It’s interview day and I wrangled up someone to answer your editing questions today. Faith Carroll from Have Faith Proofreading worked on The Emperor’s Edge, Flash Gold, and my Goblin Brothers short stories, and she’s helped a lot of other indie authors too.
If you have questions about editing, please leave them in the comments section, and I’ll try to get her to pop in to answer them.
Would you like to tell us a bit about yourself and how you got into editing?
Hmmm . . . me . . . I am a reader. A hopeless bibliophile. I began reading while I was still in diapers, and have never stopped. I have a 2,000+ paper-and-glue book library and a 300+ ebook library—99% have been read at least once; three-quarters more than twice. I say 99% because I recently acquired several more reads and am in the process of digesting them . . . My husband and son call me GEB: the Giant EyeBall, and swear that, at night, when the moon is full , they hear me murmuring, “Feed me books; feed me books . . .” in my sleep. They’re a bit frightened of me, I believe.
It was my love of authors, and a desire to communicate with them that led me here.
I found my true vocation, and so began the schooling and the training. I interned for a small boutique press as their Project Coordinator, copyediting and proofreading all fiction titles released under their imprint, as running interference b/t the publisher and authors. I was promoted to Editorial Director and, as the publisher says, I have a stranglehold on the fiction department, a position of which I guard jealously.
I started Have Faith Proofreading as strictly a proofreading service, but, much to my utter delight and amazement, it grew into an editing company, as well. I am so very lucky. “Find a job you love and you’ll never work a day in your life.” Author unknown. Folks, I haven’t worked in years and years. 🙂
What are two or three reference books every writer should have on the shelf?
Without a doubt, all writers should invest in the latest unabridged dictionary. The big one. I make sure it has the British/UK spellings as well, due to the nature of my job, as well as a style manual in the back and the New Words section. I replace mine every seven years in order to keep up with the ever-dynamic English language.
A style manual is a definite plus to a writer’s arsenal, and a Thesaurus. Take advantage of online resources, as well.
Ideally, every indie author would hire an editor, since it’s impossible to catch all of one’s own mistakes, but some folks just can’t afford that when they’re starting out. Do you have any tips for people who are editing their own work?
Walk away and read something else. Get up, grab a cup of coffee, grab your favorite book, and step outside; breathe deeply of the fresh air. Think about anything pleasant other than the novel you are writing for several minutes. If time allows, walk away for a few hours. Now read something that will take you away from here and now, most importantly, from that novel you are trying to clean up.
Those “it’s” look like they should be “its,” but you know that’s wrong. And let’s not get you started on those “there” vs. “their” issues, or em vs. en dashes . . . ! Bottom line is do something to refresh your brain. That manuscript will be there when you return; don’t sacrifice quality for speed.
For those who are looking for professional help, what should they look for in an editor?
Hmmm . . . this isn’t fair 🙂 .
Editors should be indiscriminate readers, and they should always be reading something. They should be servants: ultimately, the author has the final say, no matter how strongly we suggest a revision, the author has the absolute authority to ignore it or incorporate it into the manuscript. Editors should be adaptable, but firm in their assessments; no-nonsense and definitely not pushovers.
Open-mindedness is a must. The editor must have the author’s best interests at heart, and not sacrifice deadline time so the author can be published early. An editor must have an excellent eye for detail, a firm grasp of the language in which they are editing, and must realize that language is dynamic. It’s quite okay to allow an author to use “C’mon” in dialogue, as opposed to writing out “Come on.” We speak this way! As a matter of fact, depending on the character who is speaking, I may suggest this type of abbreviation.
An editor should never be condescending, and never, ever be arrogant. Hubris should never be accepted by an author when dealing with an editor—and vice versa.
Finally, and perhaps most importantly, an editor must love writers. Not merely like them, but have a healthy dose of respect and admiration for authors in general—this is a must-have if one is considering editing as a profession. Authors, being an intuitive bunch, can feel out who is editing because they truly derive joy out of it, as opposed to those who edit for less noble and arrogant reasons. And let me give my fellow editors out there kudos: the latter of the two groups I mentioned above are few and far between. All of the editors I know are devoted to their profession and the writers for whom they work. We are such a lucky bunch! AUTHORS RULE; OTHERS DROOL. That’s the motto on my office door.
Thanks for answering these questions! Why don’t you tell us about your services and where folks can find you?
Lindsay, I can’t thank you enough for having me on your popular Ebook Endeavors! The pleasure has been mine, I assure you.
