It seems that lately, my inbox has been filled with good news. I am so not complaining, as good news is a precious commodity, meant to be handled with kid gloves lest it dissolve into ephemera. And it’s pretty. Full of warm fuzzies and all those other good things that we need to balance out the bad.

Yeah, you know where this is leading. To an e-mail I got the other night while waiting for my kids (what? You don’t work when you’re waiting for your kids?). One of my authors had gotten twenty-eight reviews on her newest release, which I’d proofed for her. Twenty-eight five star reviews. Not one was solicited. And before you pooh-pooh the paltry number, let me add this: they’d all happened within three weeks of release.

Now, this was the seventh book in a series. I came onto the team with book six, so she’s had plenty of time to build a readership and garner success before this seventh book came out. And she’s also had plenty of time to grow as a writer, as well.

But her e-mail made it pretty clear: Look what we did. Yay, us.

See those possessives here?

I’ve said before that I don’t work for royalties because it’s a project and when I finish it, I move on to the next. That’s true. No matter how proud of my authors I become and how many times they use plural possessives, the simple fact is that I have less at stake in this than my authors do.

But that doesn’t mean I don’t burst with pride with every success. With every story that a novella trilogy I edited went from earning $10 a month before the edit to earning $6000 this year alone. With every story of authors who are starting to win awards. Okay, the last person only won an honorable mention, but before we’d started working together, honorable mention was a far-off dream. And with every story of authors whose latest book hit a best-seller list or two.

This one, this seventh in the series, also hit a best-seller list, according to Amazon. So did one of my fantasy authors. And a thriller author before that.

It’s not all due to me, of course not. These men and women have a fantastic vision and a dedication to putting in the hard work required of best-selling authors.

But I’d like to think I played a role in the ultimate success. In helping them put their best word forward. That, my friends, is what a really good independent editor does.

And yes, I’m taking new clients.

I was reading a book review a few weeks back, and at the end, the reviewer had included the author’s bio.

“My kids reek havoc on my house,” it said.

REEK HAVOC???

Pardon me, but I didn’t realize havoc had a scent. I suppose it can, depending on what’s going on, but take a look at what Webster’s says about the definition of havoc:

Full Definition of HAVOC

1

:  wide and general destruction :  devastation

2

:  great confusion and disorder <the blackout caused havoc in the city>

Okay… so …

Depending on the destruction, confusion, or disorder, yeah, I can see something in there reeking. Remember, Webster’s defines reek as

Definition of REEK

1

chiefly dialect :  smoke

2

:  vapor, fog

3

:  a strong or disagreeable fume or odor

Somehow, I don’t think this is what the author meant. In fact, I’d wager money that she meant wreak, which is defined as

Full Definition of WREAK

transitive verb

1

a archaic :  avenge b :  to cause the infliction of (vengeance or punishment)

2

:  to give free play or course to (malevolent feeling)

3

:  bring about, cause <wreak havoc>

This is a common error, I’ve come to realize. A lot of my authors confuse reek and wreak, so many that I no longer believe it’s a typo. It’s a confusion.

The way I see it, confusions aren’t acceptable. They show a lack of command over language, and as an author, that’s a weakness you can’t be showing. This sort of thing makes you look like an idiot, an illiterate, lazy, or sloppy — none of which are traits most authors want the general (not to mention the book-buying) public to see.

But, as I’ve said in the past: it’s worth hiring a proofreader for your bios, your newsletters, your blog posts … anything you write…  It’s worth the money to make sure your words shine. Telling me your kids have reeked havoc in your house isn’t only TMI (do you want to know what someone else’s house smells like?), it’s bad craft, and bad craft signals a poor writer.

As the market grows increasingly crowded, you want to stand out for your ability to not only craft a great story, but to communicate in a way that invokes authority and trust from your writers.

(Naturally, we at West of Mars can save you this embarrassment, and we can and will do it without pressuring you to use us exclusively.)

