Tag Archives: self-publishing

How editors can help self-publishing children’s book authors

It’s easier than ever for first-time authors to self-publish children’s books but the process can still be confusing. Annie Deakins demystifies her role as an editor, explains how she can support authors in other ways and offers some tips to both prospective writers and editors.

The email begins, ‘Hello, I found your website and see that you proofread children’s books. I have written my first children’s book. Can you help me to publish? I need the grammar, etc, to be perfect. How much do you charge?’

I need more information.

Using my education background

I proofread children’s books using my knowledge from 30 years of teaching in the primary classroom. I know what makes a good children’s story, whether it’s a picture book, chapter book or another format.

When I taught children to read, I showed them how to understand and value stories with words chosen for effect. When I taught writing, I guided them to improve their writing using modelling – dissecting how the stories were written.

Supporting indie authors

When I retrained as a freelance proofreader and started my business, I had no idea about the area of self-publishing. But the process has grown in a way that makes getting their books out to readers attainable for new independent (indie) authors. And my knowledge has grown with them.

As it can be easier to self-publish than to go down the traditional route, it seemed logical to offer my services to indies. Half of the weekly enquiries I receive through my website are from new children’s book authors asking for help.

So, back to that email. What is my response?

  1. The author hasn’t indicated the genre or word count, or attached their manuscript, so I request the current file of their book and ask some questions. I can’t provide a quote unless I’ve seen the material.
  2. The author replies with their book file. As they have asked for a proofread, I’d hoped to see the finalised, illustrated manuscript as a PDF. However, when I open the file, it is a Word document with no illustrations.
  3. When I read the manuscript, I am excited by the writing. I feel I would be a good fit for the author, so I explain my packages.

By this point I realise that this author, like many new indies, doesn’t understand the process involved in publishing. They have asked for proofreading but they realise they need more than that. They need an editor; they need advice. As a first step, I refer them to the resources on the website of the Alliance of Independent Authors (ALLi), where there are written guides and author forums. I am a Partner Member of ALLi, offering an editorial service.

Finding the right package

I offer three packages:

  1. My basic proofread is checking for typos and errors of grammar and consistency. In traditional publishing, this would take place at the end of the publishing process when the manuscript has been copyedited, illustrated and typeset.
  2. My proof-edit is a proofread plus tweaking the text with edits or suggestions for improvement. I guide the author on the use of appropriate language for the age of the child. For example, is the book aimed at 4–7-year-olds, 8–11-year-olds or another age group? Is the topic suitable? Is the vocabulary appropriate?
  3. My advanced package includes the tasks outlined in point 2 but I add my consultancy service. I give indies advice on how to get their manuscript ready for self-publication. It includes a proof-edit in Microsoft Word, and a second proofread of the final proof of the book as a PDF just before it is published. By this time, a book designer has formatted and designed it to fit in the illustrations. It has a separate book-cover file which includes the front, back and spine.

To help this latest author to find the right package for their needs, I offer to do a sample proof-edit to show how their manuscript can be improved. I take different parts of their manuscript and demonstrate: a) a proofread and b) a proof-edit. As always, the author sees the value I add with my edits and chooses my consultancy rate. Then I invoice them for the deposit (usually 50%) so that their slot can be booked in my schedule.

Helping to find an illustrator

As the picture-book story lacks illustrations, I ask the author if they have an illustrator in mind. They say they want the story checked first to make sure it is ‘okay’ and ask if I can recommend an illustrator.

It’s a good idea for an author to have researched the kind of illustrator they want to use by, for example, looking at book covers of children’s books in the same genre and/or looking at the portfolios of illustrators to find one who uses the style they prefer. I recommend they look in the Directory of Partner Members in ALLi to find an illustrator.

Building the book

I’ve often been asked if I put the book together by combining the illustrations with the story. No, I don’t offer design, layout or typesetting as a service, yet. The skills of a book designer are in demand with the increase in self-publishing.

Book production involves a variety of specialists. We all respect each other as trusted colleagues. On LinkedIn, I’ve found several skilled typesetters who work with indie authors who I recommend to my clients. I also direct them to the ALLi Directory of Partner Members.

Offering sympathetic support

I am usually the only editing professional who sees the manuscript. When I am asked a question about self-publishing to which I don’t know the answer, it’s not a problem. I say I’ll find out. Answers can be found in the CIEP guide How to Work with Self-Publishers, or in the CIEP forums, or … on the ALLi website. Can you see a pattern emerging?

Considering the author’s marketing strategy

Lastly, when I return the proof-edited manuscript to the indie author, I ask if they have thought how they are going to advertise and market their children’s book. The answer, as always, is no; they are so pleased they have got this far. This is the end, isn’t it? Can I help?

I explain that if an indie author sells their children’s book on their website and social media channels, they will reach more readers, parents, teachers and other authors. As with any marketing strategy, it is best to start with the product at the end and work backwards.

Resources for editors

Could you offer an editing consultancy to indie authors?

