Tag Archives: editing

The joys of working with a small press


I’ve been having so much fun! Four years ago, when I published Recycled Virgin, I created Somewhat Grumpy Press, and decided I wanted a Pallas cat to represent it – but then I was coping with the pandemic, a pending move, and my MS, and I realized it was getting beyond me to manage.

So I gave the press to the current very capable publisher, Tim Covell, and he is racing away. He’s taken it into a more professional status, created the official logo, organized all the business bits of the press. The press has a stable of seven authors (so far) and has published eleven books! He’s worked hard to get them into bookstores of the brick and mortar kind as well as the online sources. It takes a lot of legwork.

I don’t know about you, but I find this impressive, given the pandemic, Tim’s other projects, and his full-time job.

In my travels as an author, I’ve also had the chance to meet Anne O’Connell of OC Publishing, and Cathy Mackenzie, of Writing Wicket. They also all run small presses and they all really work hard for their authors. It makes me want to support them.

And it makes it fun to do promotion for me and our books. I hate doing promotional things, but there’s something much more pleasant when you feel well-looked after by your publisher. I know my books are important to SGP, and that’s a feeling it’s hard to get from larger publishers, if you can even get them to publish your books. (He’s trying to get me to do TikTok, though, and I am not persuaded…but at least I can argue…and he’s done good promotion for Spit & Polish to date.)

There are lots of fraudsters out there – do check Predators and Editors and Writer Beware to be sure you are with a good publisher – but I highly recommend the small press experience. You may have to pay for some services (fair enough, given the time these things take), but as long as you take care, it’s well worth it. Do be careful of the presses who demand lots of money upfront, or people who offer services with an additional cost (like offering to film YouTube things for you as a high cost). You need to do your homework.

It’s important, too, to do your work beforehand – write your very best, get it edited a few times, get it in good shape, then contact the publisher. They don’t take every offering – their time is limited, too – but it’s likely you will get a friendlier response than the depths of silence often received from the larger presses.

I’ve recently taken training from the Editorial Freelancers Association and Queen’s University in developmental and structural editing. I’ve edited 5 books to date and so far they’ve been well-accepted. I’ve got two more pending and one in its final stages, but I might have room for editing your writing – if you need a developmental editor, please contact me, and we can talk. I’d love to help you turn your project into a successful book. You can reach me on Facebook, LinkedIn, and through here.

Have you had experiences with small publishers? Editors? Was it good? Bad? Indifferent?

On the joys (?) of revision


Photo by KoolShooters on Pexels.com

“Revision is one of the exquisite pleasures of writing.”
―Bernard Malamud

So went the quotation in my email from Writers.com. (I highly recommend this newsletter, btw) I have mixed feelings about this. Yes, adjusting prose to make it clearer and more bright, to enhance the emotions in your first draft, to make your words sing – that can be pleasurable. I personally like the hack and burn part of revision, too, where you look through your tome and realize this bit AND that bit, and also the other bit, could really be thrown to the wolves (or if decent, tucked into a file for use later).

But I am licking my wounds a bit. My publisher has sent out advance review copies of my book to people and of course (probably my fault as I was pushing for release), it went out with multiple typos in it. People have noticed and commented. Sigh. One or two (you know who you are, DP!) helped me find the more egregious ones. Bless them.

Since it was exposed to some of the masses, my publisher and I have gone back and forth and back and forth, correcting things — but I’m certain little errors remain. I’m equally sure some eagle-eyed readers will find them and helpfully point them out to me so that I can revise it again.

All of which leads me to the conclusion that I will hire a copyeditor for my next book. Editors are good things (of course I would say this, being one myself). They can see things that the author misses in all sorts of places. I love my editing work. It gives me the chance to REALLY read a story, see it in its wholeness, try to help the author bring forward what they want. I’ve had great pleasure in my editing jobs – I do mostly developmental and line editing, which doesn’t require me to copyedit. Phew.

Because I realize the limit of my capabilities. I am not a copyeditor. I need helpful eyes for this. And my glasses aren’t doing it.

So, just to liven things up a bit, I will send a surprise to anyone who spots a typo in the officially released Spit & Polish book. Send me a message here, and I’ll contact you. What will it be, the surprise? Well, you will just have to wait and see…

Meantime, why not join me today, February 27, 2024, for an interview about the book and the writing process (I imagine there will be some shuffling in shame about errors), today at 4 pm AT, 5PM Eastern, 12noon Pacific on Youtube, Facebook, etc. Or you can watch me and the wonderful Anne O’Connell of OC Publishing on her YouTube channel later. It’s so generous of Anne to have me on. If you watch the show, look through her other interviews, too. She is a very generous and interested interviewer.

