What to expect from a developmental edit.

After months and months…and MONTHS of sweating over my drafts of THE EMBERS OF LIGHT, I finally got it to the point where it was ready for developmental editing. I think this is a step many indie-authors skip, thinking that beta-readers, critique partners and a proofreader or even better, a line-editor will suffice.

But let me tell you this. Unless you have a super-genius friend who KNOWS what they’re talking about, you NEED a developmental editor, otherwise known as a content editor.

I’ve had experience with two developmental editors or DEs, as I call them. The first DE I had for The Darkness of Light used a summary approach. I sent her the manuscript, she read it, and then sent me a three page detailed report, mostly written in point form, of areas I needed to fix, plot holes that needed filling, and certain word choices I needed to cut.

With her notes I was able to restructure my novel and make changes to certain scenes and characters.

The most recent DE I used for EMBERS was from Julie Hutchings (find her, she’s amazing!) It cost double the price, but it was worth every penny! The notes were line-by-line within the manuscript and included a summary. For me, this works better because I can follow her thought process as she reads. I can see what the reader sees and understand what a reader might need to stay interested in the book. Luckily for me, Julie also can’t seem to bypass typos. So in addition to line notes, she also gave me some grammar and punctuation corrections throughout the manuscript.

When I opened the document she’d returned to me, the first thing I saw was a sea of purple comment bubbles on the right side of my screen. But as I read through them, I saw how insightful and positive her comments were. Any critique or suggested change made perfect sense to me, and I feel like she really GOT the story (do you know how hard that is to find in an editor?). I had a few discussions with her on some of the changes, just to clarify what she thought would work best, and after sifting through all the grammar corrections, I got to work on the content.

I’m lucky this time, in that most of the changes needed are minor enough that I don’t have to do huge re-writes. Most of the comments/critiques involved character voice and the development of dynamics between certain characters.

I am SUPER happy with this edit and am working on the changes right now…well, right now I’m writing a blog but…you get what I mean. 🙂

Now, a lot of critique partners will also use this method of note taking, but remember, a DE is a person being PAID to give you an opinion. They know you expect them to be 100% honest about every single thing. THIS is why DEs are so important in the writing/publishing process. Not all of us can rely on beta-reader feedback alone.

What you should look for in a DE.

It’s important to choose a DE that works with other authors within your genre/category. For example, you don’t want a DE who is a YA author or only works with YA authors, to edit your erotic novel. Some editors are versatile, but if you pick the wrong DE and your vision doesn’t match theirs, you’re going to end up with a bunch of notes you don’t agree with and can’t use.

Pick someone who you believe will be honest, and when they are honest, don’t take offense. Editors spend a lot time going through your manuscript, and while you might not always agree with their suggestions, you don’t have to take their comments as a personal attack. Let the editor know your expectations prior to hiring them. Julie warned me that she would be really tough if she needed to be, and that was perfect because that was exactly what I was looking for.

Ask how they deliver their notes. Is it a summary? In document comments? How thorough are they going to be? You’d better ask what you’re getting for your money before you start shelling it out.

What comes next?

For the next couple of weeks I will work on the changes Julie suggested, and then do a final read-through of the entire manuscript. The next step (which is one no author should ever, ever, EVER skip) is the copy-editing/line-editing stage. Even though Julie made corrections for me, I need to have one final defense against typos, errors, bad sentences, and bad grammar. A line-editor is someone who goes through your manuscript and fixes ALL the mistakes. I think I learned a lot through my last edit for DARKNESS, so we’ll see if I have less errors this time around. 🙂

 

WE OWN THE NIGHT Cover Reveal & The Re-release of Because The Night and Night Moves!

You might recall a spotlight and review I posted a while back for Kristen Strassel’s Because the Night and Night Moves. Well these two novels have be re-VAMPED (get it), and have gorgeous new covers. But first, today is the cover reveal for WE OWN THE NIGHT, the third and final installment in the Night Songs Collection.

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The Ultimate Manipulation. 

Callie Chabot would stop at nothing to save her ex-boyfriend Blade Bennett from the clutches of vampire clan leader Talis de Rancourt, even if means becoming immortal herself. What she doesn’t know is that Blade has already defeated Talis, and he’s waiting for Callie in the afterlife.

Now Callie only has her creator, Tristan Trevosier, to turn to for guidance. But he’s too wrapped up in the debauchery of the Las Vegas rock scene to give a damn about the particulars of being undead. That’s enough to drive Callie crazy on its own, but female vampires are automatic clan leaders.

Not only does Callie have no idea how to wrangle a vampire clan, but her would-be followers have more to gain from her failure. They instead choose to follow Blade—and he’s hell-bent on making Callie pay for her bad decisions. Since he took out the existing clan leader, that automatically puts him at the helm of what should be Callie’s new clan.

A Master of Deception.

That’s when seasoned rogue vampire, Cash Logan, shows up, shrouded in magic and mystery. No one is sure which side Cash is on, but Callie needs to take a chance on the one vampire who is willing to give her the answers she needs, no matter how dark and frightening they may be. Callie must trust her instincts and form alliances that may backfire. Cash shows Callie that playing nice is no longer an option, and that fixing her wrongs won’t always make everything right.

To take control of her clan, Callie must look to her rival to discover exactly what makes her a leader.

Available September 1, 2014.

Add to Goodreads    Preorder on Smashwords     Preorder Audible

But be sure to check out BECAUSE THE NIGHT (re-VAMPED and only now only 99 cents!) and NIGHT MOVES first! These books are fantastic and both earned a 5 star rating from me 🙂

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Purchase on Amazon

 

 

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Purchase on Amazon

Book Signing, Fan Art, and Sequel Update!

Wowza! It’s been a crazy couple of weeks for me.

This past Saturday I had my very first in-store book signing. I was very nervous leading up to the day, imagining all sorts of horrors that I’m sure most authors experience before a signing–what if no one shows up? What if no one buys my book?

Luckily for me, I didn’t have to face those fears, because the singing went great. I sold some books, made some new friends, and got some experience under my belt.

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Another cool thing that happened last week was that I received a sketch of my book cover from Savannah Bolger, a very talented young artist from Ireland. Earlier in the week I posted on FB that I wish I had an artistic fan to sketch my cover, and the Universe must have heard me, because here it is! I’m so grateful that Savannah took the time to make this for me. I love it!

 

20140705_222055 20140705_222129Now for the update.

Ever since late May, The Darkness of Light has been steadily selling every single day and currently sits at #42 on Kindle’s top 100 for Mythology, and #82 on Kobo for Historical Fantasy. This is more than I could have ever hoped for my book, and the fact that it’s been out for almost 6 months and STILL continues to gain readership is amazing.

The sequel, The Embers of Light, is going to the developmental editor this week. I’m just adding some finishing touches to the end scenes, and will soon start revising based on the editor’s feedback. I’m terrified this book won’t live up to the first (I think all writer’s have that fear), but I’m hopeful that Malcolm’s story will fascinate readers as much as it has fascinated me.

That’s all for now!