If you’re self-publishing a book, you don’t want your book to look self-published. That means you need to pay close attention to the editing phase. Editing for self-published authors is different than when you are traditionally published.
That’s because you are responsible for the editing: finding the editor, evaluating the editor, and evaluating the edits of the editor.
We sat down with Jennifer Bisbing, author of Under the Pines, a book critic and editor who shared her insights into the self-publishing journey. Jennifer, who studied literary criticism in graduate school, provides tips on editing for self-published authors, and which services an author should allocate their money toward.
What Is an Editor?
When it comes to a remarkable editor, an English degree isn’t the defining characteristic. (We know—it sounds counterintuitive!)
An editor should be well-versed in storytelling as well as structure and idea development—not just the mechanics of writing.
So, how do you find a well-rounded editor?
Jennifer’s number one recommendation: Read and review other books your potential editor has edited.
As you research into your potential editor’s book list, ask yourself the following questions: Has this editor edited multiple books? (In this case, Jennifer advises, “quantity is important.” You want an editor who has dozens, if not a hundred books to their name!) Are their books well-written? Structurally sound with a well-developed plot or idea? Has the editor won any awards? Has the editor written and published a book?
Take Jennifer’s advice and find an editor who’s knowledgeable in the world of writing and publishing books.
The Editing Services Self-Published Authors Need
One of the pros to traditional publication is the guarantee of an editor to copy edit and proof your book. Also, at its most basic level, traditional publishing provides credibility to an author’s book. Self-published authors also need credibility, so you need to publish a near-perfect book. Sans typos. Sans grammatical errors.
Let’s break down the different types of editing services for self-published authors.
A developmental edit focuses on the big picture of your book. This editor checks the details in your story, makes sure these details support your plotline, and confirms your plotline works efficiently. A developmental editor will also check the pacing, structure, and development of your idea, in the case of nonfiction. What’s the biggest payoff to a developmental editor? They understand the big picture of your book, and then help you pull it together.
A line edit succeeds a developmental edit. A line editor checks your sentences—do your sentences flow well? What cadence does your story follow? This editor will also concentrate on the finer details of your book. Do your characters remain true to their personalities? Is your dialogue accurate to what your...
The semicolon is a mystery to many; just ask my friend.
She’s a paralegal at a snazzy Chicago law firm.
One of her primary functions is to review legal briefs written by the attorneys in her office.
One lawyer’s briefs are bedazzled with semicolons, like a Christmas tree decorated by a 3-year-old.
“He places them in his briefs like ornaments,” she says.
Where a comma is necessary, he places a semicolon; where a period is perfect, he places a semicolon; where a colon is correct, he places a semicolon.
“He must think they jazz up his briefs,” she says. “Or maybe they make him feel like a sophisticated writer.”
But really, they signal the opposite. Misuse makes your writing look amateurish.
The Soft Stop vs. the Hard Stop
I’m one of those people who geeks out over punctuation, and how using a semicolon instead of a period, for instance, can actually change the meaning or flow of your writing.
Punctuation can be used strategically. And it ought to be if you are mastering the craft of writing.
But first you need to know how to use it correctly.
And the semicolon is one of those pesky punctuation marks that puzzles writers.
I like thinking of the semicolon as a weak period. A period, of course, is used to signal the end of a sentence. It’s a hard stop.
Semicolons are stops as well. But softer stops. They are stronger than a comma. But softer than a period.
They are used to link two closely related ideas, which on their own stand as independent clauses (independent clauses, if you don’t know, form a complete sentence).
And that’s the catch: the clauses must be independent. You can’t have an independent clause and dependent clause separated by a semicolon. (That’s the work of an emdash, a comma, or maybe a colon).
“Will a Semicolon Work Here?”
Here’s a helpful question about when to use a semicolon:
Can I replace the semicolon with the period and two complete sentences would stand?
Sometimes the two independent clauses are opposing ideas. Using a semi-colon signals you want the reader to take in the two ideas together.
Often the second independent clause is a closely related logical statement. Check out my opening statement.
There are other uses for semicolons, like in serial lists, or when linking two independent clauses with a conjunctive adverb; however, I won’t get into those instances today.
Start today by mastering the semi-colon that separates two independent clauses.
Resist the temptation to use it too much.
And use it strategically: create a deliberate pause between two linked ideas.
You can do it!
Melissa and I just attended a terrific conference called STORY in Nashville.