This is something I’ve run across … oh, probably as long as I’ve been blogging. And if you look carefully, you’ll see I’ve been blogging here at West of Mars since 2006. That’s a long time for this trend to continue, especially because it’s not a particularly flattering one: authors who write blog posts, either as a guest or at their own home, that are full of typos and grammatical errors. (and I  mean FULL. A few obvious typos are one thing. I’m talking about squinting and wondering if this person knows the language at all.)

Sometimes, as in the case of the post I read this  morning, it’s clear the author doesn’t understand the rules. This distresses me. How can someone expect to write a book if they don’t know basic grammar rules?

The answer to that is pretty obvious, right? I’m not the only great (and patient) editor out there.

So, okay. Fine. Authors use great editors for their fiction. Good. That’s how it should be. We editors love to work behind the scenes and  make our authors’ words all shiny and pretty. And even when we’re not the editors, we still appreciate that you, the author, used a colleague to make sure your words are the best representation of you that they can be.

If you’re an author who does any sort of written promo, don’t hesitate to ask your editor to work on it for you! From your newsletter to any guest blog posts or even interviews. If it’s written and you know you’re not the best at remembering your/you’re or the like, speak up. Yes, it may cost you more than the promo will earn you, but on the other hand, it’s an expense worth it, from where I sit. Even if you have to find another editor who’ll handle only your promo work — and  yes, we do that at West of Mars. Keep your fiction editor and use us for your promo. No worries there; no pressure to change if you love your fiction editor.

The reason I do this  isn’t to pad my own bottom line. I offer these services cheap, after all.

Nope. That’s not why I am pushing it, and it’s not why I offer it.

It’s because people form impressions about you based on your written words. Don’t put yourself in the situation where a reader adores your book, thinks you’re the best writer since Truman Capote … and then gets turned off when they read a sloppy guest post.

Always, always, always put your best written self forward. Find the people you need to make this happen, if it’s me or if it’s someone else.

It’s your career. Make it represent you at your written best.

It’s the second week of June. I think we can all agree to that.

But here’s where it gets weird. It’s the second week of June.

So what, I hear you saying. Or, Good for you. You can read a calendar.

Know what else I can read? The balance sheet at West of Mars.

It’s the second week of June and already, it’s the  most lucrative June I’ve had since I came out of retirement a few years ago. And we’re not even halfway through. And there’s more client work lined up, more manuscripts to work on.

Gratitude doesn’t even begin to touch how I feel when I look at simple facts like that. I have said it before: I have the best clients anywhere. They are funny, they are (mostly) loyal, they are smart and they are oh, so creative, I routinely sit back to savor and appreciate what they come up with. Scenarios, characters, alternate worlds, plot twists… all of it. As a writer, I pale beside them.

But I’m glad to be the proverbial red pen who helps make their brilliance shine.

I have openings in July still. Not many, but there’s space. Let’s join forces and let me bring out your best while you dazzle me with your raw talent.

No wonder I love my job.

And it’s only the second week in June.

One in an occasional series

Some editors only work in one genre. More power to them, I say. To be able to pull in enough work to sustain a business, and to not get stale. It could be enough to make a girl envious.

Me, though, I love that I am able to work in as  many genres as I read. While each has its own conventions and rules, keeping all the rules in mind — not to mention keeping from getting confused about which manuscript demands what — keeps me on my toes. It’s mental gymnastics, and I love it.

Just the other day, in fact, I finished one  manuscript, the first in a new fantasy series, although it’s more of a political thriller set in a fantasy world, with gods and goddesses and dark practitioners and senators and their children. From there, it was off to the next manuscript… set in Regency England. There’s no worship here, except worship of the heart and men for women and women for men. The language, too, is different: from back alley slang to the stiff, formal speech that marks polite society.

As a reader, I doubt I’d have noticed the differences the way I have to as an editor. On some level, that awareness would have been there, but not the same as when I sit and begin to crawl inside a manuscript.

