Fringe Fiction Unlimited discussion
Questions/Help Section
>
Being a Developmental editor?
date
newest »
newest »
If you work for a company, it wouldn't be up to any writer, it would up to the manager or owner of the company. My understandin, developmental editor is mostly for non-fiction, and it's just a clean-up job, to reconstruct say, a non-fiction article in the best way possible before printing it in a magazne, for example.Freelance editing, you would be completely on your own, which might be a good thing or bad thing.
Personally, I have no desire whatsoever to deal with a developmental editor unless it's someone working for the publisher that will publish my book. And even then. For fiction, there isn't much use. If I can't develop my own ideas, I can't write it.
To review my novels when they are in draft, I use a creative editor (volunteer, not paid) who has credentials in evaluating stories and character development. I also use Beta readers (also volunteers) who provide overall likes/dislikes about a mostly finished manuscript. Paid editors for independent authors are generally of the proof reading variety.
Editor positions with established publishers (large or small) usually require a degree, although some offer internships for students. I don't know how well paid those positions are, or if they are available part-time.
E.G. wrote: "Paid editors for independent authors are generally of the proof reading variety."They can do more than that. I've read some indie books that had obviously only been proofread and not fully edited. Proofreading is error-finding. Typos, etc. An editor--one who is not doing plot development but line editing--will still notice and make changes for repetitive sentence constructions, repeated words, misused words, awkward clunkers, things like that. My editor will contact me if she notices lack of clarity in the blocking for a scene. She asks me to make my own changes for things like that. She says my ms are some of the cleanest she's edited, but I'd still never publish without her. I'd feel like I'd gone to a party in my pajamas. An editor does much more than the average beta reader could. Beta readers aren't being paid to scrutinize every line, and can get so wrapped up in the plot that they don't see the problems that need fixing. A good, qualified, reasonably priced editor (not proofreader or developmental editor) could be valuable to many indies.
Hi Amber - one book you could read is Sarah Barbour's: The Copy Editor's Guide to Working with Indie Authors: How to Find Clients, Market Yourself & Build Your BusinessIt has some interesting information for this market, especially in terms of pricing and the marketing that worked for her (which may not work for you, but there you go).
Her particular experience was as a graphic designer, I believe, and then people just naturally asked her about editing. For me, I'm a translator and then people just naturally asked me about editing.
So generally you build from contacts in one area and apply it to the other, but of course everyone's path is different.
As someone who has done both proofreading and editing, they're very different beasts. Edits on a novel are usually concerned with plot/character consistency, eliminating redundancies, and optimizing the "flow" of lines. Proofreading is a line-by-line spelling and grammar check. As to why editors are almost paid more than proofers ... I honestly have no idea. I find both jobs equally difficult (and I actually think proofing may be slightly tougher/more time-consuming due to all the research involved).
Amy wrote: "Hi Amber - one book you could read is Sarah Barbour's: The Copy Editor's Guide to Working with Indie Authors: How to Find Clients, Market Yourself & Build Your BusinessIt has some interesting inf..."
Thanks. I wasn't trying to describe myself as an editor, though, but someone who appreciates her editor.
The reason I was thinking about it is because you often come across books that have been proofread to perfection but the story still has problems.
When it comes to fiction, it's entirely dependent on the author. I find it's extremely rare that an author will say, hey, I bet my story is full of plot holes and I need an editor. This isn't egotism per se, it's just hard for any author to be that objective. I've found that nine out of ten times, an author will say, hey, it's just fiction. And they're right. It is only fiction, and it can be a fine line between plot holes and suspension of belief.
I don't think it's egotism for most people, I think it just feels a lot more personal. Also, when readers give a bad review the easiest problem to point out is poor proofreading.
I'm afraid there's no such thing as developmental editors for review writing...
Heh.Proof reading is just easy to say ;)
I hate my day job, as I tend to wear multiple hats depending on what the clients want. Proofreading, line editing, copy editing...ech, enough to cause eye bleed.
I use a developmental editor. I find it helps me raise my game a couple of notches. The main thing I would look for in a developmental editor is a strong track record, strength in the areas I am not good in (i.e. they are brilliant at everything :) ) and ruthless honesty, and they don't cost an arm and a leg.I looked at a few options. Most charge three grand per book (mine doesn't thankfully). And you have to pay for a proofreader on top of that.
I suppose the real challenge with developmental editing is it's hard maybe to judge the criteria for success. Proofreading is (not quite but almost) binary - it is right or not. Plot structure etc. is maybe a little more tricky. Nothing is ever perfect after all.
Plus the editor has less control. The client might ignore advice or even change the book after the editor has finished with it. Like I read a book last year - it was well edited except for two pages in the middle which were absolute clunk. My immediate reaction was how did the editor miss it, but it probably wasn't the editor's doing. The author probably made some change post-editing to fix a plot hole or something.
that can and does happen. authors will sometimes ignore the editor regardless what they suggest.
I used a freelance developmental editor for my first book and it was the best decision I ever made. Developmental editors are great for pointing out plot holes, inconsistencies in characters, even weird things about setting. In addition to her help with revising my book, my editor helped to give me the confidence that I had a solid story that just needed a little work.I found her by googling "freelance fantasy editor." Hers was the first name that came up, from a post she made on a fantasy forum. I contacted her and asked for references, which she provided. That, along with the fact that she read the first three chapters for $30 before I committed to paying for her to edit the whole thing, helped me make the decision. I'd say if you're just starting out, offer to do the first chapter for free, so the authors can get an idea of what you have to offer. Also, make sure they sign a contract so you don't end up accidentally doing the whole thing for free, and so they understand that your editing isn't guaranteed to help them sell their book.
Line editing is a separate level of editing, not usually covered by a developmental editor, though a good one will point out bad habits. Line editing should cover the flow of the language, how does everything sound on a paragraph level. Copy editing is more for grammar, typos, etc then proofreading is the final look at formatting and all. At least, that's how a book editor once explained the differences to me.
And yes, there's nothing an editor can do about an author not taking their suggestions!
Selah wrote: "And yes, there's nothing an editor can do about an author not taking their suggestions!"That's not the same as ignoring your proofreaders suggestions, though. Sometimes the author is perfectly right to say 'I recognise your opinion but I'll keep it like it is.' At the end of the day it's their book and they go forward more informed, whatever they decide to do.
That's true too. At the end of the day, the buck for most people stops with the author. And editors are human too.
Virginia wrote: "Selah wrote: "And yes, there's nothing an editor can do about an author not taking their suggestions!"That's not the same as ignoring your proofreaders suggestions, though. Sometimes the author i..."
Very true, and I admit I didn't take action on all of my editors suggestions, just like when I get feedback from my writing group i don't always take action. It's the author's story.
One more thing I'll add is that the most helpful thing my editor did was not just to point out the issues, which is something I get plenty of from my writing pals, but to offer concrete solutions to the problems. For example, I had a character that none of my early readers liked, and instead of just saying "I didn't like this character," she told me what wasn't working for her about the character and told me a few things i could try to fix it.
Working in a shop is fine, but it wouldn't help me with my studies at the same time.