Reflect on your skills, and recognise that you have knowledge that is in demand, and that you can offer trust and value. You are a safe pair of hands for a client who does not know the self-publishing area. Your skills are an asset that prospective clients are willing to pay for.

Here are some resources you may find useful:

  • The Alliance of Independent Authors (ALLi) is a global membership association for self-publishing authors. Its mission is ethics and excellence in self-publishing, and it offers advice and advocacy for self-publishing authors within the literary, publishing and creative industries around the world. ALLi Partner Members get an affiliate link in their logo that can be put on an email signature, website, etc.
  • The ‘Pen to Published’ podcast is presented by independent publisher Alexa Whitten and CIEP member Alexa Tewkesbury. They give advice about writing and publishing children’s books, for want-to-be authors, those who are self-publishing, and anyone who just likes to write.
  • An education resource is the ELT Publishing Professionals Directory, which brings together publishers and freelancers in the English-language-teaching and educational publishing sectors.

 

About Annie Deakins

Annie DeakinsAnnie Deakins started her freelance proofreading and tutoring business in 2017 after teaching in Essex (via Paisley) for 30 years. She trained with the CIEP and is an Intermediate Member. She proofreads non-fiction for publishers and indies. Her specialisms are education, ELT, children’s books and religion. She is a Partner Member of ALLi and a member of the ELT Publishing Professionals Directory. Find her on LinkedIn.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: header image by Pierre Bamin, girl reading by Jonathan Borba, both on Pexels.

Posted by Eleanor Smith, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

Reflections on the self-publishing process

Three CIEP members, Kia Thomas, Judith Leask and Eleanor Abraham, reflect on the self-publishing process from their perspectives as author, editor and typesetter.

Kia: the author

I self-published my first full-length novel, a contemporary romance called The Scoop, in July 2022. I always knew I’d hire a professional editor before I published it (practise what you preach and all that), and I always knew I’d start my search within the CIEP, whose members have been as wonderfully supportive of my publishing journey as they’ve been on my editing one.

Finding the right editor

It was important to me to find not just a good editor, but the right one for me. I wanted someone I could trust, someone who was fun to work with, someone who could work with me the way I am – as an editor, I’m generally quite hands-on, and I work best with people who are willing to put their trust in what can sometimes be a lot of intervention. But I’m not that kind of author – I’m the absolute pain in the backside who’s extremely precious about every last one of her woThe Scoop book coverrds. (One of my notes to my editor was ‘You can prise my adverbs out of my extremely cold, absolutely dead hands.’)

I began by asking CIEP members who were looking for more experience in fiction to put themselves forward for the job. Fiction editing is very competitive, and various CIEP members have helped me find opportunities over the years, so I wanted to offer that chance to someone else. I asked each candidate to complete a sample edit. There are often debates in editorial circles about whether they’re a good idea or not, and whether editors should offer them for free or not, but I know that I wouldn’t have been able to hire someone without seeing their work, as every editor is so different.

And this was proved by the ways in which each editor approached the text. No two samples were exactly the same – everyone picked up on slightly different things, and had different solutions for the problems they identified. That said, every single editor did point out one ambiguous passage that was totally clear in my mind, and it hadn’t occurred to me until then that it could be read differently. It just goes to show why external editing is so important, for everyone; I might be a professional editor, but I’m still the author who can’t see the story from that objective angle, because I’ll always know what I meant!

I found some great editors through this process, and in the end, I chose to work with Judith Leask. Her sample showed me that she had a really sharp eye, which is obviously important, and she could work with my ideal timeframe and budget. And, just as importantly, her queries had a warm, friendly tone, which was exactly what I was looking for in my relationship with my editor.

The editing process

The edit itself was great – Judith picked up on so many little quirks I didn’t know I had. It was a really (one of my quirks is that I am far too in love with this word, I’ve discovered) positive experience, and at the same time humbling – being edited definitely makes me a more empathetic editor. She did a great job and made so many suggestions that made my story better, but at the same time always respected that the final decisions were mine to make. (I did end up ignoring many of her perfectly valid suggestions – like I said, I’m precious!)

Working with a typesetter

Once my manuscript had been copyedited, it was time to prepare it for publication. I’d worked with Eleanor Abraham before on A Very Sweary Dictionary, so working with her again was an easy decision. Design was more important for the dictionary, but even though a novel’s requirements are much simpler, I still wanted a high-quality interior. I’m a total pain when it comes to anything visual because I only know what I don’t want, but Eleanor was endlessly patient and happy to tweak things until I was satisfied.

I’m so happy with the finished book – it’s a polished, professional product that I’m proud to be sharing with the world.

Woman working on a laptop

Judith: the editor

Being chosen by Kia to edit her novel was very exciting, because I knew I’d learn a huge amount from her, and that turned out to be true.

I’ve never minded being asked to do a sample edit, as it’s part of the process for both parties to get to know one another, and it can help with producing an estimate of timing and costs. I see it as an opportunity to show how I’ll be able to add value to the author’s work, and hopefully that I’ll be reasonable and friendly at the same time. I want the author to feel reassured that they’ll keep control of their work. I’m so glad Kia’s response was so warm and encouraging.

