Posted on 9 November 202317 January 2024 by reneeotmar

So you’ve finished your manuscript – what’s next?

Myths and misconceptions abound online about what to do when you have completed the draft of your manuscript. In this post I unpack a few of those and offer some tips for your next steps.

In recent years, especially since the COVID-19 pandemic, I have witnessed an increase in contact online between writers and editors and their respective communities.

My sense is that, overall, this is good for both sides: new and aspiring writers can ask questions and get answers – often in real time – straight from “the horse’s mouth”, and editors can connect directly with potential clients.

Collectively, online groups and communities can help to demystify the editorial process. Ideally, writers can find out about different approaches to producing a book, as well as indicative costs and what to look for in an editor.

This opportunity for two-way Q&A has the added possible benefits of saving time for everyone and reducing the burden on individual editors having to explain the same thing each time they receive a new enquiry.

But the reality is often far from the ideal. I have witnessed some truly diabolical situations play out in these spaces. Admittedly, this is probably no different to what occurs in many, if not most, online groups.

Example

A first-time author announces that they’ve just completed their first draft and asks their online group for advice on the next step(s). In the (often hundreds) of responses there’s likely to be some typical responses, such as that the author needs to:

Register their copyright.
Sign up with an agent.
Get a beta-reader, or put the manuscript through a few rounds of beta-reading.
Get a manuscript assessment.
Get a developmental edit, followed by a line edit (here in Australia we call it a style edit) and a copyedit.
Get several sample edits to help decide on the best match with an editor.
Dispense with all the above because the responder can do a quick proofread for $300.

Some responses may be based on a smattering of fact or good advice, but most are just plain wrong.

Let me tackle each of those in turn.

1. Registering your copyright

This is not necessary in Australia and Aotearoa New Zealand. A writer’s work is automatically copyrighted the moment they create it, so there is no registration process.

It’s a good idea to add the copyright symbol (©) and your name to your manuscript before you send it to anyone, as a reminder that it is protected by copyright. A simple way to do this is to add it to the running header or footer in your manuscript.

2. Signing with a literary agent

Getting an agent is about as tricky as getting a publishing contract, especially if you are a first-time author. There aren’t many literary agents in Australia and Aotearoa New Zealand, and those we have are in great demand. They can take their pick of new and experienced authors clamouring for representation.

My advice is that most unpublished authors do not need an agent, and are unlikely to attract one unless they meet some fairly stringent criteria. As a first step, visit the website of the Australian Literary Agents’ Association or the New Zealand Society of Authors Te Puni Kaituhi o Aotearoa (PEN NZ) Inc to find out more.

3. Beta-reading

A beta-reader is someone who reads your manuscript in the early stages of its development. It’s a common practice in fiction genres (e.g. sci-fi, fantasy, romance, young adult fiction) to ask one or more beta-readers who are fans of the genre (or author), for their response to a story as well as to specific elements such as plot, character, beginnings and endings. Sometimes a manuscript in a nonfiction genre, like self-help, can benefit from being read by people who are closely familiar with the genre.

Getting your manuscript read by beta-readers is not a requirement of publishers or agents. Some think it’s a good idea, others not so much. This is something to discuss it with your (prospective) agent, publisher or editor, or ask authors who have published in the same genre about their opinion or experience. But ultimately it’s up to you.

If you decide to go down this route, keep in mind that there may be an expectation of recompense – maybe a free copy of the book when the book is published, or perhaps a fixed upfront fee. It’s important to clarify this upfront. (I have written about alpha, geta and gamma reading in my book, Editing for Sensitivity, Diversity and Inclusion: A guide for professional editors, 2nd edition, 2023.)

4. Manuscript assessment

As advice goes, this may well be the best tip in the list above. A manuscript assessment can provide you with an independent, professional opinion of whether your manuscript is ready for editing or submission to an agent or publisher.

