NaNoEdMo: Revise that NaNoWriMo draft

You completed NaNoWriMo and you have at least 50k words of rough draft. You’ve put it aside since then.

Now it’s time to edit and revise.

Photo credit: Rennett Stowe

NaNoEdMo is National Novel Editing Month. It starts March 1. The idea between NaNoEdMo is that you spend the month of March editing your draft. Instead of counting words edited, the goal is to spend 50 hours revising your novel. It’s free to join here, and joining provides community benefits, including an active forum and lots of support with other writers revising and editing right along with you. There’s lots of advice and help as well as commiseration.

You can even get a certificate for completing your 50 hours. The rules are pretty simple. Basically:

You have to log your editing hours at least once every 7 days in March until you reach fifty hours. That is once between 1st-7th March inclusive, once between 8th-14th March inclusive, once between 15th- 21st March inclusive, once between 22nd-28th March inclusive and once between 29th-31st March inclusive; making a total of 5 times and totaling fifty hours or more. You can log your hours as much as you like but you must have at least one log in each period until you reach fifty hours.

They define editing as:

Editing is defined as changing previously written material. Editing does not include writing a completely new novel. It does not include planning or researching. It does include anything from correcting the grammar and spelling to substantial rewriting of the novel.

That means that your novel doesn’t have to be one that you wrote for NaNoWriMo. It also means that you can continue your 50K novel; keep in mind that 50K is a pretty slim novel by modern standards, so fleshing it out as part of editing is a reasonable idea.

If you want some suggestions about how to edit your own work, many writers have found Self-Editing for Fiction Writers by Renni Browne and Dave King full of practical advice about how to edit, what to edit, and why you need to edit.

Tor Books Internship

Internships are a standard part of how people learn the publishing business. When you work at a major publisher, you’re gaining experience, insight, and making contacts that can eventually serve you for your entire career as a writer, editor, or even as an agent.

If you’re interested in working in publishing, and you’re in the NYC area or willing to relocate, Tor/Forge is currently seeking two editorial interns:

Tor Books is seeking two editorial interns for the spring 2010 semester. The interns in this position will gain insight into the process of publishing a book at every stage, from acquisition and contracts through production and, finally, the finished product. They will learn about acquisitions, editorial review, scheduling, rights and territories, catalogue, and sales. There will also be opportunities to read and evaluate unsolicited manuscripts. While this is an editorial internship, the position will involve interaction with other departments including Production, Marketing, Ad Promo, and Publicity. Our interns have the opportunity to work with a wide variety of genre fiction, including science fiction, fantasy, horror, thriller, mystery, and romance.

This has been a friendly-neighborhood boost-the-signal announcement.

Book Review: The Complete Guide to Editing Your Fiction by Michael Seidman

Book review by Alex Shapiro

The Complete Guide to Editing Your Fiction

By Michael Seidman

Writer’s Digest Books

2000

264 pages

In this easy-to-follow book, experienced editor and writer Michael Seidman explains how to approach fiction editing, using his own short story as example.

The author compares the writer’s job with that of a sculptor—both start with a block of words (or stone). They both chip and cut into the shapeless form until they getto the finished work.

The Complete Guide to Editing Your Fiction takes writers through the tedious process of chipping and editing the first draft until it becomes a final manuscript ready for submission.

The book is a must-have. It is, especially for the beginner writer, a trip into the world of fiction editing. Using examples from his own work, Michael Seidman describes the elements of a story, explains what makes a good, realistic character and talks about the stuff good scenes are made of.

The author gives his own tips on writing a realistic dialogue, one that is part of the story and pushes the plot forward. He also discusses the point-of-view, a topic that can get pretty confusing, even for more advanced writers.

What is a story without a plot? There are always changes to the plot, to “what’s happening in the story.” And the reader has the privilege of seeing the author in action, molding and remodeling his own plot, deleting and adding, shaping it into the final form.