It was both easy and hard to work with an Advanced Professional Member (APM) of the CIEP – easy, because Kia knew exactly how she wanted the process to work; and hard, because it was sometimes difficult to find anything to edit! But I really appreciated that Kia had already made some style choices that I could add to my style sheet before getting started, and she let me know when she’d prefer a query without an edit, and where it would be OK to dive in (potentially with a comment). I wouldn’t expect an inexperienced author to be able to give those instructions, but I’d make sure they knew they’d retain control.

Keeping the author’s voice

I was happy to accommodate Kia’s love of adverbs (I might have worked on a few of the instances of ‘really’!). Her use of adverbs just seemed to work for her characters’ voices and for her close narrator’s voice, giving them a fun, informal and modern feel. I didn’t feel the need to suggest a more interesting use of vocabulary, which I sometimes do when I see adverbs. And this point illustrates what I love about editing – it feels like part of the creative process and an accomplished craft. It navigates various factors and focuses on working with the author to make the work consistent and right for their style and intended audience, while keeping an eye on the conventions (there are far fewer rules than you might think).

In some places, my main input to Kia’s book was to consider repetition of words or sentence structures. I made suggestions for alternative words or phrasing, and for some Kia gently gave feedback that she didn’t feel they were in keeping with her voice. I’m completely happy with what she describes as a controlling approach, because I’m always clear that all decisions ultimately lie with the author. We had a laugh about one or two of the repeated words in certain, ahem, intimate scenes. I’ll leave it to your imagination which words those might have been!

Making conscious choices

I also kept in mind the need for sensitivity and conscious language choices, but (as you might expect from a professional editor) Kia had written with these things in mind. I made one comment relating to the female character’s safety, but Kia decided the plot wouldn’t allow a different choice, which was a completely understandable decision. I’d done my job, though, in making sure an author is making their choices consciously.

Where Kia decided she didn’t want to go with a suggestion of mine, just because her wording felt right to her, I quite understood. I know what that’s like, and I don’t take it as a snub. I’d make a comment to an author if I felt there was a risk in their choice, but that didn’t apply here, and authors are free to disagree if they wish.

I have to say I haven’t had a bad experience working with an independent author. I’ve always found authors to be open to the input from a professional editor and happy to see what a fresh pair of eyes will spot.

I think Kia’s book will be successful, because she’s written a truly entertaining novel that just about anyone would enjoy. If she’d told me to stop work after a few chapters, I’d have bought the book and read the rest anyway.

wooden typesetting blocks

Eleanor: the typesetter

Kia seems to think she was difficult, but I didn’t think that. She made it clear she likes things plain and simple. That’s sometimes all the brief you’re going to get from a client. I find that preferable to receiving a brief that is very prescriptive. Sometimes if people have really specific requests, maybe without understanding the repercussions of those, it can result in some time-consuming discussions. I suggested a few fancier features to her, knowing she’d likely say no, but it was useful to see what she considered to be plain enough. Rather than her being picky, I thought she was quite pragmatic about accepting advice when it mattered.

Working as a team

A pragmatic and professional attitude is common with the indie writers and publishers I work with as an editor and typesetter. I enjoy working with people who have clear goals for their books, brand and business. They take selling books seriously and consider the publishing professionals working with them as an essential part of the team, rather than an expensive extra.

Self-publishing can be an overwhelming process. For some writers, it makes sense to outsource certain tasks so they can concentrate on the creative stuff … and on the sales and marketing, which are going to take up lots of time and effort.

Typesetting, like proofreading, is a process that people often assume is quite easy and for that reason they might choose to do it themselves. Making print attractive and readable, while conforming to the conventions that make it printable, is, like most things, trickier than it looks. But then, I would say that.

The typesetting process

For Kia’s layout I imported her edited Word file into Adobe InDesign. In my opinion, it’s the best tool for the job. Cheaper alternatives have just eaten up my time working around their limitations. I can control and automate a lot of InDesign’s layout settings (running heads, hyphenation, word breaks, styles, kerning, table of contents etc) but I do what I call a quality control (QC) check too. If no further proofreading is going to take place (and these days that stage has usually been carried out in Word), this QC check is the equivalent of the layout checks a proofreader would do (checking that the way the text appears on the page is attractive, balanced and as it should be).

Although my settings choices took care of ‘widows and orphans’ (short lines or single words that end up at the top or bottom of a page), and kept bad breaks to a minimum, my own clearly prudish settings kicked in one time to prevent the first word on a page being ‘nipples’.

After typesetting, I sent Kia a PDF proof and she marked up any final changes she wanted with Acrobat commenting tools. With final corrections done, we exported an ePub from the InDesign file. Other ebook formatters may work in a different way but that’s the workflow and software that I prefer.

Working with another CIEP editor was a great experience. We trust each other and speak the same publishing language, and no doubt this contributed to the process going fairly smoothly. It also helps when you find people to work with who are good-humoured and pleasant!

