Writers' Services: Structural Editing

STRUCTURAL EDITORS take a macro view of the book.

If you have sub-plots going nowhere, scenes that advance nothing or characters that fail to come alive; if parts of your story are told in the wrong sequence, you’ve begun it too early or dragged on the ending too long: this is where it should be picked up. At this stage, you want someone who can judge the MS as a whole, and who knows the rules and standards of your genre (and in this context, lit fic is a genre).

 Good beta-readers can be excellent at this – however, bear in mind that they are READERS, not necessarily writers or editors. They can tell you where part of your book is not working for them, but they probably won’t suggest how to fix it.

 If your book is NON-FICTION then you may choose work with a structural editor at a much earlier stage, when you are working out how to construct your book, how to order and present your ideas. 

Triskele author CATRIONA TROTH has worked a structural editor for both fiction and non-fiction.   Catriona worked with Orna Ross of the Alliance of Independent Authors to develop the structure for their guide to self publishing. Read more...

LORRAINE MACE and JOHN HUDSPITH both offer a critiquing service that covers elements of both structural and copy editing.

Polly Courtney, author of Feral Youth, Golden Handcuffs and Poles Apart, recommends her editor, JOY TIBBS, whose service also covers elements of both structural and copy editing.

Meet the Editors - Perry Iles

Perry with Doris, the Jack Russell.

 

Perry Iles is a freelance proofreader and editor, working from home in a small Scottish town where he lives with his wife, daughter, two dogs, a cat and a lizard. He has worked as a writer for many years now, and believes that it’s good for the soul, if not the pocket. He likes his job because there’s no commuting and he doesn’t have to wash, and after a hard week of strenuous mental activity, he enjoys sleeping and watching anything with Ant and Dec in it. Contact Perry at chamberproof@yahoo.co.uk. One day he will build a proper website, but is currently too busy working to do so. He considers this a good sign…

Let’s start with you. How did you become an editor?

I was recommended to a German translator who wanted book catalogue blurbs knocked into a more alluring shape for potential buyers at bookfairs. We got on well, she liked what I did and I’ve worked on speeches, instruction pamphlets and novels, and I’m now attempting to do some of the translations myself using Babelfish and schoolboy German, with occasionally amusing results.

What kind of editing do you do?

How much money have you got? I’m an editorial slut that way. Seriously though, I look after the small stuff. It’s more proofreading than editing, so I’m less of an editor and more of a proofreader with attitude. Typos, spelling, consistency, layout, basic grammar and common sense. I often find myself making suggestions on word-choice and smoothing sentences off a little, but large scale structure, characterization and narrative arc are not my areas. I’m the guy who polishes what Stephen King would call your little red wagon before you drive it home.

How do you approach working with a client on a manuscript?

I tell them what I do, what I don’t do and how much I want. I give them some background about me and invite them to email me a sample manuscript to look at if they need further convincing. I seldom meet clients face to face, and usually do my work using MS Track Changes on the documents they send me. If people don’t like Track Changes I mark suggestions and alterations in a different colour on their manuscript.

How would you describe a successful author/editor relationship?

Keeping to deadlines, not overstepping the mark, charging people what I say I’m going to charge them and making sure they understand what I do and equally importantly what I don’t do.

How does the situation differ when you’re editing non-fiction?

Non-fiction is very different. For one thing it’s usually less entertaining and has to be approached a bit at a time to avoid skimming. Non-fiction writers (I deal a lot with academics whose first language isn’t English) have less of an idea about how to tell a story – and an academic essay needs to tell a story too, so for academic work I charge more because it takes much, much longer and is far more intensive. My goal is firstly to stick to the facts (I use Wiki a lot, but don’t tell anyone), and secondly to make it approachable; readable by all. This is often the hardest part, especially when tackling subjects like the philosophical approach to neo-Confucianism in eighth-century Korea or Marxist-Leninist dialectical analyses of post-war economic theory in the Middle East (don’t laugh, I really have done this. It was hard.)

What kind of genres do you prefer to work on?

