involves a line edit. The editor looks at wording, not for grammar and spelling, but for elegance and power. The editor asks, “Is this the best possible way to say this?”
When the writer and editor agree that everything is said as well as it possibly can be said, the work receives a copy edit. This is when the spelling and grammar are checked.
Finally, a proofreader double-checks for spelling, grammar, and layout issues.
With all that attention to words in the trade publishing companies, it’s no wonder that unedited self-published books come out looking like poor second cousins.
You can put your wrok in the big leagues by treating your words with the same respect traditionally published authors treat theirs. Find a good editor.
If you go on-line to search for editing services, you will find thousands of choices. Some of those will be for stables of editors who work for companies that “outsource” the work, paying the editor a percentage of the fee they collect from the client. (The editor may get less than 50% of what you are charged, so many stables are full of low quality editors.) How do you sort through and find a good one?
Does the editor belong to professional organizations? There is no set standard for editors like there is for doctors or teachers. Anyone can call himself an editor. Those who care about the profession band together to set standards for themselves. Find an editor who cares enough to join.
Does the editor offer a firm price based on your specific work? Editors can charge by the word, by the hour, or by the job. Beware an editor who offers to edit your book for a set fee without seeing your work. Editing is an art as well as a science and each piece of writing is unique. Be sure the editor sees the uniqueness of your project and its needs.
Does the editor offer a sample edit? This will give you and the editor a chance to see if you will work well together. Editing is a relationship and you both should feel happy that you are working together. The sample need not be long, but should offer the editor a good idea of what your needs as a writer are.
Does the editor offer an educative edit? This is specific to the needs of a self-publishing writer. In this type of editing, the editor works on a very short section of the writer’s work and goes beyond fixing and moves to explaining why the changes are important.
The writer goes back through the entire manuscript and uses the advice on the rest of the book. The writer actually becomes a better writer.
Then the writer submits a second section of work. The process goes on until the writer and editor agree that the writer no longer needs that level of support. (A writer should not need an educative edit on a whole book.) With an educative edit you gain a life skill that you can take into other writing projects.
Does the editor offer a guarantee? No one can turn a pig’s ear into a silk purse, but the editor should be able to tell you what improvements you can expect. Does the editor have satisfied clients willing to give references? Check them.
When you have found the editor you want, agree on terms. You can do that through a signed agreement, or an agreement reached on-line.
It is common for editors to ask for at least half of the payment in advance. If the editor has given you a free sample edit, you can assume she will come through with the final edit as a professional. She has bought credibility with her free service and you can pay with confidence. If you have any difficulty with the editor and the editor belongs to a reputable association, use the association to resolve the dispute.
When you have a good editor who loves your work almost as much as you do, you stand head and shoulders above your fellow self-publishing artists and your writing and marketing efforts will reap all the rewards you expect.
© 2005-2009 Audrey Owen Used by permission. For permission to copy or use this information, contact her through her Web site www.writershelper.com.
Audrey Owen, a writer who is both self-published and published by others in print and on-line, is an editor who specializes in working with self-publishing authors. Her Web site, www.writershelper.com , provides free writing tips and other information of interest to self-publishing authors.
Audrey Owen
Editors’ Association of Canada,
Federation of BC WritersÑformer regional director,
Society of Children’s Book Writers and Illustrators
494 Eaglecrest Drive
Gibsons, BC
CANADA
V0N 1V8
How to Make a Book Galley
A book galley is used to generate publicity and market your book before it is published. The galley is sent to book reviewers, booksellers, magazines and distributors to provide them the opportunity to make decisions about your book.
Publishers produce and send 10-500 galleys as part of their prepublication marketing campaign to generate buzz about the book before it hits the bookshelves. Small Independent publishers send between 10- 25. Galleys, arc’s (advanced reading copies) and bound manuscripts all serve the same purpose but, differ in the way the presentation.
A bound manuscript is a printed 8’11 typeset and spiral bound, acceptable by most publishing industry professionals.