Kia

Working with such helpful, friendly professionals was an important and really positive part of my self-publishing journey. It cost money, true, and I may never make that back (because I’m terrible at marketing), but my writing is absolutely worth investing in. I’m looking forward to working with my fantastic little team again for book 2!

About Kia Thomas

Kia ThomasKia Thomas is an Advanced Professional Member of the CIEP who works primarily with independent authors, specialising in contemporary romance. She is also the author of A Very Sweary Dictionary, a style guide for bad language; Wings, a literary fiction novelette; and, as KW Thomas, The Scoop, a contemporary romance novel.

About Judith Leask

Judith LeaskJudith Leask came to freelance editing following eight years of honing her skills in creative writing, and twenty years’ writing experience in the business and public sectors. Now a passionate copyeditor and developmental editor for fiction and narrative non-fiction, she is an Intermediate Member of the CIEP.

About Eleanor Abraham

Eleanor AbrahamEleanor Abraham has been an editor and typesetter for a long time and remembers having to look stuff up in encyclopaedias, paste up camera-ready-copy and send faxes. She will bore you about typography at the drop of a descender. Her published written words can be found in Meowditation, Maw Broon’s Cookbook, Maw Broon’s But an’ Ben Cookbook and Maw Broon’s Afternoon Tea Book. She is an unapologetic generalist – from computer science to memoir – but loves a cosy whodunnit on a rainy afternoon.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: header image by Ciao on Pexels, woman working on a laptop by Teona Swift on Pexels, wooden typesetting blocks by Raphael Schaller on Unsplash.

Posted by Eleanor Smith, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

Resources round-up: Self-publishing

Welcome to this round-up of resources compiled by the CIEP. This time, we look at self-publishing and working with independent authors. We have divided our picks into:

  • websites
  • blogs
  • a book and some guides.

Websites

This is a great time to be looking into working in self-publishing and with independent authors because of the sheer number of resources in this area that have built up in the last few years. The website of the Alliance of Independent Authors (ALLi) is almost unbelievably useful. ALLi offers a regular podcast that covers a wide range of topics, and two web pages – ‘AskALLi: Self-Publishing Advice You Can Trust’ and the ALLi blog – that are a goldmine for anyone working, or hoping to work, in self-publishing. The blog is divided into 16 categories, including editorial, design and formatting, production and distribution, international insights, and writing.

Another useful website is Jane Friedman’s. Friedman commissions colleagues to write regular blogs on topics that are mostly relevant to self-publishing writers, but that editorial professionals working with these writers will want to dive into as well. These blogs are particularly strong on bigger-picture aspects of fiction like narrative arc and viewpoint, as well as the business aspects of being an independent writer, such as promotion. One particularly useful, and long, resource on this website is ‘The Comprehensive Guide to Finding, Hiring, and Working with an Editor’ by Chantel Hamilton, a non-fiction developmental editor.

Blogs

Blogs offer glimpses into different perspectives, and this is particularly true of blogs about self-publishing which aim to help different people at different stages of a complex process. Fiction editor Sophie Playle covers self-publishing from the viewpoint of writers on her own blog (‘Preparing your novel for self-publishing’) and of editors on the CIEP blog (‘Working with self-publishing authors: Expectations and implementation’). Also on the CIEP blog, Helen Jones considers the benefits of using an editor if you’re writing a business book, and Averill Buchanan writes from the perspective of a book production specialist.

On the AFEPI blog, Louise Harnby suggests 4 ways to get noticed by indie crime fiction and thriller writers if you’re an editorial professional, and Laura Bontje for the Editors Canada blog covers editing for authors on a budget, which can be a useful skill in the self-publishing world. Finally, Siobhán Prendergast at Dingle Publishing Services offers a completely different perspective – self-publishing as an act of defiance – reminding us that writers from Jane Austen to Walt Whitman self-published their work.

A book and some guides

At first glance, Richard Bradburn’s Self-Editing for Self-Publishers would seem to be doing editorial professionals out of a job, but many editors have found it useful, including Sophie Playle, who has reviewed it on her website. Playle says that Bradburn, a professional editor, ‘makes an excellent case as to why the best method for self-publishing authors would be to take their manuscript as far as they can on their own, then hire a professional’. She actively recommends the book to fiction editors ‘as it provides such an excellent overview of how a manuscript should be treated during the publication process, as well as giving the editor a wider understanding of the author’s role in shaping their work’.

What helps the writer helps the editor, which in turn helps the writer. So ALLi’s seven publishing guides for indie authors, including 150 Self-Publishing Questions Answered, based on AskALLi’s gathered advice, are also a help and resource for the editing community. Finally, Alison Shakspeare’s CIEP guide, How to Work with Self-Publishers: Editing, proofreading and other considerations, ‘for practising editors who want to develop their support of self-publishing authors, in fiction and non-fiction’ empowers editorial professionals with the skills and knowledge to guide authors to self-publishing success.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.
Find out more about:

 

Photo credits: kindle by felipepelaquim on Unsplash, Jane Austen books by Leah Kelley on Pexels.