It’s that attention to detail that can make it hard to switch manuscripts, and why I try to only work on one at a time — and to start on Monday and finish by Friday. So to do it mid-week?

Pure exhilaration.

And a lot of excuses to wander around the kitchen, waiting for my the rest of my brain to catch up with the parts that have already switched genres.

Awhile back, I got a friend request via GoodReads. This happens a couple times a week, and I never say no.

In fact, after I accept, I always click on “compare books.” Have you ever done this? It’s fun to see what others are reading, and how full their shelves are (people: full shelves are GOOD things!).

This person’s books surprised me. Two were anthologies I’ve got pieces in — With Love — Indie Authors United, and 25 Years in the Rearview Mirror, a compilation of guest blog posts to accompany Stacy Juba’s novel, 25 Years Ago.

And the third book on the list? Something I’d edited. I’m still sad that client moved on. Her work was so fresh, so haunting… but you can’t please ‘em all, I guess.

So what’s the point here for the writer to take home? Simple.

Get yourself out there. Interact with the community. Jump into an anthology or three if you can. The Indie Authors Unite anthology wasn’t juried; it was a group of us who wanted to put out a book and direct the royalties to Doctors without Borders. We wanted to make a difference in the world.

25 Years in the Rearview Mirror originally began as a series of blog posts. Stacy took them and turned them into a book. I believe it’s a free download; the Amazon page says “Pricing not available.”

Sometimes, it’s that easy to get your name out there. There may not be payment involved, but let me tell you: the thrill of seeing something you helped create show up on someone else’s GoodReads list is worth it.

Go on. Get yourself out there. See where you wind up.

One in an occasional series

I have to laugh. A few weeks ago, I posted about how it’s time to line up your editor for the summer. I can’t speak for other editors, but around here, summer’s my busy season. You’ve got to get in soon, especially if you’re a new client.

I guess you guys were listening because … well, August is now completely booked. Funny enough, it happened within a 24-hour period, too.

However, summer’s more than one month long, and June and July… crickets are chirping. Lots of open weeks… June and July have as many weeks as any other month, and right now, any of those weeks are yours for the taking.

Look over where you are in your manuscript. Even if you’re not a West of Mars client (and why aren’t you again?), you may want to have a chat with your editor about his or her expected availability when you need him or her. Even if, like me, the answer will be, “I’ll make time for you. No worries,” it’s still polite to let your editor know what you’re thinking, so they know to expect you.

I can’t speak for others, but whenever someone says, “I’m aiming for June and I’ll be in touch when I know for certain,” I jot a note on my June calendar. Client X? it says, and I’ll include word count if you’ve given me an estimate. That reminds me to hold space open; one thing I’ve learned is that open spaces always fill (unless, for some reason, it’s March. Why is March my slowest month?).

Talk to your editor about your projected schedule. And get yourself on the June or July calendar soon. August is full… what month will be next?

One in an occasional series

I am one of those editors who likes to support my clients even if what they need help with is beyond the range of editing. Because of this, I’ve now started such services as offering help writing book descriptions, a While You Write service where you cough up cash and I’m available seven days a week for brainstorming plot wrinkles and other problems, and more. I’ve even brought some e-book formatters into the fold, but more about that another day.

The Book Description and While You Write services are available only to my editing clients.

One other thing I like to do is talk about your options for publication. A number of you like to explore your options, and that’s great. I’m totally supportive of that. And… a lot of you have found small presses who’ve been interested in publishing your books. Sometimes, that makes me sad because it means you’re moving on to a new editor (and when that editor’s not as good as me, well, double sad!) — but that sadness is also tempered with excitement for you. I want only the best for my clients.

But sometimes, you find yourself someone who is well intentioned but … maybe isn’t ready for a writer of my clients’ caliber (do I think highly of you guys, or what?). And you ask me about this publisher.