We presented a breakout session called "The 5 Elements of Putting Your Story to Words."
Many of the attendees were brand marketers, designers, and creators of all kinds of digital products, and other goods and services.
A few were writers.
The speakers were fantastic, the videos and visuals in the presentations were breathtaking.
Every presenter trumpeted the power of story. To change one's life. And to change the world.
On one level, it's fully true that you, as a writer, are in the story-telling business.
If you can't tell a good story, you won't hold your reader's attention for more than a page or two.
No one wants to read information only.
It's Always about Showing, Not Telling
But writers have a herculean job to do when story telling.
It's relatively easy to say as a brand or as a marketer, "We tell stories for our products and services."
They have more tools - images, video, and audio (voice, music, etc.) - to story-tell.
You, as a writer, do not.
You have words only.
So you can't "tell a story." You'll bore your reader.
You're not a designer.
You don't have an image to show your readers. You have to paint an image with your words.
You're not a videographer.
You can't show a close-up of the roll of the eyes or facial anger.
You can't just write, "She was angry."
You must show that she is angry ... using words:
"Her lips trembled ever so slightly, and then she cupped her hand and slapped him on the back of the head."
You have no audio.
So, you have to write words in such a way that the reader hears the crickets that interrupt the silence.
You have words only. And words alone.
Your Last Ten Pages
Here's a quick assignment. Review the last ten pages that you wrote:
1. Are you telling what happened? Or are you showing what happened?
2. Do you have clear scenes that paint a picture for the imagination of your reader?
3. If you are writing nonfiction, are you merely burping out information? Or are you layering your writing with anecdotes and stories and illustrations that show the point you want to make.
If your writing sucks, it sucks because you don't show. You tell.
Any writer can learn to show. Showing is a skill. It's a skill you can learn.
We all can get better at showing.
Writers don't tell stories. Writers show stories.
Now, buckle up and show!
On Monday, I hit a milestone. I wasn’t expecting to.
There I was: sweat dripping from my face, mid-movement of a tricep extension.
And I heard my coach congratulate me, “It’s your 150th class!”
A year ago, I joined Orange Theory, a boutique fitness studio franchise.
It was pricey.
But like many others who lost a bit of themselves during Covid, I was desperate to regain a modicum on control of my life.
I was willing to pay extra for a fitness partner.
My research told me that, through a variety of methods, Orange Theory consistently helps its members make progress in their fitness journeys.
They do it through tough love. You pay extra if you sign up for a class and don’t show. (Ouch! I’ve only made that mistake once.)
They also do it through goal setting and celebration.
Coaches learn your name and cheer you on during class. Their quarterly fitness challenges push you to achieve more than you thought possible. And the entire class celebrates your fitness benchmarks, whether it’s your 150th class or 3000th.
Working out still isn’t easy, since I’ve gone orange. But I don’t compromise my workouts.
I feel in control of my health.
The Compromised Writing Life
One of the biggest challenges for writers is not compromising the time you say you want to devote to writing.
You want to improve your writing. You want to complete a book or an article.
You put it on your calendar. Before you go to bed you vow to write first thing in the morning.
Some of you are disciplined (congratulations!). But many of you, like me, compromise your writing time.
You’re not in the mood.
You sleep in.
You do work that “feels” more pressing.
You convince yourself you’ll do it later.
Simply, you excuse yourself. Because writing is hard. And excuses are easy.
Compromise vs. Community
Doing hard stuff solo isn’t impossible. But often is more difficult.
Last week for our podcast, we interviewed an author who wanted to complete a novel. She’s a trained writer, editor, and literary critic.
She knows how to write.
But that didn’t make writing easier for her. She needed accountability.
She put an ad in Craigslist, seeking serious writers who also wanted to complete a writing project and who would be willing to engage in mutual feedback.
They met once a month. And before each meeting, she completed a chunk of writing for her peers to review.
That’s how she completed her novel.
That’s accountability at its best.
And it’s why Dave and I have decided that Roadtrippers, our online learning community, will return to weekly sessions.
Our Roadtrippers told us they missed the weekly connection with other writers—who often are struggling with the same things they are: like rejection, finding time to write, or feeling stuck with an idea.
They also mentioned that weekly check-ins and goal setting kept their writing momentum going.
A friend sent me a great quote from Twitter the other day:
"I don't know who needs to hear this, but a first draft does not need to be good - it needs to be written."