In the light of what I’ve said above, fiction is more fun. Any type, because I’m so involved in the words that the story doesn’t matter. I’m not there to judge, I’m there to work, so it can be chicklit or science fiction, it’s not important to me. It can even have dragons in it if it wants. The blurbs I do for the German publisher vary wildly from bunny-books for five-year-olds to 700-page treatises on European philosophy through the ages.

I’m intrigued to know how you get into the writers voice, how you know what kind of words might work, what sort of sentence rhythm will fit and how you know it will still sound like the author, not the editor.

An editor’s job is to make the author sound like the author on a good day. A bad editor turns the author’s work into something they wish they’d written themselves, or something they’d want to read themselves. I’ve given up peer-review sites for that very reason. To get into the author’s head, I read a few chapters of the work, or I read the essay to take notice of things like voice, tone and style. This is very important, especially in fiction, because the editor should preserve these aspects even at the expense of grammar, spelling or common sense. Otherwise where would James Joyce or Cormac McCarthy be? Nobody wants to sound like everybody else.

Robert Gottlieb says the editor’s relationship to a book should be an invisible one. Do you agree?

It should appear to be invisible, at least, but given the quality of most self-published work out there that screams out for editorial intervention, it’s a vital relationship. Like I said earlier, my job is to turn you into you, but on a really good day. As I tell my daughter, I don’t want you going out looking like that.

In the age of independent publishing and authors doing it for themselves, does the future look rosy for editors such as yourself?

Very much so – but only as long as writers know how necessary we are, and are willing to fork out a few quid to get their little red wagon polished. Writers need to realize that their job is to write, and other people’s job is to make it look nice. I’m the bloke who has to stick his nose two inches from the tree and say “Oooh, what a lovely forest!” Writers can plot, characterize, invent and sail away on the fluffy clouds of their own imaginations, but the world of self-publishing should tell anyone with any sense of discernment that sometimes writers don’t know where the apostrophes go, can’t tell a dash from an ellipsis and often miss things that the spellcheck doesn’t pick up (form/from, of/if, that kind of thing).

Writers often agonise over blurbs and synopses. Would you be the kind of person who could help a writer distil the essence of a story?

No, because I’m so busy fannying about with the details that as often as not I don’t connect with the story. But I could turn a bad synopsis into a good one and distil a blurb from it – simply because experience has taught me what those things should look like and what they should say.

What do you write?

I once wrote novels, but they were very bad. I wrote some short stories that were good, and they’ve done the rounds and got published in a few fairly low-key places. Nowadays I write a bi-monthly article for Words with Jam magazine, scathing remarks on Facebook and scurrilous, unpalatable, irreverent and often downright filthy definitions for words that don’t exist. You can read these in a book called A Dictionary of Linguistic Absurdities, which you can buy here http://www.amazon.co.uk/A-Dictionary-Linguistic-Absurdities-ebook/dp/B009ZLRYDQ

 

Meet the Editors – Lorraine Mace

Let’s start with you – how did you become an editor?

I started as a Writers Bureau tutor (fiction and non-fiction) just over six years ago. Many of my students asked for on-going help with novels after they’d completed the course and also recommended my services to their writer friends. As a result I set up a private critique and editing service.

What kind of editing do you do?

This depends on the clients’ needs. I have some regular clients, who spell out up front exactly where they would like me to concentrate my efforts, but generally my reports cover grammar, punctuation, plot, theme, pace, voice, opening hooks and cliff-hanger ends to chapters and scenes. I also work with a number of non-fiction authors. In all cases I comment on what is working in the manuscript, as well as what isn’t.

How do you approach working with a client on a manuscript?

I like to establish upfront what the client expects and how (and whether) this can be accommodated. I am flexible on the type of help given. For example, an experienced writer is in need of different feedback and assistance to that required by a beginner writer.

How would you describe a successful author/editor relationship?

For me, trust is the key ingredient. Unless the relationship is built on trust there will always be difficulties. As a writer myself, I know how important it is to seek feedback from people whose opinions I value, but who don’t expect me to follow their ideas blindly. I want my clients to feel the same way. When I make suggestions for changes, that’s all they are – suggestions. It is up to the author to decide how, or if, to follow through on the ideas.