Posted by Belinda Hodder, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

Resources round-up: The publishing process

Welcome to this round-up of resources compiled by the CIEP. This time, we look at how books are made. We have divided our picks into:

  • Free resources from the CIEP
  • Books
  • Glossaries
  • Articles

Resources round-up: The publishing process

Free resources from the CIEP

Forgive us for leading with our own resources, but some of the free fact sheets on the CIEP’s practice notes web page provide a useful overview before we delve into the details of how books are made. ‘Anatomy of a book’, which describes the different parts of a book, is a good place to start. After that, you might want to explore the book-making process with ‘The publishing workflow’, supplementing that with the ‘Good editorial relationships’ infographic. Finally, ‘Proofreading or copyediting?’ covers which type of editing happens at different points in the creation of a book.

Books

These books aren’t free, but you can read free reviews of some of them by members of the CIEP, which might help you decide which are worth investing in.

Books about the publishing process

Two major editing and proofreading books – Butcher’s Copy-Editing (4th edn, Cambridge University Press, 2012) and New Hart’s Rules (2nd edn, Oxford University Press, 2014) – contain overviews of the publishing process. You might already have these volumes, so see what gems you can find within.

Inside Book Publishing by Giles Clark and Angus Phillips (6th edn, Routledge, 2019) covers the processes of traditional publishing in more detail. And to really dive into the subject, reach for the Oxford Handbook of Publishing, edited by Angus Phillips and Michael Bhaskar (OUP, 2019). Since this was reviewed by a CIEP member, a cheaper paperback version has been published.

If you’re coming to book production from a self-publishing point of view, the Writers’ & Artists’ Guide to Self-Publishing (Bloomsbury, 2020) could be helpful. Read the CIEP review for more.

The parts and people that make up the books

From a book’s blurb to its index, the different parts of a book have been explored in recent publications that are as entertaining as they are fascinating. For more recent bookish books, read our end-of-2022 round-up blog.

To add to these, get a copyeditor’s experience in The Subversive Copy Editor by Carol Fisher Saller (Chicago University Press, 2016), and hear from a lexicographer about how dictionaries are made in Word by Word by Kory Stamper (Pantheon, 2017).

Woman in a bookshop reading a book

Glossaries

Introducing ‘Publishing terminology explained’, Penguin Random House says: ‘Publishing shouldn’t be a mystery and that’s why we’ve pulled together an A–Z list of terms that we use in our business to help you navigate conversations and become familiar with how a publishing team operates.’ The CIEP has also written a free glossary of editorial terms.

Articles

Articles by and for the self-publishing industry excel in discussing how books are made. Recent examples include: ‘Why prologues get a bad rap’ by Tiffany Yates Martin on Jane Friedman’s website and ‘When should you have a table of contents and an index in your book?’, a TwitterChat run by the Alliance of Independent Authors (ALLi). You can rely on ALLi to really drill down to the intricate details that self-publishing authors might not realise they need to think about before the process starts.

However, one element that most authors will consider is the cover of their book. Cover designer Jessica Bell wrote articles recently on different aspects of this. For Jane Friedman, she discussed ‘The key elements of eye-catching book cover design’, and for ALLi she wrote about ‘Indie author book cover design: what works in 2022’. From ALLi you can also discover what really doesn’t work, in the TwitterChat ‘How a bad cover can ruin book sales’.

Last but never least is indexing. Indexer Geraldine Begley took to the AFEPI Ireland blog with ‘Indexing: An introduction for the curious’ which answers every question about indexing you can think of, including ‘Can’t a computer do that?’ (‘No’), and ‘Do I have to read the whole book?’ (‘Yes and no’). For anyone considering entering this interesting profession, or simply interested in what indexers actually do, this is indeed a great introduction for the curious.

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Photo credits: laptop and notebook by Maya Maceka on Unsplash, bookshop by Alican Helik on Pexels.

Posted by Belinda Hodder, blog assistant.

The views expressed here do not necessarily reflect those of the CIEP.

I want to self-publish my business book. Why should I use an editor?

Should you use an editor before self-publishing your business book? Helen Jones explains how an editor can help get your book in better shape before you publish.

Here are the things an editor will look at:

  • Spelling, grammar and other details
  • Who is your reader?
  • Getting the facts right
  • Taking an overview
  • Keeping it simple
  • The self-publishing process

Spelling, grammar and other details

Writers often tell me, ‘I’ve run it through spellchecker.’ Spellcheckers in computer programmes such as Word have their place, especially if spelling is not your strong point, but they won’t pick up everything. Mine was blissfully ignorant, for instance, of the errors shown in the three cartoons below!

An editor will pick up on embarrassing typos like these, as well as words that are commonly used in the wrong context, eg alternate/alternative, complement/compliment and continual/continuous.