The quote comes from Emily Bremer, someone I've never heard of before. Apparently, she is a Notre Dame law school professor.
But she is dead on.
We talk endlessly (and sometimes drearily) at Journey Sixty6 about burping out that first draft, version 1.0, or whatever you want to call it.
There are at least three reasons that I procrastinate in completing my first drafts:
1. I am not passionate about the idea anymore.
Writing is such a long slog. Over time, ideas lose their hold over my imagination.
I've been working on an idea for a book for several years. Recently, I completed a first draft of the first chapter.
Suddenly, I realized, "I don't even like this idea anymore."
My procrastination was in part due to a slow leak of passion for the idea.
It wasn't until I completed the thesis chapter that I discovered that I don't have the energy or passion to complete the project.
2. I keep going back to rework that which I've already written.
A first draft is simply that. A first draft.
And a first draft will likely be the first of, well, many, many drafts.
But I tend to be drawn back to the last section that I just wrote.
I move sentences around, wrestle with stronger verbs and nouns, and add supporting stories to my initial ideas.
That is an important function of writing.
In fact, it's essential to writing something worthy of publication.
But it is a stall tactic while working on that first rough draft.
There will be time for editing.
Just keep laying down new sentences.
3. My priorities have changed.
I say that I want to write. But in reality, I want "to have written." I want the writing to be over.
I want the accolades that come from having written.
Consequently, I make time for other priorities in my life (like fly fishing), but I don't give the same focus to my writing.
Perhaps my priority was completing the first rough draft, but now, because of the vicissitudes of life, my priorities have shifted.
That's okay, but the first draft is still the first significant milestone to get to the end of the writing journey.
So, let's buckle up and write that first draft!
Do you want to write your family story? But don’t know where to start?
A family story is one of the best ways to preserve your history for future generations. It bonds your family together. And it can establish your legacy. Like all forms of writing, though, writing a family story can be daunting. You may not know where to start, which stories to include, or how to remain objective without offending your family.
To begin to write your family story, it’s important to first be clear on what a family story is and isn’t.
A family story is a historical, generally chronological story that covers your family’s story. Now you might be thinking, Isn’t that a memoir? Great question! Let’s compare the two.
A successful memoir needs a meta narrative—a theme that ties all your stories together. It’s written in the first-person; you, as the writer, interpret the events in your life. Some of those stories might involve family members, but the stories aren’t so much about your family as they are about how those moments informed you.
A memoir focuses on specific events in your life. It’s not a junk drawer for all your memories, and the memories used are relative to the theme/s you’re exploring.
A family story doesn’t require a meta narrative. (In general, these books are shared only amongst family members. If you were wanting to sell your family story, it would need a meta narrative to engage a larger audience.) A family story also likely will cover a longer period of time and touch on multiple themes. It’s written in third person, which allows you to act as the historian. You’re sharingstories rather than interpreting them.
Why Do You Want to Write Your Family’s History?
Like all writing projects, a family story demands you identify your “why.” A purpose energizes you when you reach inevitable low points where you want to give up; it encourages you to keep writing.
A family history is most often written to celebrate the perseverance, determination, and drive of your family throughout history. This can be energizing, and perhaps the purpose that drives you: remembering the qualities that have defined your family from generation to generation.
Defining your purpose will help you shape your story in a way that accurately portrays your family and their survival.
To help you determine the “why” of your story, start by asking yourself, What happens if I don’t tell my family’s story? Why is it important for me to tell this story?
As you begin to write your family’s story, be cautious of telling stories that denigrate your family. You can talk about the hard stuff—alcoholism, illnesses, and affairs, for instance—but try to frame those stories in a way that shows how your family triumphed. In family stories, your ancestors are typicallythe heroes. Those heroic stories are what will unify your family around deeper...
If I wasn’t speeding down the expressway already late for my appointment, I would have jotted down this scene from a podcast I was listening to.
It would make for a great detail in a novel.
But I had to commit it to memory, which wasn’t difficult. (You’ll see why.)
The podcast was a true story of a college-aged girl in an abusive relationship with a man 20 years her senior.
After an evening of verbal attacks and gaslighting, she stopped by the grocery store for an XL box of Fruity Pebbles and a gallon of nonfat milk.
When she got home, she pulled out her plastic popcorn bucket (the reusable kind from the movie theater). She poured into it the entire box of Fruity Pebbles.