And don’t forget to pre-order your discount ebook before the official release date of February 29, 2924. After that things will be full price… Check out Amazon, Kobo, Apple Books, and more. The paperback will be available February 29th everywhere – just ask your local store to order in a copy for you. Or you can order directly from Somewhat Grumpy Press, too. I do hope you enjoy it!

Creating a book map


https://plottr.com/features/

As a determined pantser writer, I resist the outline and prefer to thrash out a mini version of my opus in the format of the 3DayNovelContest. Then, once I get it all down, I go back and create a structure around the blathering I’ve just completed. It takes a long time, but eventually I get everything laid out.

With my latest book, Spit and Polish, I found I was getting mired down in the historical tidbits and varied storylines. I had my main character’s arc, but it was…thin. I needed some other story arcs to wind about it to make the plot and characters more dimensional.

So I logged in to Plottr, something I highly recommend for this sort of thing. They have a variety of templates of story structures in the program that guide where you put events, show you where you need events, indicate whereabouts crises and climaxes and resolutions and so forth should fall. It is infinitely adaptable, has separate sections for character descriptions, location descriptions (good for if you forget what that place looks like by page 50), other notes, research, images, etc. You can create timelines for each character or even local/world events, helpful when writing historical novels. It is fantastically rich, though I wish I could easily print off the timeline.

Normally I use Scrivener for all things writing related. It’s way cool, and allows for separation of your project into sections that can be easily moved about or edited, and even eventually compiles all your precious thoughts into an acceptable format for submission. But I find the timeline feature of Plottr was terrifically helpful to have open along with Scrivener so I could slot in various events (historical, for ex) and then take them down to Scrivener to write the actual section. There are note cards in Scrivener, but I wanted a timeline that wasn’t all included in the text.

In Jane Friedman’s excellent blog, she recommends creating a book map for both fiction and non-fiction. The article, and indeed everything on the blog, is worth a read. Book maps help keep you from the dreaded middle languishing, a common problem with longer works. I’d like to have a plot wall with stickies all over it as illustrated on the blog, but a. I live in an apartment with limited wall space and b. I have tiny T-Rex arms that limit my reach and don’t relish all the step-stool climbing I’d have to do to include everything. So Plottr and a second display it is.

In other software I find helpful, I am seriously in love with ProWritingAid as it finds all of the times I write the same phrase, identifies my tendency to passive voice, catches my bad typing, and tells me gently when I’ve started the past several sentences the EXACT SAME WAY. It gets pushy, sometimes, and occasionally I have to push back to maintain my voice, but it’s a good serious look at what I’ve written.

Sweetly, all of these programs can work together, though it’s best to start with Plottr, go to Scrivener, run everything through ProWritingAid, then back to Scrivener or Word for assembly. With my pantser approach, I go back from the first Scrivener round to Plottr, which can get confusing. I plan to change that approach for my next book. Maybe it will save me some time.

So why not try a book map for your next writing project, if you aren’t already? I have to admit, a book map sounds more fun than an outline. It seems more adventurous somehow…like you are heading somewhere exciting with dragons around the edges…

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Cutting cutting cutting


Photo by cottonbro studio on Pexels.com

It seems to me a lot of my life is spent cutting – physically, as I clip threads and cloth, virtually as I edit my writing and try to help others with theirs. I like to to throw a bunch of material on a table, pull off a long stretch of fibre, toss as many words around as possible.

Trimming at first seems easier, once the ideas are in place. But that’s deceptive. It’s easy to end up with too much to handle, to have threads and yarns and stories get tangled in knots as you try to work with them. Teasing out sense from the resulting mess can take longer than choosing words, threads, fabric properly the first time. Hard to do when you are just learning, difficult habits to break even as you gain experience. Thank heavens for editing, and the chance to rework.

Just ran across an excellent article by Jason Hamilton with the Kindlepreneur folks, listing the words you can and should minimize if you want to be read (writing for yourself is always a good idea, but some of us don’t feel validated until our reading is read by others and cheered or booed), and it threw a bit of salt on my writing wounds. I just know I simply use too many of these words all the time, repeatedly, inappropriately, and when I sit down at my computer I can hear them trying to escape into my writing. (as they just have, by way of an example).

