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.