I came across one of these small presses the other day. When I find them, I crawl all over their website, looking for certain criteria:
1. Is the site well written? Seems like a silly thing to look for, but if a publisher’s website is riddled with grammar errors, what will your book look like? (and yes, I do wish I had the cojones to send them a letter, offering my non-fiction department’s services!)

2. What can you offer my author that s/he can’t do by him/herself? The latest was a publisher who said they were working on a relationship that would get them into brick-and-mortar stores. Sounds great, but … they weren’t there yet. What could they offer my client NOW?

3. What do they publish, and how does your book fit into their list? One publisher I came across had both erotic lit and a book about Jesus on their front page. I’d be surprised if people aren’t offended by that one!

There’s a reason niche publishers do well, folks: they break into one market and do it well.

4. What’s the background of the principals involved? Even if it’s not a publishing background, I’m sorry, but someone with an MFA in painting and a partner with a PhD in history just doesn’t make me confident that you know how to run a business — even though I’ve learned that running a business isn’t rocket science. But I want to see that you’ve got a clue what you’re doing before I’ll express confidence in your business.

(Before you ask about my lack of business background, I spent 2013 enrolled in a year-long business class and worked with a fabulous mentor. Like I said, running a business isn’t rocket science.)

5. How excited by your book is this publisher? I thought this was a no-brainer, but when a client forwarded a mail that said, “I skimmed your book and think it’d be a good fit…” I realized that the siren’s song of “it’d be a good fit” drowned out the red flag. This acquiring editor SKIMMED the book? The book he’s worked on for years and years? Sweat, blood, tears, marriage, friends, and an editor are all in that book and this acquiring editor admitted to SKIMMING it?

To paraphrase uber agent Janet Reid: You want someone behind your book who’s as passionate as you are.

Yes, we all want to have a publisher’s name behind us (okay, not all of us anymore!) but that doesn’t mean you shouldn’t let desire overrule your natural caution. I’ve seen too many small presses go under, heard too many stories about authors who have to go to court to have their rights reversed, seen what happens when expectations are crushed.

Don’t be that author.

But do be the author who is smart enough to reach out to people who can look past the emotional high of the offer and help you weigh your options with a clear mind. This is your business. It’s not rocket science, but that doesn’t mean you shouldn’t be smart in the choices you make.

One in an occasional series

Today’s post was inspired by my own good intentions, intentions that have come back to haunt me.

One of the things I struggle most with is names, especially names for minor characters. Throwaway people, who I expect to use once and never see again. There have been many in all the Trevolution writings, people who crossed paths with the band for one reason or another. And you can always tell who the characters who intrigue me are: they mostly have intriguing names. Lyric. Boomer. Chelle. And yes, even Pam the exercise instructor who tries to use Trevor to get to Mitchell.

Like I said, those aren’t the problem children. I don’t know any Lyrics or Boomers or Chelles, and as for Pams… well, not many, anyway. Pam Derbish is her own woman. But… she was never meant to be a one-story flash in the pan.

It’s when I’m sitting around, getting desperate because I know the name doesn’t matter. That the character is nothing more than a vehicle, a catalyst for the story to unfold around, so why am I stressing about a name? And so, I turned to real life, figuring it would be a nice way to pay tribute to friends who meant a lot to me. Maybe that way, the characters would elevate themselves and be more than just a name on a page.

So what’s the problem?

Well, I fell out of touch with most of those friends. One did something I know I ought to find forgiveness for, but I’m not there yet. That one’ll be a long time coming, I think.

Which means that every time I look at those characters’ names, I pause with a note of regret. I miss a bunch of them. I am upset about the choices the other made (and continues to make), knowingly or unknowingly.

