Book Editing

/ Ann Aubrey Hanson / Leave a comment

Published books don’t “just happen.” There is a great deal of work that goes into getting a book published. Of course, the author must write the book, and then the “back” stages begin, primarily the editing cycles.

I offer four levels of editing. First is an Editing Assessment, in which I read the book and make notes on what further editing is required. This is a fixed-price service. The assessment then determines what further editing is necessary to prepare the book for submission for publication: Mechanical editing (fixing the Ps and Qs of an otherwise-polish manuscript), structural editing (fixing the organizational and continuity problems, along with mechanical errors), and finally, comprehensive editing (in which I work on character development, story and plot, structure, and mechanical problems).

Because so few publishers today will spend time “nurturing” a new author as they did in days of old, any manuscript sent for consideration for publishing must already be edited and polished, ready to go. That’s not to say a publisher won’t have suggestions on editing the manuscript, but an error-free, ready-to-roll manuscript has a much better chance of making it through the gateway than does a document filled with errors and story gaps.

Most independent publishers suggest that new, and proven, authors run their manuscripts past an editor before submitting them, to save time and effort on everyone’s part.

This is where I come in. Whether fiction or non-fiction, I thoroughly enjoy reading a manuscript and figuring out how to improve it. My services cost money but that is part of the process if a writer wishes to find publishing success. No guarantees, of course, but certainly improved potential!

Sacrificing the “Little Darlings”

/ Ann Aubrey Hanson / Leave a comment

As a writer, it can be difficult to make those edits that you know are necessary to tighten your writing. As an editor, it can be painful to suggest such cuts to an author. Every author has “little darlings”–precious lines that simply make a writer sigh, delighted and satisfied with having written them.

But it is these very little darlings that should be cruelly stricken from your manuscript, scrapped for the sake of the whole. “Oh, I agree, this needs some editing,” an author might say, “but I can’t lose this line. I just can’t.” It’s too precious. Just as a writer must be willing to kill off the protagonist, so must the author be willing to sacrifice those precious lines.

As a writer, I can be cruel with myself, scolding and badgering, forcing myself to see my writing weaknesses and shortcuts. As an editor, it is my job (when I am doing content editing) to make writers see the same weaknesses and shortcuts in their manuscripts. But, with them,  I can’t be cruel. I must use tact and gentleness to persuade them of the truth. It’s what they pay me for. It’s what their writing needs. But it isn’t easy for either of us.

A recent client clung adamantly to three lines in her book, despite my reasoning and admonitions. It wasn’t until two other people entered the discussion that she finally admitted that those lines had to go: they were a slap in the face to the reader, completely out of character for the narrator and, thus, jarring for the reader.

Any lines that place the author at the forefront of the page must be stricken. Authors must remain invisible, and should certainly never rear up their heads and shout, Look at me, look what I wrote!

Thesis Editing

/ Ann Aubrey Hanson / Leave a comment

For several years now I have edited and proofed Master’s theses and Ph.D. proposals and dissertations for students at Pt. Loma Nazarene University in San Diego. Recently, I’ve extended my services to students at Capella University, an online university. I edited a proposal for one student, who then recommended me to three others, one of whom so far has recommended me to another.

I find that I thoroughly enjoy editing and copyediting these research papers, both because I am skilled in editing (expert in APA style and the Chicago Manual of Style (CMOS)) and also because of the variety of topics I encounter. One paper might concern African-American women and how long-standing experience with oppression has impacted their lives, leading to substance abuse. Another paper might concern the support and healing of couples who have suffered neonatal loss, with their child dying before birth or immediately after. A third might concern Hispanic men and the societal and cultural factors that lead to alcohol abuse. I learn a great deal while working on these papers, especially if I read some of the quoted sources to get a better understanding of what the students are trying to accomplish in their studies.

Meanwhile, editing in both APA and CMOS has become second-nature to me. I’m a natural editor. I think it’s genetic. I instinctively see and know what is correct or incorrect. It’s an odd gift, but it’s mine.

Career Faire

/ Ann Aubrey Hanson / Leave a comment

This past week, I participated in a Career Faire at my son’s high school, where I spoke to two classes about what it takes to make a living as a writer and editor. Following the class presentations, I spent three hours in the gymnasium speaking with passersby at the faire.

There were 30 students in each of the class presentations, 25 of whom were there by choice. As is to be expected, most wanted to write novels or screenplays but had no idea about the reality of publishing today. I explained that you can’t just plan to be a novelist and assume that you can make a living immediately through that writing. Using one of my best friends as an example, I spoke about Meg Gardiner (author of the Jo Beckett forensic psychology series and the Evan Delaney crime thriller series), explaining how it took seven years to get her first novel published, after she had worked on it for years prior to its completion, and how now, as her seventh novel is being published, she is finally picking up momentum and will soon make the kind of sales that will support a family and then some. This year, she also won the Edgar Award, the highest award in mystery writing, which will bring her great publicity.

My point was that a writer can’t just assume instant success once a novel or screenplay has been completed. Success depends on talent, but it also requires an enormous amount of perfect timing and luck.

Given that fact, I assured the students that they could indeed make a living as a writer, while they worked for and sought success as novelists or screenwriters. My handout listed some 20 different jobs in various fields where writers would be an enormous asset to any business. With businesses almost required to have a Web site now, writers and editors are needed more than ever.

When asked, I opined that an English degree was a marvelous first degree for anyone who planned to write for a living, but added that their best preparation, no matter what degree they pursue, is to read, read constantly and widely. To my great delight, the majority of the students were readers, though they admitted to a narrow range of material. I suggested that anyone interested in broadening their horizons email me, tell me about what they like to read and what interests them, and I would send a reading recommendation list. So far, one girl has taken me up on the offer.

One discouraging aspect of the students who stopped by the faire table was the widespread assumption that one could be a writer without knowing grammar and punctuation. My favorite comment from a young man, “I’m a poet, I don’t need to know grammar and rules like that.” What to say?

But overall, I was pleased with the questions I was asked, the interest the students showed, and the love I saw for the written word. Encouraging in this world of instant and abbreviated communication. Writers — and love of language! Excellent!