As well as checking the spelling, editors will look at:

  • Grammar – this covers everything from the tenses of verbs to deciding if a noun is singular or plural.
  • Sentence construction – for instance, changing passive sentences to active ones, reordering confusing sentences or cutting down long ones.
  • Punctuation – common errors include using a comma rather than a semicolon to join two clauses and putting apostrophes in the wrong place.
  • Consistency – in-house editors adopt the publisher’s house style but there’s no reason why your editor can’t create one for your book. House style covers things like variant spellings, eg learnt or learned, and whether to use text or figures for numbers. These are subtle differences but, when applied overall, they will make your book look more professional.

Who is your reader?

Sending your manuscript to friends or relatives is a good place to start, because you get a feel for people’s reactions to your book. However, because they know you, they are likely to be very flattering rather than look at it objectively.

An editor, on the other hand will:

  • Ask: Who is going to read this? Is the language level right for this readership? For instance, Ten Easy Steps to Growing your Business would be different in style from Advanced Business Strategies.
  • Check for unnecessary or confusing jargon and that the author has explained any technical terms.
  • Make suggestions on how to improve it.

Getting the facts right

No matter how many times you’ve read through your manuscript, there will always be things you miss.

An editor will act as a fresh pair of eyes and will check for the following:

  • Inconsistencies in information – for example do charts, graphs and diagrams tally up with what it says in the text?
  • Incorrect facts and figures or ambiguous statements.
  • Whether references are in a logical order (usually alphabetical).
  • Has the writer got permission, where necessary, to quote from other sources? Ideally, this needs to happen at an early stage, otherwise their book may be delayed.

Taking an overview

New writers can sometimes get so involved in the detail they forget to consider their book as a whole. As we’ve already pointed out, editors will check the detail. But they will also take an overview and consider the following:

  • Are the chapters in a logical order?
  • Does the book have a clear beginning, middle and end?
  • Is there a central theme that runs throughout the book and, if not, would it be strengthened by having one?
  • Is there anything missing that needs adding?
  • Is there anything that is irrelevant that needs taking out?

Keeping it simple

We can all wax lyrical when we get enthusiastic about our subject. And let’s face it, we want the reader to catch your enthusiasm! However, repetition, going off at a tangent, and long words and sentences can be off-putting.

Many CIEP members are experts in plain English, which essentially helps your reader to understand and apply what they have read. The International Plain Language Federation describes it like this:

A communication is in plain language if its wording, structure and design are so clear that the intended audience can easily find what they need, understand what they find, and use that information.

For more on plain English, go to iplfederation.org/plain-language.

The self-publishing process

Self-publishing can be a bit daunting for the novice. But getting some handy tips from someone who understands the process will go a long way towards making things easier for you.

An editor who has worked with self-published authors can help you answer the following questions:

  • Should I have printed copies or an ebook, or both?
  • Should my ebook be reflowable or fixed layout?
  • What’s the difference between publishing with Amazon KPD or another
    self-publishing provider?
  • Should I use a typesetter or will the Word file I’ve created be adequate?
  • Where can I get an ISBN and barcode?
  • What should I include in my prelim pages?

Wrapping up: How an editor can contribute to your book

An editor will:

  • Take an overview as well as checking the details.
  • Help you with checking the facts and ensure the language style is right for the audience.
  • Offer advice on the self-publishing process.

Overall, an editor can add that professional touch that will increase the chances of your book being a success.

So, what are you waiting for? To find a suitable editor for your business book,
go to ciep.uk/directory.

About Helen Jones

Helen Jones started her career in publishing setting ads for a crane magazine. Among other things, she now proofreads bids for lift contractors. She hopes this means she’s gone up in the world. Highlights of her career include interviewing Quentin Blake, writing children’s picture books and helping self-published authors get their books in print.

 

About the CIEP

The Chartered Institute of Editing and Proofreading (CIEP) is a non-profit body promoting excellence in English language editing. We set and demonstrate editorial standards, and we are a community, training hub and support network for editorial professionals – the people who work to make text accurate, clear and fit for purpose.

Find out more about:

 

Cartoons copyright ©Helen Jones

Photo credit: open book by Austin Distel on Unsplash

Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

From desktop to publication

Averill Buchanan works primarily as a fiction editor, but it’s not the only way she helps self-publishing authors. Here she talks about her background in graphic design and explains how it has enabled her to offer book production services as well.

From Word document to InDesign to printers’ proofs to finished book

I’ve been working as an editor now for 14 years, specialising in fiction, but it isn’t the only aspect of the publishing process I can help with. I started my working life as a graphic artist, serving my time as an apprentice at a printers before moving on to run my own design consultancy. Twenty odd years later, the advent of self-publishing has drawn me back to my first career, and nowadays I also provide a range of book production services – typesetting and design for print, as well as ebook conversion.

Transferable skills

The graphic design industry has transformed since I left it in the mid 1990s to study English at university as a mature student. Computers and desktop design software have replaced Letraset and SprayMount, and designing for the web is a new area of expertise. But the thing about graphic design is that regardless of the tools you use, you never lose your aesthetic sensibilities, your feel for what works visually, or your tendency to volunteer an opinion of a book cover or logo even when you haven’t been asked. Once a graphic designer, always a graphic designer, I add by way of apology.