“Just” is a pernicious weed in my writing. I pluck it out, it creeps back in. I overuse “felt”. Looking over my recent creation my ever helpful ProWritingAid told me I had my poor heroine say, “She couldn’t help herself” do something many many times, surely not the approach I wanted for a strong female character!

I have trained myself to flinch at adverbs, but I kindof like playing with run-on sentences. They are dangerous friends, though, easily transforming themselves into sets of wrongly linked clauses. Unplanned hilarity can result. And while I am all for unplanned hilarity, it is hardly appropriate in a death scene. Well, most of the time.

And so, and so, like the boy in Lewis Carroll’s Jabberwocky, I must grab my Vorpal sword, gird my loins, and get cutting.

One, two! One, two! And through and through 

      The vorpal blade went (goes) snicker-snack! 

It’s going to take me a while, and golly I do wish I hadn’t sent my inelegant MS out to be looked over already. I have hopes, though, that one day, like the aforesaid boy, I’ll be able to cheer “Oh frabjous day! Callow! Callay!” and chortle in my joy.

And maybe, just maybe (she says, violating already her hard fought principles) someone else will chortle with me.

(On a side note, I highly recommend ProWritingAid. It catches the most amazing things, like when I start every sentence in a paragraph with the same thing, or when I babble on vaguely. It’s worth the investment, IMHO. Of course nothing helps more than a good editor, an outside set of eyes, particularly an understanding set. If you’re looking for one, check out Somewhat Grumpy Press, where I work with another great editor to help others avoid these problems and others.)

Happy writing!

Learning Editing


I’ve recently decided to use my writing and editing experience and years and years of writing classes and conferences to start a side hustle of editing. Well, it’s not really a side hustle. Since I’ve been sidelined by MS, my regular hustles have faded into the mists of time, and while I’m just finishing up my second novel, that doesn’t bring in the millions I’d envisioned as a writer in grade 4. Royalties are somewhat less…

Photo by Skitterphoto on Pexels.com

So editing will have to be a main hustle.

I’m the sort who wants to ensure I have the right qualifications to do a job, so I’ve been taking classes from the Editorial Freelancers Association, and I’d like to highly recommend them. They make my brain kick over and that’s a good thing.

Those of you who do editing know how lovely it can be to edit someone’s writing who writes well. Just a couple of nudges here and there, mainly facilitated by the fresh set of eyes, and it’s all happiness and light. I love that.

But editing the bad writer – well, I’ve had experience with that, too, and it isn’t as happy as the above. It’s so hard to apply correction without sounding like that Grade 8 teacher who demanded you copy their discussion exactly. It’s also hard not to take over sometimes, try to fix things, especially when the writer you are working with is begging you to do so.

Photo by Anastasia Shuraeva on Pexels.com

I edited a friend’s book recently and inserted in the document this comment, “Consider adding more to this activity to raise the tension”, only to get the revised document back with my exact words typed into that space. Sigh.

Of course this is an easy way to see whether the author you are working with actually is reading your comments, I suppose. And there is the joy of taking a manuscript forward to make it better, especially when the writer sees it themselves and charges forward on their own. I love that, too.

In any case, this course I’m taking on Developmental Editing has given me all sorts of tips about how to tackle stories good and bad. It’s changing my own novel, too, as I apply the techniques to it. I’m adding the things I’m learning to those I’ve gathered from my existing experience writing several published articles and stories, editing several novels, and judging contests for Bony Blithe, the 3day Novella, Atlantic Writing Competition, and more. Outside of my fiction work, I’ve written and edited non-fiction, research reports, press releases and media campaigns. I’m also a retired nurse and epidemiologist.

Need some writing edited? I’d love to help you out! Contact me at dorothyanneb at gmail.com or through Somewhat Grumpy Press.

Taking editing in the spirit in which it’s intended, or Humber week three


rocks1-2Back many years ago, I used to work for a boss who was capable of rendering me incoherent. I don’t know what it was, but when I would bring something I’d written into her office, she’s cut and thrash all of what I’d done and I’d go all quiet and destroyed and sad and broken and, silent, head back to my humble desk and plot revenge. In a passive aggressive way.

I was a published writer, I thought to myself. I had the clips to show for it. I wrote regularly for the US ARMY Times, I had articles in magazines all over. How dare she tell me how to write??? The gall.