5. Get a development edit, line/style edit, copyedit, proofread

These industry terms can be mindboggling for writers new to the game. Take some time to read about each type of editing service and where it fits in the publishing process:

Not all manuscripts need all these stages or services, so be guided by the recommendations of the manuscript assessor or editor and by your own sense of what will help to make your manuscript the best it can be before you submit or publish it.

Having said that, though, keep in mind that every manuscript needs to be edited, and after design and layout every manuscript needs to be proofread, preferably by a different editor/proofreader. I’ve been a professional editor for decades, and still my own manuscript benefitted from the expertise of a professional editor and an independent proofreader after design and typesetting (layout).

If you’re planning to publish the book yourself, you will need to engage the relevant professionals, so make sure you understand what each service provider does and costs.

If you plan to submit the manuscript to an agent or publisher, it does not need to be completely polished, but it does need some preparation.

Preparing your manuscript for assessment, editing or submission

Make sure you complete your draft (and revisions) before you submit your manuscript, or hire an assessor or editor. Take the time to format the manuscript and proofread it so that the assessor/editor/agent/publisher can focus on the content without constantly being tripped up by typos and spelling errors.

The industry standard is Microsoft Word (MS Word). If you use a different program (like Pages or Scrivenor or Googledocs), export (convert) your manuscript to MS Word, save the file, then choose the simplest formatting:

A4 page size with mirrored margins of about 2.5cm
a common font style, like Times New Roman, in 12pt
generous line spacing (double) with no hard spaces between paragraphs
use the Format function in MS Word to set indented lines and spaces before or after a paragraph – don’t insert soft returns, manual tab spaces or multiple character spaces.

Learn to style

Learn how to use Styles in MS Word. This will save you time and money in the long run and, more importantly, will save your editor headaches trying to wrangle your manuscript into shape when they could be focusing on your plot and character development.

If your manuscript has been converted from a different program, there may be a fee for the editor to complete the conversion if your manuscript is not properly styled. Apply styles to all text in your manuscript, including the main/body text, headings, subheadings, numbered and bullet points, shaded/boxed text, captions, placeholders or instructions for the designer or typesetter etc.

If you’re including photos, figures/charts/diagrams, tables or other images, don’t paste them into the manuscript. Instead, use a placeholder, which is a line of text that serves as an instruction and a description of the image. This will help to ensure the file size of your manuscript is manageable, as large files can be tricky to send by email and are easily corrupted, and will save time and cost for design/layout. The designer or typesetter usually strips all images from manuscripts prior to layout, anyway.

Below is an example of a placeholder (highlighted), which gives the instruction to the designer/typesetter, as well as the number and title of the image. In this example, the “2” means the image is to appear in Chapter 2, and the “3” means it’s the third image in the chapter. Sometimes people use a solidus (/) or a hyphen instead of a point (so, “2/3” or “2-3) instead of “2.3”).

When you use placeholders to indicate where images are to be placed in the book’s design, you will need to supply the images separately (in high resolution), along with an Artwork list. As the name suggests, this is a list of images to appear in the book, in order of placement. Below is an extract of an Artwork list, showing the description and further instructions for the example of Figure 2.3.

6. Sample edits

You may be keen to find out what an editor can do for your manuscript. I think the best way to do that is to have a conversation with an editor (or two). If you’re still unsure, the editor may offer a sample for an upfront fee, which may be deducted from the project fee if it goes ahead.

I blame rogue online groups for spreading the idea that authors are entitled to a free sample edit. By all means ask, but be prepared for a polite refusal. And if the editor you ask does agree, make sure you know what to ask for in your sample edit, what to look for when you receive it, and what to conclude from it. How will it help you decide on which editor to engage for your manuscript?

Some editors are quite comfortable with the idea of providing (free) sample edits, but it sends shivers down my spine every time I see a post online about this, for three reasons.

Believe it or not, but this is a true story. Every now and then an author gets the idea that they can save money by asking a bunch of different editors for a sample edit, giving them each a different part of the manuscript and then using the sample edits to avoid paying for a full edit. We editors call this a time-wasting “frankenedit” because the inevitable result of this cheapskate move is a monster far worse than the original manuscript. By reading only a portion of the manuscript, none of these editors is going to pick up holes in the plot or problems with characterisation (for example), and there is unlikely to be consistency in style and language across the narrative. In other words, a dog’s breakfast.