Now, it’s a sight better than the woman I once knew who published a collection of short stories in the early ’90s. She apparently didn’t merely use her family members’ names. She fictionalized them, and the fiction wasn’t exactly flattering (“pathetic” was how I characterized the lot of them when I read the book) — in their eyes. I still recall the pain in her eyes and etched into her face when she looked at a stack of wedding invitations from those people. They hadn’t even bothered to open the invitations and send back the RSVP card. Nope. They’d all written REFUSED across the front and had it returned to her.

Don’t be me, and don’t be that woman. Step outside your life and give your characters names that don’t mean a darn thing.

One in an occasional series

When I came out of retirement a few years ago, my mentor told me to avoid working for publishers who paid royalties. It was the equivalent of doing the work and then tossing dice when it came time to be paid. As someone who needed to support myself, working for a royalty-paying publisher wasn’t the best idea. I’d be fine if a book sold a million copies (but really, how many do that?) but … well, most don’t. And since most publishers pay freelance editors scant amounts even compared to my posted rates (which are only a third of what my mentor charges!), I was basically looking at giving a lot of work away for free.

She, of course, was right on the money. This is why she’s my mentor, after all.

One thing she didn’t mention to me — maybe it wasn’t an issue then — was a new practice that is struggling (thankfully) to take hold: independent authors who offer to pay their editors a royalty.

Maybe she was silent because from where I sit, surrounded by red pens, this is a no-brainer. There’s no way I could ever consent to do this.

Here’s why:
1. Finances. Everyone knows how rough it is out there for authors or all ilk. I have edited some outstanding books, books that deserve to be in everyone’s libraries, yet my authors struggle. I don’t know their exact numbers — I tend to ask, “How’re sales?” and get an equally vague response — but I do know that it’s the rare author these days who can break through the chatter and sell hundreds of books a month. And those who sell thousands? They are charmed.

2. I am a hired gun. That’s right: You hire me to do a job. I do my job and while I develop a relationship with my favorite clients that often has me going above and beyond the strict rules of being an editor, at the end of the day, I walk away and leave your book in your hands. YOUR book. YOUR hands. Not our. Your.

3. Your book is your baby. No one is more vested in your book than you are. This ties into the above reason, absolutely. Even if you hire me to hold your hand while you write and help brainstorm as words hit the page, it’s still YOUR book, not mine. I’m here to help make it the best ever, but when I’m done with your book, I’m moving on to the next. I’m not helping market it or trying to find reviewers. I’m editing the next book in the queue. Sometimes, a client will come back to me a few weeks or even months after I’ve worked on their book and I’ll have to reopen the file and refresh my brain. About YOUR baby.

3. Honesty. While I don’t walk into relationships with my authors expecting them to take advantage of me, if I am going to walk into a royalty-based situation, I need to be 100% sure that there won’t be any funny math happening. If a Hollywood movie can gross millions and net nothing, what’s to say this accounting won’t trickle down to an author or two? Or ten.

4. More work for me: I would have to carefully monitor every statement that comes in to make sure I’m being paid. Or better yet, I’d have to hire someone to do that because, hey, I don’t run an accounting business over here. I run an editing and author services company. Authors want me to edit for them, and they are willing to pay me to do the job. They don’t want to hear I’m unavailable a certain week of the month because I have to double-check royalty statements for books I didn’t write. (And, hey, where’s MY income for that week?)

5. Plenty of other authors want me. Why should I take work on spec when I have a stable full of writers who have no issues with my Pay Up Front policy? And believe me when I say the fear of having to face an unhappy client who wants his or her money back is in the back of my mind, spurring me on to be an ever-better editor.

I get it. Believe me, I do. Editing is expensive, and when I run my own work past a professional editor, it’s my mentor I turn to. Go back to the start of this post, where I mention her rates are triple what mine are. Think about the ramifications of that statement for a minute.

I know it’s tempting. Your success is my success. Accepting a royalty structure makes me more motivated to help you sell books. And you don’t have to shell out money up front.