How does the situation differ when you’re editing non-fiction?

It doesn’t differ that much. I’m still looking to bring out the author’s voice and help to make the work interesting and have a page turning quality. I have a number of non-fiction authors who have been successful with their submissions to publishers after working through their manuscripts with me.

What kind of genres do you prefer to work on?

I don’t have a preference. My reading taste is eclectic and that follows through into my editing life. My goal is to help people tell their stories in the most entertaining way, be it fiction or non-fiction.

I’m intrigued to know how you get into the writer’s voice, how you know what kind of words might work, what sort of sentence rhythm will fit and how you know it will still sound like the author, not the editor.

I make a point of reading the entire manuscript before I pick up a pen. In this way I get a feel for the author’s voice. On second reading, I underline passages where the voice shines through. On third reading I begin editing, marking out the parts where the author’s voice falters and commenting directly on the text as to why I believe the passage isn’t working. I never suggest anything that doesn’t tie in with the sections marked out highlighting the author’s unique rhythm and style.

Robert Gottlieb says the editor’s relationship to a book should be an invisible one. Do you agree?

Absolutely. The end product should reflect the author and not the editor.

In the age of independent publishing and authors doing it for themselves, does the future look rosy for editors such as yourself?

Yes, it does. However, sadly, there are too many writers who rush to publish without employing an editor. I’ve read several self-published novels recently, with excellent storylines, but poorly edited, resulting in plot holes you could drive a train through and underdeveloped characters moving woodenly through the plot, delivering dialogue that simply isn’t credible.

Writers often agonise over blurbs and synopses. Would you be the kind of person who could help a writer distil the essence of a story?

I have a system where I show authors how to get down to the heart of their stories and will then work with them to produce attention-grabbing synopses.

What do you write?

As Lorraine Mace, I am a non-fiction author of books, articles and features. On the fiction side, I write short stories for magazines and novels for children. As Frances di Plino, I write crime thrillers.



http://www.lorrainemace.com/

Meet the Editors - John Hudspith

John Hudspith

Let’s start with you – how did you become an editor?

Many years ago I got involved with two peer review sites and became addicted to critiquing the work of others. I found the review process: dissecting, analysing and being forced to explain my analysis with intelligible written words, both illuminating and strangely satisfying. So much can be learned about the writing craft by practising the objective review process, by writing it down. My reviews were well-received, one writer asked if I could apply the same to the whole novel and there was my first client. Word of mouth brought more writers my way and within a year I was a full-time freelancer.

What kind of editing do you do?

Some might describe what I do as `heavy` editing. But see, that depends on the level of understanding of the craft the individual writer is at; some needing more help than others. `Help` being the key word here, because when you employ an editor, you must realise he is not a machine or robot programmed to exactness and thereby guaranteeing perfection with your work. No, your editor is a hired help, a fellow of the craft, a writer himself, and what you are in fact doing by employing this chap or chappess is handing a fellow artist a chisel and inviting him to give you a hand. And that is exactly what I do; examine structure, pace, characterisation, dialogue, mood, tone, props, production values and camera angles and give a hand with getting these things into shape – ensuring all the while that the writer’s voice/style receives the most important enhancement of all and that `story` works.

How do you approach working with a client on a manuscript?

I ask for three chapters, synopsis, what the inspiration is for the work and a little information about the writer. I read the chapters, study the synopsis, then provide an appraisal along with the first chapter edited and a quotation for completing the work. There is no charge for the appraisal and sample edits. Before any writer engages with me I want them to see what I can bring to their work. Before parting with your hard-earned, always ask for a free sample and ensure the editor engages with your work, your voice, and can bring something delicious to your table. If your editor doesn’t make you drool, find one that does.

How would you describe a successful author/editor relationship?

