Tag Archives: editor

Before You Approach a Publisher: 21 most important questions

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Before writers approach a publisher, Alice Crider suggests you consider these 21 most important questions that editors ask. An editor, an author, and an author coach, she has combined her life coaching skills with her writing and 15 years of publishing experience since 2011. Alice shared this material at LittWorld 2012, pulling much of it from “Steps to Bring About Life Change” by David Kopp.


Idea Questions:
1. What is the big idea, and is it in motion?  What’s the dynamic philosophy?  (“Dynamic” means energy going in a direction—a domino falling into a line of dominos vs. just one perfect domino; a plot or cumulative argument vs. a premise restated in different ways)
2. Is it over the top?  Have we added all the value possible?
3. Is the book necessary, better yet indispensable? Will the book be dominant or is it just another entry in a product category?
4. Is it new? Is it newsworthy? Will it get talked about?
5. Is the content significant?

Writing Questions:
6. Do we have an outstanding title?
7. Do we have the structure right?
8. Are we firmly in control of the reading experience?
9. Does the writing add value, get in the way, or disappear?
10. Why so many words?

Author Questions:
11. Is this author writing from a platform the reader will accept?ID-10066424
12. How are we helping the author promote the book?
13. Where is the author going in his or her ministry life, and what are the next potential books in that direction?

Reader Questions:
14. Do we clearly understand how important the material is to the reader relative to his or her hierarchy of needs?
15. How will the reader use the book, and are we helping?
16. Can I make the advice work? Does the concept both promise and deliver?
17. Have we struck a business deal with the reader by the end of chapter 1?
18. Does the book sell itself on every page?  (cover, spine, table, author info, callouts, typography)

Publisher Questions:
19. Do book and author have an in-house champion?
20. Do we know where the book is going in the store? (It falls into an available product category in the retail store, so it won’t get lost or poorly promoted.)
21. Is the publisher positioned to succeed?

Photo above courtesy of Ambro, Freedigitalphotos.

Serving the Guest of Honor: Editing as housecleaning

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By Dawn J. Anderson

I think of editing as housecleaning. Someone else’s house. To prepare it for a party. A party where the guests need to be treated to nothing but the best. To go away satisfied in every way.

As we consider all that editing entails—so much more than just dusting for spelling errors and sweeping grammatical problems under the rug—this metaphor works on many levels. As the editor, I have to keep in mind that the house, or book, is not my own. It’s not my right to knock out walls (without permission). It wouldn’t make sense to move the kitchen sink into the sitting room. I can’t impose my own decorating tastes onto the home.

women cleaning by marin freedigital photosWhat I can do is make sure each room is displayed to its best potential. I can scrub walls, rearrange furniture, and highlight or tone down the author’s own décor. I can help the author choose what courses to serve when and where, but I can’t force liver pâté onto the menu. And I certainly can’t make the house my own.

As I’m cleaning house, I have to continually keep the end goal in mind: the party. What’s its purpose? Is it a children’s birthday celebration or an adult-only dinner party? Do we need party games or champagne? If the party will last the whole weekend, we’ll need mints on the pillows and extra linens. If it’s just a couple of hours, we’ll cut the frills and focus on good food.

Of course, every party needs partiers. Who are the guests? What are their likes and dislikes? Do they have allergies? Can I serve peanuts and put out candles, or is it best to put them away? Where will guests put their overcoats? Will they be dashing from room to room, lounging on the sofas, or simply standing in cozy, chatty groups? It’s my job to anticipate the guest’s wants and needs and to help the author mesharing treats freedigitalphotoset them in every possible way.

That’s the balancing act. Can a book be written solely for the author’s self-expression? Sure. But that’s like throwing a party without inviting anyone, and just hoping the right people wander through the door.

The trick, I suppose, the real art of being an editor, is to do all of the work invisibly. The party guests likely will not know that you’ve even been there. Once the party starts, your job is done. It’s possible that someone will comment on the sparkling chandelier, and at that moment the author might credit you with its shine. Or not. The author has every right to claim all of the finished work as his or her own. Ouch. There’s no room for self-promotion when you’re a housecleaner.

If there’s one snag in this analogy, it’s probably the fact that it’s rarely the homeowner who is employing the housecleaner. Most of the housecleaners, that is, editors, are being employed by a publisher, to work for the author. That creates another level of responsibility. To edit in such a way that both the author and the publisher are satisfied with a job well done. Both are made to look good. And in all of it, to serve the reader, our guest of honor.

Dawn J. Anderson is associate editor at Kregel Publications.

Skilled editors are often the missing link in the creation of quality books and articles around the globe. MAI is helping to develop editors in multiple countries, ultimately aiming to spur the creation of life-giving reads.

>>Check out our other articles on editing on the LittWorldOnline blog.

Top photo courtesy marin, Freedigitalphotos.
Bottom photo courtesy Stuart Miles, Freedigitalphotos.

Why bother with theological conferences?

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Prior to the Latin America Congresses on Evangelism (CLADE) held in Costa Rica last July, some publishers had asked, “Why is it important for us to be in an event like CLADE?” After all, it was a forum for theological reflection for Christian leaders across the continent. For MAI and participating publishers it was worthwhile for several reasons:

CLADE congress participants chat with author and MAI board member Keila Ochoa Harris (left)

First, this was a book devouring audience, and therefore an excellent opportunity to sell books. And, direct contact with this public gave us invaluable feedback on the books being published and an opportunity to hear recommendations.

For lonely editors, it was valuable to meet grateful readers who in turn will become natural promoters of our books.