But from where I sit… it’s a gamble. I have a roof to keep over our heads over here, bills to pay. I can’t risk that in the hopes that you are the next author to break out of the mainstream, even if when you do, I’ll make millions, too. Because what happens, then, when the publisher wants you to pull your book from the market, break our contract, and then reissues it themselves? What happens to my vested interest in YOUR book then?

I can’t be left out in the cold. Literally or figuratively.

No royalty-based finances here, thank you.

One in an occasional series

Many of my clients, after we work together for the first time, tell me they want to keep me all to themselves. A secret. Their very own editor.

I get the fear: my schedule at times can fill up as many as twelve weeks ahead of schedule. Not all authors are aware of when they’ll need me, and a lot of my clients sort of look up and realize they need me. Now. This second.

As a writer, I’m not much different. It’s often hard to know how long it’ll take. How much real life will intrude, how hard you’ll have to fight the story. You may have a vague date by which you want to finish, but then a secondary character takes over and the entire book needs to be rewritten… I get it. Remember, Trevor was originally supposed to die at the end of Trevor’s Song!

So when you want to keep your editor all to yourself, when you don’t want to share me, while it’s high praise and the ultimate luxury, you’re actually hurting me. After all, most writers don’t Google “I need an editor” and expect to find something other than a lot of articles about how to find a good editor. (I tried it. That’s what I found. Let me know if your experience is different.)

Nope. Smart writers find their editors by asking their writer buddies who they use.

Smart writers being asked that question know that if they don’t share their editor, their editor runs the risk of sitting around, waiting for them, a little too long. And then they have to go out of business because, hey, at the end of the day, it’s all about being able to pay those bills.

Don’t risk an editor’s career. Share your editor.

And if you’re a super savvy writer, you’ll let your editor know to look for your friend — and in that e-mail, you’ll give your editor a ballpark for when you think you’ll need her and ask her to save a week in, oh, say June.

I bet she’d be glad to.

Remember, if you missed the news, West of Mars now has editors to help with your non-fiction as well as your fiction. If you write it, we can make it shine.

I’ve referenced the Non-fiction department here at West of Mars a few times now, but last week, I sent out the official press release (if you’re a media outlet and you didn’t get it, holler and I’ll send it to you … and add it to my list for future releases).

Here it is:

West of Mars, LLC is proud to announce an expansion of services into the area of non-fiction editing. Copy and line-editing services are provided for multiple publications, including, but not limited to, company annual reports, press releases, memoirs, monthly newsletters, opinion pieces written for local press, and blog posts.

Principal non-fiction editor Mary Sutton has worked in the high-technology industry for over fifteen years as a technical writer and editor for companies in the Pittsburgh area. She also writes independent blog posts for business. Fiction editor Susan Helene Gottfried brings more than twenty years’ editing experience to new and best-selling authors who publish their books independently or with small presses.

West of Mars, LLC is a Wexford, PA-based author services company providing editorial support and more for anyone who writes for public consumption.

For an estimate for services, contact Susan Gottfried at Susan@Westofmars.com.

Or, of course, since you’re already AT West of Mars as you read this, here are the links you need:
current editing home page
Current non-fiction page

There ya go. If you write it, we’ll help you polish it.

First off: the Featured New Book spotlight is empty again! C’mon, authors and readers. If you don’t have a new book out, surely you have a friend who has one. Send him or her my way. I love to help others out.

A reminder link to the Featured New Book Spotlight page. Follow the directions and send me an e-mail.

Second is a bit of a weird story. Despite clear instructions NOT to, a potential client left a comment asking for a sample edit and what my timetable is. The mail got deleted, as the site says it will, but I dug it out.

I’m sort of wishing I hadn’t. I tried twice, in two different ways, but the e-mail bounced.

Either someone is messing with me, which I don’t appreciate, or Janet made a mistake, which happens.

Janet, if you’re out there, please be in touch. My calendar is filling up pretty fast, so we need to connect sooner rather than later.

This has been bugging me for some time now, but it’s getting worse of late.