Related to that is the utility of the sample edit – or rather, the lack of utility. For one, there’s no such thing as a sample developmental edit. Having read just one or two thousand words, how could an editor possibly comment on the plotline, the relationships between characters, whether the ending works? These critical elements require the editor to work at the whole-manuscript level. For another, the effectiveness of a style (line) edit is only possible if we can ensure a consistent writing style and narrative voice across the entire manuscript. And finally, a sample copyedit is, predictably, a waste of time: (a) when the language code (e.g. Australian English) and preferred style guide, dictionary and style sheet dictate most of the edit, anyway; and (b) any competent accredited editor should be able to provide an efficient service.

The third reason is that if I were to offer a sample edit to every author who enquires about my services, I could spend my entire working day doing free edits. That would be okay if I were a not-for-profit organisation with sponsorship or external funding, but I’m not. I get a lot of enquiries, which is great, but I’m a consultant running a small business, not a charity. (Besides, my family expects to eat, to live in a house and to enjoy the fruits of my labour.)

Instead of wasting the author’s time and my own with a “sample edit”, I prefer to have a proper conversation. I stand on the record of my three-plus decades of experience, testimonials on my expertise and warmly collegial working relationships with authors, publishers and other clients, and my academic qualifications, honours and awards. A brief conversation by phone or videochat means we can introduce ourselves, discuss our respective expectations and decide whether we’ll make a good editorial match. And all of this starts with a desire for friendly, convivial exchanges, based on reciprocated respect and trust. There’s no hard feelings if at the end of the chat we decide we’re not going to make a good fit.

7. The cheap proofreader

This post by an editor colleague in the UK gives a good outline of Why editing is so expensive.

Since you’ve come this far in reading my post, I probably don’t need to say this (but I will), As in life, so in editing: you get what you pay for.

And if I’m honest, when you decide to hire me to assess or edit your manuscript, you don’t even get to choose two of three options in the triangle of iron service.

If the job is worth doing, it’s worth doing well.

Posted on 26 September 202317 January 2024 by reneeotmar

To launch and be launched

Watercolour painting showing a diversity of people, in states of engagement with a book

On Monday this week, Editors Victoria (a branch of the Institute of Professional Editors) hosted a launch online of my book, Editing for Sensitivity, Diversity and Inclusion: A guide for professional editors (2e, published by Cambridge University Press). I was thrilled to be in the company of more than 90 editor colleagues from across Australia and Aotearoa New Zealand, and a fruitful, albeit brief, discussion was had in the allotted hour.

At the conclusion of the event, we discovered that many people (123 people had registered) had misread or misunderstood the starting time and were trying to join just as we were closing the virtual meeting room.

This kind of mistake is remarkably common, and of course regrettable when we find we have missed out on an activity or benefit as a result. So, why do some people misread or misinterpret instructions and information? An obvious answer is that reading comprehension is a skill that needs to be learned and maintained through constant practice. But we might reasonably assume that the people who misread the time of the event were editors already skilled in reading comprehension, given that the event was hosted by a professional association of editors.

Context is everything

There is a theory about how people process information: that the context is critical. Psychologists (see, for example, this article by Leon F. Seltzer PhD) say it does not matter how crystal clear you think your message is, the reader’s comprehension will depend on factors outside your control, such as their emotional state – whether they are tired or angry, for example – and their associations with the words or phrases in your message. So word choice is important, too. This could be the point at which I tell you (yet again) why editors are important partners in crafting your message and how we can add value to your writing project.

That is true, of course, but not the point of this post. One of the most effective techniques I use with “my” authors and clients is to ask questions. Many questions. And while this may be annoying for some, there is a method in this madness. Your answers provide me with hard facts; for example, about the type of book you are writing and the audience(s) you are writing for. At the same time, the “soft” information I garner from our conversations tells me a great deal about the “style, flavour and tone” we will be aiming for; about your intentions, your hopes and dreams for the work.