Me as a graphic designer in 1990

Self-publishing

I joined the editing profession at just the right time. Around 2009, technology was making self-publishing available and accessible to anyone who had a computer – no design ability required. It didn’t take me long to realise how useful I could be to many of my editing clients – self-publishing authors who just wanted to write but didn’t have the design nous or patience to teach themselves how to produce good-looking books.

When I first offered book layout services, I used Word to create the interior of books destined to be printed through CreateSpace, Amazon’s old Print-On-Demand (POD) service. But I’ve since taught myself to use professional design software, notably Adobe Creative Suite, and now do all my typesetting and layout work in InDesign. It was a steep learning curve, but well worth it. Among other things, InDesign gives you superb control of text, pagination and layout, and I’ve been able to progress from producing text-only novels to full-colour coffee table books.

I’ve also taught myself how to make ebooks, thanks to extensive on-the-job training in xml encoding and html during a stint as an academic research assistant. I use Jutoh software to convert well-formatted Word documents, with or without images, into epubs and mobis (Kindle’s proprietary ebook format).

I tend not to offer cover design unless the client is publishing for friends and family only or is on a very tight budget. I prefer to send clients with commercial aspirations to a professional cover designer. It’s quite a specialised field and I don’t have the Photoshop skills (yet!) to make covers that can compete with trade-published books.

Hand-holding

Many authors find the online world challenging and it seems a shame to allow that to get in the way of them pursuing their life-long dream. So in addition to actually making the books, I also offer a hand-holding service to shepherd nervous authors through the online publishing process.

For instance, using screen-sharing software, I can sit with the client online as they set up their Kindle Direct Publishing (KDP) account and upload their book(s), or I can record a short video of me doing it on their behalf, which I later email to them. Some authors just want it all done for them, leaving them to log in to their dashboards to check sales figures.

Publishing consultancy

As the self-publishing industry has matured and become more professional, the options available can be overwhelming for authors. I can explain things in layman’s terms and offer advice about the route to publication that best suits their needs.

It’s important to establish authors’ objectives at the outset – not everyone wants to be published to make money. Some have written memoirs that are only for family and friends; others want to raise awareness for charities. For many writers it’s simply a personal ambition to get a book published – they don’t want to make a career out of it. At the other end of the spectrum are authors determined to set up their own presses and be as professional and business-like as their budgets will allow.

I advise authors with little to no knowledge of publishing about things like buying ISBNs, setting up their own imprints, the differences between POD and litho printing, and the value of producing ebook editions. I can also help them cost it out. I don’t offer marketing as a service, but it needs to be factored in when offering advice about production. For example, if it’s important to an author that they see their book on the shelves of a high-street bookshop, they need to be aware of how difficult that is to achieve as a self-publisher. Or if an author’s ultimate goal is to give talks and handsell their book at events as well as online, they might want to consider getting, say, 100 copies printed at a printers, in addition to publishing via KDP. My aim is to help authors make the best decision for their circumstances, taking into account their goals and priorities, their budget and how they plan to market their book.

One-stop shop

While some authors prefer to build their own self-publishing teams, hiring different freelancers to handle each aspect of book production, others prefer to work with the same person from start to finish. It’s easier for them to manage the project this way, and as we develop a good working relationship, things go more smoothly. I alert authors to the pitfalls of having the same person edit AND proofread the text, and often, with their permission, I’ll outsource the proofreading. But if they prefer me to do it, for whatever reason, I’m somewhat reassured in the knowledge that other processes, like typesetting or layout further down the line, are another opportunity for me to see the text in a new way; any lingering typos or inconsistencies usually leap out at me later on.

When I quote for large projects that involve several steps, I break the work down into its discrete tasks and agree staged payments with the client in advance. Scope creep is almost inevitable in a big job; the important thing is to keep the author updated and informed of any increased costs.

Some of the books I’ve worked on recently

Book production uses a different part of my brain – I can listen to music while I do design work, whereas I need total silence when I’m editing or proofreading. I enjoy the variety of the work and getting to flex my design skills again. And, of course, there’s a great deal of satisfaction in seeing a publishing project through from the editing stage (sometimes even earlier) to the finished product. But the best reward of all is hearing from an excited author when they see their book for sale on Amazon or when they get to hold a copy in their hands at last.

Averill Buchanan is a recovering graphic designer and fiction editor. She is an Advanced Professional Member of CIEP, a Full Member of AFEPI Ireland and a Partner Member of the Alliance of Independent Authors (ALLi). She also runs her own publishing imprint, Herself Press, which aims to (re)publish the work of neglected women writers from the North of Ireland.

 


Over 170 Professional and Advanced Professional CIEP members offer ‘book production‘ as a service.


Proofread by Alice McBrearty, Entry-Level Member.
Posted by Abi Saffrey, CIEP blog coordinator.

The views expressed here do not necessarily reflect those of the CIEP.

Working with self-publishing authors: expectations and implementation

An e-reading device on a desk.In this post, Sophie Playle looks at the practical elements of working with self-publishing authors.