I met a fellow editor about a year ago when we did a joint blog appearance. We didn’t interact; we just both answered a set of interview questions. No biggie, right? Always good to meet a fellow editor.

Lately, she’s been soliciting help for certain questions of grammar. Basic questions. Things that any editor ought to know in her sleep. Things that ought to be second nature. That were covered in fourth grade, for crying out loud.

**

I have probably taken to seeing it once a week over the past couple of months. Someone new hanging out their editor shingle. Glad to have you on board; the world needs good editors. Let’s chat and work together. We’re all in this together and while I’d love to try, I simply can’t edit for every writer out there. (nor should I; finding a good editor is like finding a good pair of jeans. You gotta try a bunch on first.)

But…

Saying, “I had to learn how to write academic papers in algebra 1 and my prof insisted we know how to self-edit” doesn’t make you an editor, folks.

Saying, “I have a degree in English” doesn’t make you an editor, folks.

Not knowing grammar conventions doesn’t make you an editor, folks.

***

Authors, when you are looking for an editor, please vet them carefully. One of the other trends I’m seeing of late is really really cheap prices (lack of comma intentional). A complete novel edited for $50? Seriously? Up to 90,000 words — something that would take me ten days to do properly, at a cost of anywhere from $450 (for a proofread) to $990 for a full content edit, is a job you’re willing to do for less than $100?

Do you not have a mortgage to pay?

Sadly, I do. And groceries to pick up, and utilities to maintain. Clothes to buy for growing kids, not to mention to replace my own wardrobe, most of which has holes in it. (Yes, check that sentence… has holes in it. While we’re talking in general about clothes, the phrase refers back to the word wardrobe, which, as a collective noun, requires the singular. Does an editor who learned language in med school know that? If they do, can they explain it to you?)

Authors, keep this in mind: you often get what you pay for. And while I’m still on the inexpensive end for an editor of my caliber, my rates are competitive. With me, and with other editors I know out there, you get more than what you pay for.

That’s the editor you’re looking for.

Spend your money wisely. Vet your editor. Send him/her a sample of your work. Any editor worth your project will happily do a sample for you.

***

So what DOES make a good editor? Check out this post by my mentor, Theresa Stevens. She blogs at Edittorent, one of those blogs that all writers should read, especially the archives.

***

In the meantime, I’m done answering that other editor’s questions on Facebook. I’ve got a backlog right now and clients waiting on me, and while I’d love to be your teacher and mentor, I simply don’t have time. If you don’t know these basic things, you have no business calling yourself an editor and maybe you should look for other work.

It’s harsh, yes, but it’s better than getting yet another e-mail from an author that starts off with, “I hope you can help me. I’ve paid over a thousand dollars for editing and the editor…” — invariably, the editor wasn’t very good and the author, at their own expense, has to start the process over.

While these authors — and I’ve heard this from numerous clients now — aren’t buying into the cheap brigade, they’re still heartbroken. And worst of all, they begin to doubt the value of an edit. Maybe, they think, they should pay Kirkus that same money for a review. A review which will probably include the phrase “better editing would have made this a better book.”

Think about it.

I’m talking about a few words that really crank my editor’s red pen. Join me at the #amwriting blog to see what those words are, and how many of them you like to use!

Since I’ve spent the past few months being booked out a couple of months, it seems it’s time to be a little more exclusive…

That’s a polite way to say my editing rates are going up.

For projects BOOKED after March 1, the rates will look like this:

Content editing (looking at plot, pacing, characterization, tension; etc. The big picture)
$.011 (or, $2.75 per 250 words)

Line editing (looking at your language and your sentences. Do they match the voice? How’s your word choice? Can you reword something for better meaning?)
$.008 (or, $2 per 250 words)

Proofreading/copy editing (sticking straight to mechanics — are words used correctly? How’s the punctuation?)
$.005 (or, $1.25 per 250 words)

As always, booking me for a content edit will give me the freedom to work on line editing and proof work — although as always, if you make revisions I haven’t seen (and you should!), look into having a final proofread right before you hit that submit button. Be that for an agent, an acquiring editor, or on the self-published side. Strive to put your best out there — and remember I’m here to help you get there.