The galley is cut and bound like a book. Most galleys have a typed title or cardstock cover.
An advanced reading copy or ARC is bound and cut to look like a book. The advanced reading copy has a full color cover and can be produced at home or by a commercial printer.
Bound Manuscript
1. Print the typeset manuscript from your computer.
2. Bind the manuscript with binding tape or punch holes in left column and spiral bind
Book Galley
1. Print the typeset manuscript from your computer.
2. Use the cutter to make cut the manuscript down to the size of a book. The he following cuts are to create a tradebook or 5.5×8.5.
3. Each cut should go counter clockwise. Put the manuscript upright and cut #1 at 7 inches. Turn and cut #2 at 9.5 inches. Turn and cut #3 at 5.5 inches and cut #4 at 8.25 inches.
4. Punch holes with hole puncher or binder.
5. Add the spiral bind.
Advanced Reading Copy
The advanced reading copy is the same process as the book galley, however, the full color cover is added and bound.
The galley is essential to the prepublication marketing mix. If the task is too daunting, you can outsource the job to a company that prints galleys or wait until the book is printed and risk not getting exposure in the larger markets.
Art Official Media LLC can produce bound manuscripts, galleys and ARC’s for between 1-10 at an affordable price and incredible turnaround time of 48-72 hours. If you are not interested in our service, you can contact your local printer or preview the list below.
How to Utilize Galleys for Best Results
How to Utilize Galleys for Best Results
by Chris Willitts
Once your book hits bookstore shelves, you’ve got approximately eight months to produce sales. If your book doesn’t prove itself after the eight months, it will almost certainly get pulled. So the time to do your marketing is way before your book even thinks about hitting the shelves.
Thousands of booksellers and librarians found their buying decisions on reviews. But the major review journals (i.e. Library Journal and Publishers Weekly) will only review your book if you send them a bound manuscript – a.k.a. bound galley – three to four months in advance of your targeted publication date.
A galley is a compilation of unbound signature pages of your book. The contents of a galley can be photocopied or printed from your computer.
A bound galley is a galley that has been bound into book form. Bound galleys are generally produced after a manuscript has been typeset but before proofreading.
If you plan on sending out more than 25 pre-publication review copies and you do not have access to a photocopier, it may be more cost-effective to make bound galleys. This is because galley printers typically charge less per page than your local copy shop.
The majority of reviewers are content to read books in manuscript form, but it is worthwhile to get them bound in some way – a visit to your local Kinko’s® should do the trick. A small amount of reviewers do object to bound manuscripts, since they are usually more bulky than galleys.
Make sure the galley or bound manuscript includes this information either on the cover or first page:
* title * author * publication date * ISBN * number of pages * price * trim size * hardcover or softcover * number of illustrations and/or photographs * publisher name and contact information * distributor name and contact information * publicist name, address and contact information * print something like this on the cover: “Uncorrected proof. Galley copy only. Do not quote without prior permission from the publisher.”
Electronic galleys (egalleys) are the next stride in the evolution of the printed galley. Egalleys can have the same contents of printed galleys – they are just in ebook format. Egalleys are faster, easier, and cost much less to produce than printed galleys.
Egalley invitations can be emailed to everyone you’d send a bound galley: reviewers, catalogs, libraries, journalists, resellers, Websites, bookstore buyers, and other agents of influence.
My suggestion: Use a combination of both printed and electronic galleys. Send bound galleys to the most significant reviewers while using egalleys to expand your marketing reach to independent bookstores, smaller publications, and international markets. If possible, send the reviewer/buyer the version they prefer.
© copyright 2005 Chris Willitts
Chris Willitts is the Founder of Go-Publish-Yourself.com™. For the Latest Self-Publishing Tips and Unspoken Book Marketing Secrets, visit http://www.go-publish-yourself.com. Special Gift: Be sure to get your free Self-Publishing Action Plan (it’s a $19.95 Value) when you stop by.
Chris Willitts may be contacted at or cwillitts@gmail.com