Note: This post has been written with editorial professionals in mind. As with any type of client, it goes without saying that it’s important your skills are fit for purpose. This post doesn’t go into the foundations of training and finding clients, but instead looks at what an editor might consider when working directly with self-publishing authors.

1. Assessing the project for the right service

The number one thing to remember about self-publishing authors is that most of them do not know much about the editing industry. Their main job is to write, after all. They’re often aware that they need editorial help to self-publish professionally, but are not sure exactly what this entails.

Many writers will think they just need a quick proofread to catch any typos when the reality is that most would benefit from a development edit and a copy-edit first. These terms are often unfamiliar to writers, and since there are so many editors offering slightly different variations of the same service (which is also often called something slightly different), a little confusion can only be expected.

Communication is key with self-publishing clients. (Well, all clients, really!)

Ask what the client wants to achieve, and what they expect from your service. Take a look at a sample of the work – this is crucially important. Remember: there are no gatekeepers here, so the quality of work will vary greatly.

If you believe the client’s expectations don’t quite match what the project needs, open a discussion on why you think this, and how you can help.

Alternatively, if you can’t help – for example, if the client really needs a development edit but you specialise in proofreading – decline the work and point them in the right direction, whether that’s to an editorial friend who offers a different service, or to the SfEP directory of editorial services, or some other resource.

2. Assessing the project for compatibility of style

This might be most relevant to fiction writers, but in my experience many self-publishing authors are looking for an editor who ‘gets them’. They want to feel that the project that they’ve poured their heart and soul into, possibly over the course of several years, is in safe hands and that the editor isn’t going to mess it up.

An independent author doesn’t have the assurance of a publishing house that you’re going to do the best job. They only have their own assessment of you and your editing skills – based on recommendations and what they’ve gleaned from your public professional presence. They want to know they’ve made the right choice.

In fact, the client’s freedom to choose a compatible editor with whom to work is a benefit traditionally published authors often don’t get.

It’s in the editorial professional’s best interest, too, to work with compatible clients. For development editors, this might mean working with an author in your genre of interest. For a copy-editor, this might mean working with an author whose style you understand. There’s nothing more horrifying to a writer than to receive an edited manuscript in which the editor has stripped out all nuances of their voice.

Working with compatible clients means you can do your best work, and your client will feel they are in good hands.

How do you assess for compatibility? You might want to offer a sample edit – paid or free, that’s up to you. You might want to get to know your client and find out more details about their project through email or phone conversation before you commit to working with them.

There are lots of ways to go about this. The result should be that both you and your client feel confident that you understand each other.

3. Setting boundaries and looking after your client’s emotional needs

Self-publishing authors often require a little more reassurance and communication from their editors. They usually don’t have an agent or a publisher to answer their questions – they rely on you for your professional knowledge of the industry.

You’re often their main professional contact, and this means they have one burning question they want to ask you: ‘Is my work any good?’

I’ve heard varying opinions from freelance editorial professionals on whether or not we should pass judgement on a self-publisher’s work. Do we refuse projects if we think they are of unpublishable quality? Or should we simply do the job we’re being paid to do?

Editors are not gatekeepers

On the one hand, we are not gatekeepers. And whatever we say in response to this question would be purely opinion. (If I’d been asked whether 50 Shades of Grey would have been a success, I’m confident I would have said no!) We’re being paid to conduct a service, and so that’s what we should do. The rest is out of our control.

On the other hand, if a self-publisher asks for our thoughts or hires us for our professional skills, don’t we have an obligation to pass on our professional opinion? Isn’t that what they’re paying for? (Or should they only expect this if they’re paying for a critique?)

It’s a conundrum. There’s no right answer. My one tip? Make sure you communicate with your author. Don’t offer unwanted criticism (or unwanted mollycoddling), and let your author know your stance on the issue before you begin working together.

Be clear on your professional boundaries from the outset. You’ll be working directly with the creator, and this person will be emotionally invested in the project and possibly not have much experience of navigating the publishing world as a professional business owner (a hat self-publishers must decide to wear if they want to be successful). Clear terms and conditions are key. Look after yourself, as well as your client.

Conclusions

In summary, self-publishing clients have slightly different needs to other kinds of clients, and these should be taken into consideration. The main things to think about are whether they are commissioning the best service for their project, whether your editing style is best matched to their writing needs, and the emotional and professional boundaries you will address in the working relationship.

When it comes down to it, these are all issues of consideration and communication. I hope these pointers will help you and your self-publishing clients get the most out of your work together.

Sophie Playle, a light-skinned person with glasses and long hair.Sophie Playle, of Liminal Pages, is a freelance editor who specialises in fiction and often works directly with writers. For brownie points, connect with her on Twitter and LinkedIn. (Please note: No real brownies or points will be awarded.)

Proofread by Samantha Stalion.
Photo credit: kodomut

The views expressed here do not necessarily reflect those of the CIEP.

Originally posted in January 2015; last updated February 2022.