Have Faith Proofreading offers Editing and Proofreading services for all genres. I have a special love for short stories and horror. I have had the honor of working with some amazing individuals, such as you, Lindsay! (How are my fine little green friends, Malagach and Gortok? Please give them my regards, and inform Gortok I’ve a rather large pot of spaghetti with whom I have no one to share . . . would he be interested?) With the editing package, I make four passes: one reading pass, two editing passes (Substantive/copy edits and line/copy edits) and a proofreading pass. The proofreading package has one pass with the option of an additional pass—this is the author’s choice. Depending on the size of the project, I usually ask for a four- to eight-week deadline with the Editing package, and four to six for Proofreading.
A note: I am in the process of adding an Author Showcase page and an Author-of-the-Month Spotlight page to my website. Please check back once in a while to see some of the talented authors with whom I have had the honor of working.
Thanks, Faith! And that spaghetti? Are you sure it’s not already gone? Goblins are good at sneaking in on the sly, you know….
Thank you for the interview. What can an indie author expect to pay for editorial services?
Lindsay,
Thanks so much for having me on Ebook Endeavors! I’m quite honored.
(My Goblin pals know of a secret cubbyhole where I keep heaps and heaps of goodies just for them. No worries! 🙂
Loren,
Greetings!
I work using word count; my editing package is .006 cent per word, and the proofreading package is .0035 cent per word. With the editing package, three passes are made: Substantive edit pass, a line edit pass, and a proofreading pass. I also read the manuscript first as a reader, so technically, four passes are made. Narrative flow, voice, inconsistencies of all types, plot flow development, restructuring, etc. The Proofreading package is a critical check for spelling, grammar, all typos, punctuation, subject-verb agreement, and formatting issues.
If you would like to know more, Loren—-or anyone!—-please feel free to contact me at fcarroll@havefaithproofreading.com! I’d love a chance to be pedantic (or at least to tell you more about myself and the different service packages :-).
Thanks for posting!
Happy Writing,
Faith
“They should be servants: ultimately, the author has the final say, no matter how strongly we suggest a revision, the author has the absolute authority to ignore it or incorporate it into the manuscript.”
If only that were true. It may well be for a freelance editor. But if an author is locked into a contract with a major publisher, or wants that contract, then that author is going to do what the publisher’s editor wants. Ditto agency editors.
I hear countless tales of authors disappointed with the work that goes out under their name because editors have insisted on changes. And of course if the book bombs it’s the writer that is blamed.
Time was if you wanted to be published then you jumped through whatever hoops were necessary. Thankfully there’s now an alternative.
Faith, speaking generally, an editor is someone who offers advice on your manuscript. They get paid to do so. The last thing they’re going to do is say it’s fine – you don’t need an editor. It’s in their interest to find fault and suggest revisions.
Why would a paid editor be better than, say, a trusted critique group and beta readers?
John le Carre is a huge name in writing. A professional with years of experience and all the services of a Big Six publisher, including professional and experienced editors.
His latest novel Our Kind Of Traitor has 88 reviews on Amazon UK. Thirty of those are one and two star. Another twelve are three star.
This is an expensive ebook, not a 99p impulse buy. Readers are paying good money, and most will be returning fans.
But the reviews show they are deeply unhappy. These are mostly in-depth negative reviews from readers who have enjoyed le Carre in the past.
Clearly having years of experience and a professional editorial team behind you is no guarantee of quality.
Errr . . . Mark, I’m sorry if you’ve had poor experiences with editors, but . . . what does your rant truly have to do with me and the interview and why ever would you insult me during my interview? I read your speil twice and am still not sure where you are going with it. And once again—-why attack me? A point: once the manuscript is out of my hands, after the final proofing pass has been completed, I have nothing more to do with it. The author, a week later, could read over it and decide to add a line or two, then publish it—-see? Out of my hands and over my head!
What is the point of your post? If it’s to insult me, you who are someone from whom I have never heard before, I’ll no longer reply to your comments.
Anyway, I wish you the best!
Sincerely,
Faith
Lindsay’s site is a frequent stop for new and aspiring writers seeking advice and looking for debate about the new opportunities in the new publishing world.
Faith, this was about editors, not you. There’s a clue where it says “Faith, speaking generally.”
Where on Earth have I insulted you, let alone attacked you?
I disagreed with your statement that the writer has the last say. How is that an insult or an attack?