Cover of Michael Seidman's Complete Guide to Editing FictionSomewhere into the fiction-editing trip, Michael Seidman stops to emphasize the importance of the story opening and to give examples of good (and not-so-good) openings. Revision after revision, the readers see the story transforming, taking shape, in front of their eyes. They become part of the process and learn to apply the lessons learned to their own work.

Once finding the shape of the story, does it mean it’s indeed the final shape? The author teaches the tips and tricks of fine-tune editing—such as pace, genre, choice of words and language, imagery and style, spelling and grammar.

The most important part of the book may just be the checklist; several pages offering a full, easy-to-use review of the dos and don’ts of fiction editing.

The Complete Guide to Editing Your Fiction teaches as much as it entertains. Readers have not only the opportunity to learn the insights of editing from a professional, but they also have the chance to enjoy a good story and be part of its shaping, from the beginning to the end.

This is a book to hold on to for when you are ready for revising and editing your writing.

Alex Shapiro is a freelance writer and photographer with works published online and in print. She lives in New Jersey.

Copyright 2003 Alex Shapiro.

Why Editors are Not the Enemy

By Mridu Khullar

Editors can be mean, unethical and downright unprofessional. But not all editors fit that bill. In fact, most editors would rather give you money than take it, would rather make no changes than rewrite whole pieces two hours before deadline, and would rather accept a piece than start their mornings sending out rejection slips. But step into an editor’s shoes, and you’ll know why that’s not only hard, it’s just plain impossible!

Here are the most common complaints writers have, and why editors aren’t always guilty of them.

Completely Changing Your Work

An editor I frequently work with was in distress. One of her regulars had just written to complain about his perfectly brilliant beginning being chopped off. “They sometimes don’t get our style,” she told me over lunch. “We need more quotes, we put them in. We need a stronger beginning; we change it. There’s nothing much I can do about it. It’s the way we work.“ But while this editor was very forthcoming about her reasons, and gave the writer an explanation, you’ll usually get no further correspondence. That doesn’t mean that they don’t understand the anguish you go through. But editors have word limits, voice and style limitations, and a dozen other factors to keep in mind. Editors simply don’t have the time to offer explanations to each writer.

Paying Less or Not Paying At All

Most writers believe (or are led to believe) that editors just don’t want to dish out the cash. Sure, if they’re running a small business from home and can hardly pay their bills, they probably won’t. But editors in big offices don’t really care whether you earn $100 or $1,000. After all, they’re not the ones paying from their pockets!

I was in a publisher-editor meeting the other day, and one common concern was raised — why weren’t suppliers (including freelancers) paid on time? A complaint unanimously raised by . . . editors!

An important thing to remember is that while it may appear so to us, editors aren’t really the ones calling the shots all the time. That’s the publisher’s job. So hating the editor’s guts won’t get you anywhere. While some editors may be creeps, most of them are on your side! So, if you want more money, just ask for it. Chances are the editor is the only one who can help you get it.

Not Responding

Editors would love to respond to every query, you know. But there’s only so much they can do. And while each e-mail you send will determine where your next paycheck comes from, an editor will get paid regardless of the number of queries rejected. Their job is putting together quality content. No one’s going to promote them for being nice to freelancers. It’s a simple matter of priorities. And when the choice is between finishing up the issue and answering yet another freelancer’s query, get real — editors will finish up and go home.

Killing Articles

We tossed a coin. The losing editor would have to tell the freelance writer that his article had been killed. That, too, after we asked him to send us a dozen writing samples, come up with a dozen off-beat ideas, get a feel of our style, and send us a 600-word piece. We’d even negotiated the price. It would have taken him at least a day’s work, if not more. We felt cruel, but decided that the guy had potential for future assignments.

I lost the toss and sat down to draft the e-mail. I explained at length how our policies had changed, told him that we’d be willing to give more assignments, and even added a touch of humor. But the writer was obviously blinded. He thought of me as the devil. And by doing so, he’d just lost a perfectly good opportunity for more assignments.

Editors aren’t out to take advantage of freelancers or make their lives miserable. In fact, if you get to know them a little, you’ll find that they’re often a very friendly bunch. Stop looking at your editor as the enemy, and you might just find a friend.