As the holidays ramp up or come to a close, if you’re celebrating Hanukkah like me, it’s been a whirlwind around here.

The good news? The editing calendar only has 4 days left in February: three in the middle of the month, and one at the end. March and April dates are ready to be booked.

Take a step back and breathe with me. And get ready… things are going to ramp up even more in 2013. You may not see it until about a year from now, but hang tight. You’ll love what I’m working on.

So. That brings us to today’s worthwhile content, which turns out to be a redirect, over to Animal Friends. I’ve swapped foster kitties, so go check it out. I love the picture of Zenji; I took that one. The shot of Geronimo was taken by The Girl Band. Not bad work for a kid her age, huh?

Actually, behind the scenes around here, things have been a ruckus.

It seems that there’s a million debut authors out there, and each of them want their book proofed so they can have a pre-Christmas release.

I’m only one woman, folks! I hope some of these authors will find their way back to me and we can work together in the future. Turning work away isn’t my idea of a smart move — even though it’s one I’m grateful to have to do. In just over a year, you guys have helped me build this little editing business into something viable.

Now, here’s where I go all controversial on you. I don’t get the rush for debut authors to put out pre-Christmas releases.

In talking to many of my author clients and author friends, everyone agrees: if they give books as gifts, they’re not giving unknown titles and authors. Think about it… your reputation is on the line when you give a book as a gift, after all. Readers want to share what you’ve already loved, not something that you picked up ’cause you needed to give a gift. In other words: books should be gifts as personal as the most heartfelt noodle necklace from a two-year-old. Those kids put love into every last piece of pasta…

Adding to the mix are the comments that the kids who get new e-readers or tablets mess up the search algorhythms, making most books hard to find. Authors who have noticed a sales dip in January — everyone agrees that February and March are when sales pick up again.

In short, it’s hard for ANYone to get noticed this time of year. So why not wait, schedule dates in late December or early January, and aim for that February or March release? Why not take it as a cooling-off period, start something new, start researching reviewers and publicity options? Go ahead, start networking. “Well, I’m waiting for my amazing editor to get through her other projects and work on mine. So while we wait, let’s talk about you or books we’ve both read, or, hey, got any ideas for a great dinner recipe?”

But, then, I believe that waiting for a good editor, being smart enough to let someone else help you shape your baby, is worth bragging about. I believe it gives you clout and a measure of professionalism. Mostly, though, it shows that you so care much about your book and your potential success that you’re willing to go the extra mile to make sure your reader has the best experience possible. It shows that you want to be a gift next year at Christmas, a book someone liked enough to do more than recommend: they liked it enough to GIFT it.

Authors, take your time with your books. Instead of trying to time the market, remember you’re in this for the long haul. The prize your eye should be on is sales. Lots of sales, over a long period of time. Your prize ought to be readers who are so loyal to you that come next Christmas, it’s your book they are putting under that tree.

I’ve got dates open at the end of December and all of January (and beyond). Care about your book. If you don’t have me edit it, have someone else. Someone good. (Because, really, what’s the point of using someone bad? All you’re doing is throwing money away — twice, as you’ll need to have someone good fix all the bad! You’re not made of money. Choose your editor wisely)

Happy Thanksgiving, folks. This year, I’m giving thanks for all my awesome authors and the strength of West of Mars Editing.

One of my clients, Kenya Wright, has been posting a series of Q&As with editors — me and two others who she has worked with.

Stop in and check it out. She’s giving away a 20-page edit, but not from me.

If you want to work with me as your editor, you’d better hustle. My rates go up to new clients as of August 1, and I’m currently booking dates in late October, November, and December. Better get a move on!