And while your responses help to get the metaphorical wheels turning in my brain, it is doing something for you, too. Having to respond to questions, particularly ones whose answers you may not yet have thought about, can engage your brain in a very creative way. Even a response like “I don’t know” can provide me (and you) with pertinent information.

Diversity and cultural appropriation: Why should we care?

The book launch included an interview between me and Thirangie Jayatilake, EdsVic’s Inclusion and Access Adviser, who asked the anticipated questions about how I came to write the book and whether editors have ethical responsibilities with regard to diversity and inclusion.

The question that fascinated me most was this (I’m paraphrasing): “Why should we care about issues such as diversity and cultural appropriation?”

Now, if you know me, or anything about me, you could probably predict my answer, which was two-fold:

That diversity matters because we all matter. Why not produce books that reflect the world in which we live? There are many, many more reasons, but I’ll leave you to read about them in my book.
That cultural appropriation may be considered trivial to those in the dominant culture (that is to say, the white majority in countries like Australia, Aotearoa New Zealand and the United States), but it most certainly does matter to the people(s) whose cultures are being appropriated. As Rina Arya (2021) concludes in an excellent paper on the topic:

“The concept of cultural appropriation matters and draws attention to the fact that not all forms of cultural exchange are equal and calls into questions the ethics of a majority/dominant culture taking from a marginalised culture. Access to other cultures has become easier in many parts of the world because of globalisation and this increases the urgency in understanding the implications of cultural appropriation and the boundaries of what constitutes the sharing of culture in a responsible way.”

Storytelling is at the very heart – indeed it is the essence – of who we are as humans.

Our stories, whether fiction or memoir, or both, ought to reflect the diverse cultures, ethnicities, identities and (dis)abilities that make up our world.

Whether we write them or read them, we should expect books and stories to include real people* as we are in life: complex, mundane, amazing…

I look forward to continuing the discussion!

*Obviously, this does not include characters made up for fantasy or science fiction.

Reference

Rina Arya (2021), Cultural appropriation: What it is and why it matters, Sociology Compass, 15(10):e12923. https://doi.org/10.1111/soc4.12923

Posted on 10 February 202218 January 2024 by reneeotmar

Writing and editing historical fiction

white letterblocks on a brown background, spelling out the title of the blog

Historical fiction is one of the most popular literary genres.
And, if the rate of recent novel adaptations to film and television is anything to go by, its popularity is increasing.

Why we love historical fiction

Readers love historical fiction because it brings the past to life through characters, settings, events and plotlines. In fact, the historical setting of a novel can be as appealing as (or even more so than) other aspects of the novel. One of myriad examples is Julia Quinn’s Bridgerton series, which features sumptuous settings and costumes (and a range of daring characters).

Another important feature of historical fiction is the ability to explore both unique and universal themes through the prism of time – from recent history to ancient times, even prehistorical times. We humans have loved, hated, given birth, competed, fought, conformed, questioned and celebrated through story since the dawning of our species, and we continue to be fascinated by ourselves and our fellow creatures.

Readers’ expectations

Readers of historical fiction vary widely, but what they do have in common is a desire to be informed, entertained, delighted and surprised.

Of course, the degree to which each of those desires is met depends on many different factors. Chief among these is the author’s ability to impart key information about the setting and the mood of the era depicted without ‘info dumping’. Avoiding a judgemental or preachy tone is important, also.

Readers expect to be transported to another place and time (real or imagined). And in doing so, it’s critical that the historical details of the novel – geography, culture, economics, government, belief systems, technology etc. – should be accurate. Slip up on one of these details and you could lose the reader’s trust in an instant, particularly longstanding fans of the genre.

Writing historical fiction

It should go without saying that if you are planning to write historical fiction you should be well versed in the genre and the various taxonomies of historical epochs. Read widely, across fiction and non-fiction subgenres, so that you have a good grasp of the historical era you’re depicting, especially the ‘mood’ of that time.