Mridu Khulla Relph is based in London and New Delhi. She has written for  The New York Times, TIME, CNN, ABC News, The Independent, Forbes, The CS Monitor, Ms., Elle, Marie Claire, Vogue, Glamour, Cosmo, and more. She has a website, a blog, and has written several books.

The Editor Speaks: I Like This! Have You Thought About Changing It?

By Selina McLemore

“Karyn?”

I bet she thinks I sound young. Really young.

“I’m Selina and I’m going to be your editor on this project.”

I love calling debut authors. I feel like I can really relate to the rush of excitement a new author feels. She’s worked so hard on her manuscript, rewritten it countless times, and finally she’s found someone who also sees all the great qualities it has. And with just a few more changes, it will be perfect.

For a lot of authors, new and experienced, hearing that their work — their baby — still needs tweaking is tough. And to be honest it took me a while to understand why. From my perspective, revisions are a natural part of the process, and to be expected. And after all, I don’t acquire an author if I don’t enjoy his or her work, so why would hearing about ideas to improve it be considered criticism?

But that’s how a lot of new writers view the revision discussion. Suddenly the warm, fuzzy feelings of making your first sale fade and are replaced by doubt: first, Will I really be able to do this? soon to be followed by, Does my editor really know what she’s talking about?

The answer to both questions, by the way, is yes.

I’m not saying editors are beyond error, but our goal is to make your manuscript as strong as we possibly can. And remember, we have some advantages you don’t. For one thing, an editor comes to the book with fresh eyes, just like the reader does. The most common problem I see in debut novels is a lapse in logic that the author, due to her familiarity with the work, can’t see. So a revision I often request is for an author to go back and add in explanation.

In my experience, most authors don’t have a problem when you ask them to write more. Go figure. What they are usually less receptive to is my second most common request, the request I made of Karyn: cut this.

Sometimes it’s a paragraph or a few lines here and there, sometimes it’s a whole character or an entire subplot —  whatever it is, no one likes losing material she’s worked hard on. But the request to cut is not just about making page count. It’s about rhythm, pacing, flow. It’s about making sure descriptive passages don’t dominate the book, taking away from the action. Think of every page as valuable real estate. There’s only so much, so you want to be sure you’re using it in the best way possible.

But if there’s one type of revision that’s even more difficult to discuss than cutting, it’s something I call the audience factor. Publishing is a business, and part of being successful in that business is knowing your audience, what they expect, what they’re looking for, what they’re missing. The audience factor comes in to play a lot when I request revisions to a character. It’s wonderful to have a main character who raises questions and calls on readers to really think about what’s before them. But the catch is that the reader still has to like her. If a reader doesn’t finish the book because the heroine is too abrasive, then her transformation at the end is lost. And if, because that reader didn’t finish the book, she doesn’t recommend it to a friend, you’ve lost another potential fan. Sometimes to get the message across, you have to soften the messenger.

So the lesson is: whatever revisions your editor requests you should immediately do? No. Of course not. But I am saying, pick your battles. Thinking you can avoid any revisions is unrealistic, but if you’re strongly against making a change, say so. No one agrees all the time, and Karyn and I are no exception. But when you keep an open dialogue and trust your editor, the fun of the first call can last through all those to follow —  like when we talk about your copyedits and cover art and publicity plans and galleys and quotes and option material.

Currently an assistant editor at Avon Books, Selina McLemore has worked in women’s fiction for three years. In addition to contemporary romance titles like A Personal Matter, Selina also works with authors who write historical romance and chick lit.

Last month, Karyn Langhorne Folan, the author of A Personal Matter, offered her perspective on working with Selina.

This is Your Editor Calling

By Karyn Langhorne

“Karyn?”

She sounded young. Really young. I took a deep breath, and answered, hoping I didn’t sound old. Really old.

“I’m Selina . . . and I’m going to be your editor on this project. First let me tell how much I loved your book.’

She might be young, but she was certainly smart. Anyone who loves my book has to be smart. As well as attractive, intuitive, talented, articulate, engaging, educated . . .