But after a while, I realized she was right. I wasn’t writing in the right style. I was sloppy and overconfident. She edited and edited and I learned and learned. Eventually I learned to take criticism, to sacrifice my darlings without a qualm. Mind you, when I was sending things in to the magazines I was pretty easy about things, too, but they were paying me for my story and I was so over the moon I smiled and thanked them even as I signed over copyright in perpetuity for $100.

It was harder when I was writing stuff for work – for some reason it seemed more serious and I hated losing control of my output.

Later, I had the pleasure/dread of editing for others. It’s so easy to find a way to write things better, so hard to find a way to say things for the first go-round. It was hard to restrain myself editing for others, and I tried to remember how it felt when I’d get my things back covered in corrections. Not always successfully.

So this Humber thing is an interesting experience. I asked my mentor to be firm with me. I respect her, and love her writing. I want true feedback from her. So I’ve sent in a few things so far, and she’s been firm with me. Or so it seems…

I admit to a certain feeling of despair when I get my writing back covered with corrections, but on the other hand, I’m totally thrilled. I’m getting exactly what I wanted from this program, not false praise or that “great job!” stuff that is so common in writing programs, but real, good, concrete advice.

I also know I have a lot of work to do. What fun! Looking forward to it.

Maybe I’m growing up at last.

Indie publishing from the owner of Smashwords


http://www.publishersweekly.com/pw/by-topic/digital/content-and-e-books/article/61116-hugh-howey-and-the-indie-author-revolt.html

Interesting article in Publisher’s Weekly about the ongoing increase in indie publishing.

Key points:

– professional editor

– professional cover design

and key to all:

– great story!

Infographic: 4 Key Book Publishing Paths


Infographic: 4 Key Book Publishing Paths.

Excellent post by Jane Friedman. Writers should subscribe.

Start Here: How to Get Your Book Published


Start Here: How to Get Your Book Published.

Wonderful blog post with all sorts of good info and links. Fantastic job!

So, how do you DO a good murder (story) these days, anyway?


I remember once having a lengthy and somewhat gruesome chat about how you would dispose of a body in these recycling focused days. Would you drop it by the medical school? Dissect it and put the hip joints and such in either the plastic or metal recycling containers? Take the head and the mercury fillings to the harmful waste dump day?

It’s a conundrum.

Likewise, how do you learn to write about murder most foul? Merely calling up your local cop shop and asking for tips  might lead to awkward questions and notes home from school asking you to please not offer to chaperone the next field trip. Calling a local psychiatrist and pretending to be a psychopath isn’t recommended, either – unfortunately, so much psychiatry is based on first impressions you might end up with way too much time to write and too many drugs to be coherent.

The obvious choice is to read read read read mysteries, following the excellent (if somewhat dry) Francine Prose’s guidelines to Reading like a writer. Well, I’ve done that, and I have a problem with that approach.

If the mystery is good, I get all wrapped up in the story and race through, barely noticing the plot techniques while I get pulled along. If it’s bad, I only notice the things that hold it up, ruin the credibility.

OHI0129-CritiqueRule1I remember once being so disenchanted with a book that I dropped everything to see if the plant the author had described actually grew in the place she’d put it. (It didn’t).

I know a book has missed the mark for me when I get that fussy.

So I take courses, rub up against “real” writers, shop my stuff to contests and unsuspecting friends, try to get critiqued. This last bit is harder than it looks. Even in writing groups, there’s the tendency to be nice.

Or horrified.

One of my stories involved a pedophile that I apparently described so well that people didn’t want to read my stuff anymore. So I had to play nicey nicey and write nicey stuff for a bit.

Inside, the seething dark looms.horrifiedwoman

So, instead, I send things to contests. The ones that give you feedback. I figure I’m paying someone my entry fee to have a close, uninvolved reader have a look.

Sometimes the feedback is useful, sometimes it’s just a line or two.  Sometimes it is harsh, sometimes it’s helpful. Lately, I’ve had the opportunity to turn it around and offer my comments on other’s writing. I can only hope I’m the helpful type.

In the meantime, I’ve had help from:

Gotham Writer’s Workshop

Crime Writers of Canada

Sisters In Crime

Bloody Words

Canadian Authors Association

and my favourite resource for ways to kill people and those awkward dinner table silences:

D.P. Lyle. Check out his books. Best way to find stuff out without getting asked questions you can’t answer…