Lindsay stated “Ideally, every indie author would hire an editor,” something you did not disagree with.
My point was that while every author can no doubt benefit from another viewpoint on their manuscript, editors are not the only, or necessarily the best, choice to do that.
I asked simply, “Why would a paid editor be better than, say, a trusted critique group and beta readers?”
I showed a concrete example where professional editors have failed miserably to deliver.
How is that an insult or an attack?
No insults. No attacks. Just a simple alternative viewpoint, and a simple, valid question.
Happy to find this blog via a recommendation from SheWrites. Since agents seem interested in my own marketing plans, self publishing is becoming a viable option for me. I look forward to learning more.
Thanks for the interview, Faith!
@Loren Faith is very reasonable when it comes to prices. Grab her if you can. 🙂
@Mark I run my stories past beta readers *and* an editor, and, even with all that, there are always typos that slip through, so I definitely recommend employing both. I’ve found that, while beta readers might point out a few typos and clunky sentences, they tend to focus on story. You can ask an editor to do nothing but proofread if you’re confident in your story (I usually ask for this), but that’s a very helpful service and well worth paying for IMO. I want to put out the cleanest, most professional manuscript I can.
@GwaNL Thanks for stopping by! 🙂
Lindsay, once again, thanks so much for having me on Ebook Endeavors! Please give my regards to Malagach and Gortok!
Best to You and Happy Writing!
Faith Carroll
I have a friend that recently began working with Faith on his novella (referred by Lindsay through me…Faith, you owe her one free page of editing 🙂 ) and he has had made nothing but glowing remarks on Faith. Her professionalism and her help and understanding on getting started as a new author have been encouraging and very helpful.
Thanks for the interview and insight on services out there. For someone hoping to someday join the fray of indie publishing, they are very useful! When/if I get off my duff and sit down to write something, I will certainly be contacting Faith myself.
M.s. Jackson,
Now this was a wonderful surprise to see! I don’t even know you—-thank you. And a big, big “Thank you!” to your friend :-).
Lindsay, concerning your next project: one page on the house! (Now YOU need to interview M.s. Jackson—-see? It’s one big ol’ beneficial circle! 🙂
Best and Most Sincerely,
Faith
@Faith I will interview him as soon as MS has an ebook out there we can plug. 🙂
Whew! The pressure! 😉
Some day ladies, someday…
I agree with Faith on most everything she has to say, and if Lindsay’s books are any example, Faith does excellent work. I would like to make the additional observation, however, that proofreading and copy editing are only one aspect of the range of editing services available. Many (particularly) beginning self-published authors need a development editor (sometimes called a writing coach) to tell them whether the manuscript is ready for copyediting. I see many manuscripts that require major structural changes –complete rewrites — well beyond what most copy editors are prepared to address. Indeed, I regularly see manuscripts that I have to recommend be abandoned, as paying for editing would simply be a waste of money on an unpublishable novel. (Like Faith, I think editors can be divided into two groups, and I am often shocked when I see ‘colleagues’ charging thousands to edit a manuscript they must know to be unpublishable.)
The major problem with self-publishing is that there is no referee process to ensure one is putting only one’s best work out there. I have talked to several self-published authors who now express regret that they rushed their early work to press; that with the benefit of hindsight they now see glaring weaknesses that they wish they had had an opportunity to fix before going public. Indeed, they tell me that having achieved a certain status, they worry that these weaker early works are out there damaging their reputations and undermining their long term goals.
In the old days, one kept refining one’s skills until, say, one’s fifth novel finally sold to an editor somewhere — now writers rush these early ‘practice novels’ into print. “Good enough” seldom is, no matter what the feedback from family, friends and one’s local writer’s circle. Writing is hard work, so it is just human nature to want to stop after the first or second draft. One therefore needs the services of a professional (development) editor to push one on to excellence, to ensure that a manuscript reaches its fullest potential before one sends it off for (copy) editing.
(And a good development editor, familiar with one’s goals and style etc., can often help with the ‘non-writing’ aspects of writing too — I spend as much time on moral support, hand-holding, and helping to deal with writer’s block, as I do with actual editing. Unfortunately, most self-publishing authors don’t know that such supports are available, and either think that angst is inevitable or that it’s just them — both wrong headed ideas. Not expecting moral support from proofreaders, they don’t know where to seek the support they need, and that good publishers used to provide….)
I love the cartoon, but I wonder how many people really get it. It’s a little subtle, but that’s what makes you laugh when it dawns on you.