For me (and I suspect for most of us), one of the drawbacks of becoming a writer is that I’ve become very familiar with rejection. Before December 2003, I had heard “no” so many times, I’d begun to believe that the whole world hated me and my writing and that the only reason I kept doing it was because I was either too pigheaded, or too stupid to stop. Hearing someone say something NICE about my writing immediately turned me to mush.

When Selina told me she loved my book, I started grinning so wide my daughter could see the gleam of my teeth in the playroom two floors below. And if hearing her praises for A Personal Matter wasn’t enough, Selina, smart woman that she is, followed up her advantage by asking, “Tell me about the new one.”

I’m pretty smart myself (or at least I like to think so), but that question made all of my intelligent questions about what it would be like to work with the publisher, what my new editor expected of me, what I should expect of her—you know, IMPORTANT stuff — go straight out my mental window.

She wanted to hear about the new project. She wanted talk about my writing!

No one ever wants to hear about my writing. No, that’s not exactly true. Friends and family ask, and they don’t mind hearing a short answer like “Fine” or “Working on something new.” But beyond that, their eyes glaze over and they start looking at me with the same look people give computer geeks and the desperately intoxicated. Don’t pretend like you don’t know what I’m talking about, like you’ve never gotten the look. Until you’re as successful as Nora Roberts, John Grisham or Steven King, every writer gets the look. The look that says: That’s enough already. The look that says: You’re over your limit, bub. No more words on that subject for you.

Of course, if you become a really successful writer, people want to hear you talk about your writing all the time . . . as if you know some magic secret that changes crummy words to great ones, that performs alchemy that converts the worst of ideas into best-selling novels. When you become a best-selling novelist, people will flock to hear you talk about your writing in the hopes that you might share the magic with them and then they too could live the life of fame and fortune —

But I digress.

Selina wanted to hear about my writing. And she actually listened while I tried to explain my new and not quite completed project. She actually asked questions about it. Wow, I thought, still talking a mile a minute about possible directions for the story line, similar novels already on the market, etc. I like her. I like her a lot.

I was so busy talking and liking that I almost missed what she was saying. Which turned out to be something about a revision letter.

“Revision letter?” I repeated, reconciling the words “loved your book” and “revisions” in my brain. “What’s that?”

The revision letter, Selina patiently explained, outlines the changes the publisher feels are necessary. In a week or so, she would send me said letter, along with my complete manuscript. I would make the changes and send them back to her.

“Since we’re on an accelerated schedule,” she told me cheerfully. “You’ll have about thirty days. I’m sure that won’t be a problem,” she adds. “Your work is so strong, I’m sure you’ll have no trouble with the revisions.”

Did you catch that? Did I say Selina is smart?

“Mostly you’ll need to cut it a little,” she continued.

“How much?” I asked, mentally imagining a little tightening here, tinkering there.

“Eighty pages,” she replied with that same bright, youthful energy.

The manuscript as submitted was 487 pages. Eighty pages is like . . . I do some quick math . . . 20% of the book.

“But that won’t be a problem for someone as talented as you, I’m sure,” Selina keeps right on going as if there isn’t a long silence at the other end of the line. And now I’m trapped by my own love of compliments.

“No,” I say, hoping that I sound neither old, nor ignorant, nor scared to death—and feeling every one of them. “That won’t be a problem.”

We hung up shortly after that. Reluctantly, I turned to my computer, opening the file named “A PERSONAL MATTER-final.doc” watching 487 pages load into my word processing program.

Final document? Apparently not.

Next Month: Selina’s Side of the Story. My editor has kindly offered to write next month’s column, sharing with AbsoluteWrite readers what she was looking for, why she chooses the manuscripts she chooses, what I did right in getting her attention (and wrong) and how other writers can put their best foot forward in getting published.

Karyn Langhorne Folan is a “recovering” lawyer and a long time writer, with over 25 books so far. She’s  written for the groundbreaking educational novel series, Bluford High as well as an exciting line of post-apocalyptic fiction called Ashes, Ashes. Karyn Langhorne Folan has a Website.

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