A successful editor will be aware of the conventions and reader perceptions of every genre in which he works. A successful editor, with in-depth knowledge of the craft, will teach his writer these things of reader perceptions and camera angles and voice and the nuance of words. To edit the work of another and watch them learn as the process moves along is to watch a writer evolve and I’m privileged to have experienced this many times upon reading the work of returning writers and finding they have taken on board all I said about narrative POV values and mood creators, and their word choice is now so picky I could cry. And so it goes on. A successful author/editor relationship is one of passionate teacher and hungry pupil.

How does the situation differ when you’re editing non-fiction?

Non-fiction covers only a small area of my work; author bios, CVs, web pages, that kind of thing. However, I was recently approached by a woman who had written a memoir, secured an agent, but had had no bites. The writer felt sure she had a book worth reading and asked if I could take a look. This was a challenge; the subject matter was harrowing and real: coping with the death of a child. Geves Lafosse and her family had lost Juliette to leukaemia at the age of five. Could I do this writer, this mother, this family, and most of all Juliette – justice? I investigated with trepidation, applying the elements of good storytelling which meant considering restructuring, de-fluffing, and looking closely at word choice and I discovered that `story` could be enhanced without changing the reality of it. Structural changes, de-fluffing, word choice, camera angles, all went to improving reader’s experience. 

Look out for `Watching Petals Fall` by Geves Lafosse. A beautiful memoir.

http://geveslafosse.com/

What kind of genres do you prefer to work on?

Something excites me in reading any genre and that is the author’s mark; the heart of his voice; his tricks and trademarks, those natural in-built mechanisms employed subconsciously as writer’s slit wrists soak his soul into the page. It is this that makes each writer, and so it matters not genre but voice. However, I’d never say no to a dirty weekend in a haunted house.

I’m intrigued to know how you get into the writer’s voice, how you know what kind of words might work, what sort of sentence rhythm will fit and how you know it will still sound like the author, not the editor.

A writer’s voice is the storytelling voice. I imagine I’m sitting across from my writer, staring over the campfire flames, listening to story being voiced out loud, and watching every inflection. Those nuances I mentioned earlier; how the writer subconsciously employs the various tricks, connectors, scene-setting techniques, tension pulls – those are the roads to unique voice and rhythm – writer’s DNA.

Robert Gottlieb says the editor’s relationship to a book should be an invisible one. Do you agree?

Invisible in that writer’s style/voice remains intact, yes.

In the age of independent publishing and authors doing it for themselves, does the future look rosy for editors such as yourself?

If you mean busy – yes. However, as in any trade, there are cowboys. Be sure to ask for that free analysis/sample and that your prospective editor connects with you and your work before scooting off to Paypal.

Writers often agonise over blurbs and synopses. Would you be the kind of person who could help a writer distil the essence of a story?

Distilling a five page synopsis to a one page synopsis is a favourite undertaking; almost akin to editing a short, or stripping back flash fiction for word count. I adore the process of peeling away the unnecessary and leaving the necessary. And the same goes for blurbs; knowing how to punch with minimum effort, how to grab with words, while understanding reader’s perception requirements; this is the key to successful brevity.

What do you write?

I’ve published two books in the Kimi series so far; paranormal sci-fantasy with aliens and crows. I’ve tried my hand at many short stories which I’m publishing as an anthology, and the WIP is an adult fantasy horror.

John’s editing services: http://www.johnhudspith.co.uk/

Kimi’s blog and books: http://kimissecret.wordpress.com/about/

Meet the Editors - Charles Blass

Charles Blass

How did you become an editor?

I always loved to write and had great English teachers, but the trade of editing started from proofreading. I‘m from New York but also grew up in California. In NY, my profession was legal proofreading and paralegal editing in the corporate legal environment, document production, working long hours and often through the night.

What kind of editing do you do?

Still legal editing and proofing, some fiction, some non. It’s whatever is needed for the author – that might be radical surgery and always within the proper context of voice. Context is everything. Fine details and bigger picture, adjusting as needed within the tolerance of the situation.

Let’s talk about fiction. When working with a client where do you begin?

