Editor-phobia is rampant among writers. I am noticing it more and more. I’ve been in the publishing business for many years and there has always been a little fear of editors—and in newspapers it is very understandable. The editor there can take a long story and hack it to one paragraph without even so much as a “by your leave.” Of course, books have a different editing process, but that fear is still there. More and more authors are completely removing the editor from the process and relying on a beta instead. There is a deep difference between the two, but both are valuable and needed to make a book the strongest it can possibly be.
The beta is a reader, someone who goes through the book and reads for continuity and flow. Of course, if they come across grammatical errors or typos, it is always helpful to have them marked, but your beta is your first line, the first step in making your book the best it can be. Your beta should not be rewriting your story. It is your work, it should remain yours. (This goes for editing too, but we will touch on that in a moment).
For example—in my books the characters live in Tacoma, but a beta changed it to Seattle. Even after going around and around for five minutes she still insisted that the Brothers Emrys live in Seattle. That is not really helpful. That is not beta reading, or editing; that is butchery. It’s a good idea to set out what you expect from your beta—and what they expect to offer you—before you begin, to avoid issues that might mar your relationship.
Writers should never fear editing. They should look forward to it, and be eager for the pages to come back from their editor. The process of editing is the second most important thing any writer does. (The first, of course, is the writing.) Editing is like adding the facets to the diamond, making something beautiful into something exquisite.
One of the things that has dogged the steps of indie publishing is editing. Granted, professional editors can be expensive, but finding someone who is willing to be firm and catch errors is moderately easy. When you reach that point and start looking around for an editor, maybe “audition” one or two. Ask them to edit a chapter, and see how it comes back. Editors, like writers, have their own style, and you need to find one for your unique style—if you write romance, you probably don’t want an editor who specializes in physics. They should understand and respect your voice and never change it. Of course there will be changes, but the essential organic nature of your prose should remain yours. An editor makes your writing better; they DO NOT make your writing THEIR writing. A professional editor will understand this and work accordingly.
Once you have found your editor, the work really begins. One of the most important things to remember is your editor is working for you, and working to make your manuscript strong and free of errors. The first pass of the editor will probably focus on major issues that he or she spots in the manuscript—structural issues, grammar, typographical errors. Then they will send it back. This is your chance to look at your work with fresh eyes. In fact, setting aside your manuscript while the editor has it is a great idea. It lets it be fresh when you see it again! Also remember, the hardest things as a writer is to not get defensive while working with your editor. A manuscript is like a child and it’s hard to hear our children need improvement! On the other hand, if the editor is being overly insistent on a certain point, you need to find out why. Is it your writing? Or is it the editor? You have every right to question edits that are substantial, and you should.
The second round of edits should be focused primarily on small errors. By now, you should have the manuscript in the final form and might even want to send it back to a beta reader for a run through while your editor is checking it out as well.
Once you make those final fixes you should be ready for the last step—proof reading. This is an entirely different facet of the editing process and should happen only after you have set the book up in the final PDF for publication. In the old days, before things were printed they ran a “proof” copy on cheaper paper so it could be checked for errors. These days we have the PDF. I really recommend that not only you and your editor but a third party—someone who hasn’t read the book recently—check through the final proof to catch formatting errors, the odd typo that might have been missed and any other things that you want to fix before publication.
I love the editing process, and I have several readers and editors who offer me different things. I also have someone who just reads everything for continuity and doesn’t comment on anything else. She is a whiz at catching those errors that other people can miss because it is a flow issue.
This is the point where indies can lead the way. Where once the downfall of indie writers was editing (or rather the lack of it), now we can make it one of our strongest points; we can take the time and make truly great books. Independent writers will focus on making their work strong, their story flow and the errors as few as humanly possible while the large publishing houses get increasingly sloppy. For example, in a recent work from Roc (part of Penguin) there were two HUGE continuity errors that even a novice should have caught, but there they were in black and white.
Now is the time, embrace editing and see what magic it can do!
About me: I have been in the writing business for most of my life. My first publications were academic papers and a poem, then I spent years as a reporter, reviewer, columnist and editor for newspapers of all kinds, from dailies to an alternative newsweekly. After years of non-fiction writing and reviewing other people’s books I decided to embark on my own career in fiction and launched my Custodes Noctis Series. The Legacy, The Hunt and The Summoning are available on Amazon.com and my next book The Sail Weaver, part of a new series, will be available in late January.
I believe in the value of a good editor, too, and feel they're worth the price. They can save you from a lot of embarassment and polish the work.