Conduct critical research

Primary and secondary sources are, of course, important. Be a critical reader: assess the quality of your sources and the veracity of the information. Keep good records and ensure you are well versed on copyright laws and conventions for citation or other acknowledgement of sources.

What systems of governance were in place, who was in power at the time, what laws governed the subject you’re interested in? If your novel features a romance or includes a romantic subplot, knowing the marriage laws is as important as class-based social norms on courtship. If it features a crime, or series of crimes, what criminal and civil legislation were applicable, and what was the legal nomenclature of the time? How do these features of your historical setting affect your characters, major and minor?

Apply your research judiciously

Many writers are keen to display their research through lots of detail – including showy descriptions of characters’ clothing, belongings, modes of transport, places of worship and so on – but forget the finer intimacies that might bring their scenes to life. Did the characters wear undergarments, and how might that have affected their use of the toilet, for example? What sights, sounds and smells convey the ambience of the historical period?

Engaging an editor

If you are thinking of engaging an editor for a professional assessment or developmental edit of your novel, I hope you will consider me. But remember that this is a very broad and diverse genre, and that editors vary in the types of manuscripts they work on. One editor might specialise in historical romance while another may focus on time travel or fantasy with an historical backdrop.

For tips on how to brief an editor, see the website of our professional association, the Institute of Professional Editors.

Want to see me in action?

In 2021 I chaired a discussion between authors of historical fiction at the conference of the Historical Novel Society of Australasia. In August 2022 I will be giving a workshop at the Romance Writers of Australia conference (Perth, WA).

Editing historical fiction

There are some common tasks in fiction editing that apply also to editing historical fiction, as they might do in other types or streams of editing. However, it would be a colossal mistake to assume that any fiction editor can also edit historical fiction.

Understand the market

Editing historical fiction requires a working knowledge of the market – who buys, sells, writes, publishes, reads and reviews historical fiction? And a particular enthusiasm for the great variety in this wonderful literary genre is a given. The editor should have a deep understanding of the literary features that make historical fiction so appealing to readers and writers alike.

Know your genre

A competent editor of historical fiction will be well versed in the different subgenres, subjects, themes and tropes of the genre.

The subgenres of romance, adventure, war and time travel will be familiar; likewise the subjects of historical events (e.g. the Thousand Days War in Colombia, the sinking of the Titanic) and historical persons (e.g. Helen of Troy, Chief Dingaan).

Keep up with trends

As both an avid reader and an editor of historical fiction, it is pleasing to see an increasing trend in female protagonists as well as protagonists having LGBTIQ+ identities and from a diversity of cultural backgrounds. Remember to assess the manuscript for common errors, such as temporal slips, lapses in continuity and other anachronisms that can jolt the reader out of the historical world in which they have been immersed..

Some common themes and tropes

Common themes and tropes in historical fiction include:

Adventure, survival, courage, heroism
Coming of age, the protagonist ahead of her time
Finding one’s place in society
Power, corruption, evil
Prejudice on the basis of class, wealth or education
The individual against society, personal autonomy
The importance of family, community, human rights
Dual narratives (e.g. contrasting contemporary and historical storylines).

Remember that multi-layered historical novels can provide wonderful complexity and challenge when they feature a range of themes, subjects and tropes. A vivid example is Birdsong, by Sebastian Faulks (1993), which is a war novel and a family saga that also explores the influence of trauma on the psyche, as well as metahistorical questions, through dual narratives. It’s also part of a trilogy that links historical events, settings and fictional characters.

Professional development for editors

If you’re starting out as an editor, or you’re an experienced editor looking to add an historical fiction feather to your editorial bow, you may be interested in the courses I run from time to time, or the Fiction Editing Masterclass I offer with my colleague Pamela Hewitt. An important feature of these courses is that we use a real-life, full-length manuscript (supplied by the author) to simulate the experience of being engaged to undertake an assessment or developmental edit. Email me for testimonials from past course participants, or check out my posts on Instagram.