Publishers had the opportunity to hear the issues being debated. In a continent as large and diverse as Latin America, it’s challenging to put your finger on the pulse of the Church. A congress like this provides an unequalled opportunity for market research.

We also met potential authors, some of whom had already been in touch with a publishing house, but face-to-face contact had never been possible. Other potential authors would perhaps never have contacted a publisher: some conference or workshop speakers are wonderful communicators, with perhaps limited gifts as writers, but with a message that needs to be published abroad. A creative publisher can find ways of doing that with the help of a ghost writer.

In the same way, writers could interact directly with publishers and understand their respective focus and style, plus listen to issues being discussed. Noone wants to write or publish in a vacuum.

The event also served as a focus group on communication tools; what blogs people are reading; if they were reading our social media and web sites; and the type of technological devices they are using. We were surprised to discover who was using iPads, laptops, smart phones… and who wasn’t!

So, why not take advantage of theological conferences in your region to learn, network and promote your books?

By Ian Darke, MAI’s Latin America regional trainer

>>Related post: Ochoa reflects on Latin American interest in Christian publishing

What is an editor?

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An editor:

●  believes a good book can be made better.

●  raises the questions that provide objective guidance for the writer.

●  is not afraid to say what he/she thinks about a manuscript, honestly but with sensitivity.

●  has vigilant concern for every word, every sentence, every punctuation mark in the writer’s work.

● is a sounding board for the writer (according to the dictionary, a sound board reinforces tones by sympathetic vibration).

●  adjusts to a writer, not vice versa.

●  takes time. Good writing takes time; so does good editing.

●  has an ear for the author’s style.

●  is the most objective reader the book will have before it is published.

●  knows that clear writing is essential for clear thinking.

●  tries to second-guess the writer, but always in the writer’s terms.

●  confirms the writer’s uniqueness.

●  gently cuts through the writer’s hurt pride, subjective judgment, stubbornness, and just plain weariness.

●  says, “I put this in to show you what I think is wrong, not to insist that what I want is right.”

●  never says “I told you so.”

What Is Editing?

●  Editing is the rigorous pursuit of perfection. It is an attempt to make writers draw on resources they never knew they could command.

●  Editing is improving the improvable.

●  Editing is finding the weak places and questioning them.

●  Editing is fine tuning—scrutinizing words, sentences, and paragraphs to see whether the language works.

●  Editing answers the questions the writer desperately wants answered:

– What is it like to read my book?

–  Does the writing work?

–  Where are the loose ends?

–  Can I write?

●  Editing is responding to what is present in a manuscript as well as what is absent.

●  Editing is the subtle change that does not violate the author’s style but results in discernible improvement.

●  Editing is discovering what the writer is trying to do and then helping him/her to do it a little better.

●  Editing means saying such things as:

–  I’m not convinced here.

–  I don’t see how you got from there to here.

–  The order here is confusing.

–  This is where you lost me.

–  I got bored here.

–  You’ve already said this.

–  This character is one dimensional.

–  This illustration/anecdote does not work here/does not make the point.

–  This beginning/ending is weak.

–  What are you trying to say in this paragraph?

–  Shouldn’t you introduce this before that?

–  Is this the right word in this context?

–  What’s the point here?

–  Can you defend this statement?

●  Editing always takes two: an editor who believes that a good book can be made better, and a writer who is serious about his/her craft.

This article was excerpted from MAI’s booklet, Servanthood and the Christian Editor, by Judith E. Markham. It highlights the work of an editor as serving the author, the reader, and the Lord. You’ll find this booklet and other resources for writing and publishing are available on MAI’s website.

Photo above courtesy freedigitalphotos.net

Writer Development: Keys to success

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The success or failure of Christian writer development hinges on three realities: structure, incentive and economics.

Structure

Positive outcomes of all writer development and training depend upon some structure or framework through which the writer’s work can be published and given a readership.

Writers function and develop best when their creative work with words is monitored by a caring and competent editor. The interactive process of critiquing, querying, questioning, honing and clarifying create an environment for excellence. This environment prepares a work for publication.

Making sure that writers have a viable opportunity to be published is crucial to the success of every long-range writer training program.

Incentive

When the writer knows that his or her piece of writing is good, this is incentive to keep writing. The goal of being published also communicates to the writer the imperative for excellence in whatever is written. Trainers of writers should always remember that, for the writer, the possibility for a manuscript or article to be put in print or published online is an immense stimulus and encouragement to write.

Another key incentive is the goading and nurturing of an editor. Many an article or book was first conceived when a caring editor tossed an idea back and forth over a cup of coffee or while taking a walk with a writer.

Lastly, for the Christian writer the overarching driving incentive is the faith we communicate. The Apostle Paul reminds Christians strongly that our words are to be interesting, attractive, reasoned and winsome (Col. 4:5-6).

Economics

One way to recognize the value of a writer’s work is to express appreciation via payment, however modest.

Sometimes, authors and writers are the last to receive economic or any meaningful recognition. Even though Christians rarely expect a printer to produce a product without fair payment, they often fail to understand that the writer deserves, and indeed earns, similar financial recognition for work accomplished. A writer’s work is the engine that drives publishing. Without writers, publishers cannot exist.

The amount of payment is secondary to the importance of recognizing the creative vitality and discipline that went into a significant piece of writing.

Trainers have a responsibility to encourage payment of these creative and unusual people for their published work. If payment is not possible, some alternative but meaningful recognition for value received, is imperative.

Photo courtesy: stock.xchng