Depends on the relationship, the situation, the material and always respectful of their needs and their audience. The heart of it is the message, what the author’s trying to convey. And obviously, deadline, rate, focus.

So you start with a lot of questions.

If it’s not already clear, it has to be. I need to know the main message, purpose, theme, and who’s receiving it. We need to be on the same page. Methodology, mode of communication, specific about details such as working in WORD with Track Changes. I offer comments and suggestions more than making decisions, other than clear corrections. There’s a kind of intimacy between an author and an editor – the author has invited the editor inside their mind, with the aim of perfecting their message. Perfection is a funny term, but I do strive for excellence. This includes, form, content, rhythm, tone, language, texture and so forth. I’m interested in a wide range of composition and creativity and I bring this to my editing work as well. I shift between the micro and the macro – the big picture and each pixel.

What’s a successful author/editor relationship?

It comes down to communication in both directions. If it’s positive and clear, the work has the best chance of being useful and efficient. If the author is clear about what they need from you, and secure enough to open themselves to criticism, and ideally, trusting and respecting my experience. Feedback is a dialogue and can be delicate, so sometimes a phone call works better than email.

Does the process differ much when editing non-fiction?

Not really. It’s back to the author and the nature of their work. Context, format and timing tend to be more of a consideration in the business environment, but supporting the author in terms of message and voice and audience, my approach is pretty similar. Maybe there are particular practice areas including precise terminology that I need to become familiar with. Especially at the beginning, there’s a learning curve.

Do you have a preferred genre?

I’d say I’m genre-agnostic, with the caveat that if it’s offensive, I don’t want to deal with it. I’ve only had one case where I turned a manuscript down because it was offensive.

Because it was poor writing or offensive subject matter?

Both. I prefer to work with writers that I like, either for craft or ability, but that’s not essential.

How do you immerse yourself in the writer’s voice?

I love this question. I have no magic formula, I have many years’ experience and I love language, art and science. I’m continually growing as a human being and this comes into who we are as human beings. I feel I’ve lived enough to have some terms of reference in both knowledge and language, cultures, characters, situations, attitudes, motivations and mentalities. It’s about tuning in and drawing on experience. Talent is a part of it, and I give great credit to my parents and teachers. Voice, words, rhythm, they’re all essential and work together in a grand choreography. Punctuation ... I’m a huge fan. It’s microsurgery, but the slightest fixes can do wonders.

Keeping the author’s voice is fundamental, but it’s back to the dance. It can be quite a fine line, but if you’re tuned in, it happens. As soon as the ego comes in, you’ve crossed the line. Maintain a sense of perspective as to why you’re doing the work and for whom.

Robert Gottlieb said the role of an editor should be invisible.

Yes, on the face of it, in the final product. But in terms of collections and compilations, the editor does have a presence and in a way, a voice. For example, one of my favourite projects I’ve worked on was a collection of the writings of Jimi Hendrix, and my editorial presence was a part of that.

Will the rise of indie publishing benefit people like you?

I hope so. I’m a fan of self-publishing. A similar kind of explosion has been happening in the music world. So the answer is yes, surely, but how can we make the connections? All authors need an editor, if only for a second opinion, so I’m interested in the framework which brings the two together. I’m a teacher and a cheerleader for good language so I encourage any author to seek an experienced editor. Excellence is closer than you think.

Writers agonise over blurbs and synopses. Could you help with that?

Yes, I like that process. It’s not easy and can be quite painstaking. My main tool in terms of technique is mind-mapping, and that’s how I approach it.

Do you write?

Yes. A wide range of things, but probably the most consistent would be poetry and lyrics. I’ve done a lot of business-related writing, and also liner notes for music projects. I also come up with titles – for example, I have a huge collection of band names, but I have no idea what to do with them.

What’s your view on editors appropriate to nationality? Is it better for an American to edit a US author’s book? Would you feel confident about tackling a British writer’s work?

I think it depends on the editor. Personally I would feel confident − due to my experience with England and the range of patois and cultures I encountered for decades in New York − in tackling most material, but I think the most important thing is that the author feels comfortable.

http://charlesblass.com