And drowned it in milk.
She sat cross-legged on the floor and began eating it, spoon by spoon, even as the Fruity Pebbles dissolved into mush.
As I listened to her story, I saw her despair—I felt her despair!—with each soggy spoonful.
Writing for the Senses
You’ve likely heard the writing advice “show don’t tell.”
The idea is that you use sensory details to bring your reader into the scene—so they can experience it.
As Russian writer Anton Chekhov famously said, “Don’t tell me the moon is shining; show me the glint of light on broken glass.”
Imagine if in the above story, the narrator simply said, “I was so depressed. I didn’t know how I was going to escape the relationship.”
That’s a forgettable statement.
And I likely would have forgotten this particular podcast episode.
But I didn’t forget it—because I felt something for the character in that moment. I imagined the despair that might drive me to eat a popcorn bucket-sized serving of Fruity Pebbles.
That’s the essence of great storytelling.
It brings the reader into a sensory experience that lingers after the story is put down.
Can a Director Picture It?
Here is one way to begin to evaluate if your storytelling needs more showing:
Imagine giving your scene to a TV show director.
Would she be able to create the scene the way you imagine it in your mind?
Does she have enough details to direct the characters to act a certain way—to do certain things?
Does she have enough details to create a set?
Let’s go back to the original story from the podcast.
Imagine if I simply gave a director a story that said, “When she returned to her apartment, she was depressed. After four years she hadn’t left her abuser and still didn’t see a way out.”
The director could create a thousand different scenes to show the despair and depression.
The onus is on the director to find the best way to depict it. And it likely wouldn’t match what you had in mind.
Most authors want to publish their book. And to share their story with the world they have to publicize it. But publicity is murky. Sometimes difficult to navigate. You might find yourself asking, Can I manage publicity on my own? How do I know if I can trust a PR firm? What should I look for in an author-PR firm relationship?
We caught up with Julia Drake, co-founder and president of Wildbound PR, a literary-publicity company that helps authors across the globe gain exposure for their book. In our interview, Drake shared her insight and recommendations on what authors can expect from an author-PR firm relationship.
Transparency in the Plan
The first thing—and most important thing—you should look for in a PR firm is transparency.
A good PR firm will be up front with their publicity plan. They will present a proposal of publicity avenues they believe best suits your book and how they will help you accomplish your goals. This should be a methodical analysis—not randomized. It should be personal to you. And your book.
What if a firm refuses to share details about their publicity plans? Or claims they have a “secret sauce” they can’t share with you?
Leave. Lack of transparency in publicity plans, according to Drake, is typically an indicator of a scam.
Another thing to be wary of: A firm can appear perfect on paper but former clients might not be happy with their work. To recognize if a firm is good for you, reach out to their former clients. Ask if their experiences were positive. Ask if the publicists helped them accomplish their goals. A PR firm should be willing (and excited!) to share former clients with you. It means they’re proud of their former work.
Publicity is hard work. It requires experience and connections with the media to share your book—and not every publicist has the connections that will benefit you most. A publicist should be clear and transparent in what they can do for you.
Collaboration and Expectations
The author-PR firm relationship is a partnership. It’s teamwork. It’s a collaboration. An author who jumps into the action and is willing to collaborate with their publicist will run a stronger campaign than an author who sits on the bench.
A successful author-publicist relationship requires two things: communication and effort.
What are your goals for your book? Do you want to sell a thousand copies? Do you want your book to reach select audiences? Do you want to promote on TV or radio? Communicate your goals to your publicist. And be willing to spend time with them brainstorming publicity avenues.
As with any collaboration, you have to trust your PR firm. So it’s important to find a publicist who connects with your story. (This means they have to read your book!) Some firms read only the book’s summary and the author’s bio; run away if this is what they do. You want a publicist who believes in your story. Someone who has read...
The single biggest challenge in almost any form of writing is attention:
How do you sustain the attention of your reader?
There's an old line:
"When there's no more tension in a story, the story is over, whether the storyteller is done telling the story. Or not."
Readers simply stop reading. They put down the book and turn on Netflix.
The art of writing is the art of creating, resolving, and recreating tension. Essentially, it's the art of writing a story.
Well-told stories arrest and keep the attention of their readers.
It's the "keeping" part that is so challenging ... for all writers.
There are many ways to create and sustain tension in your storytelling.
One is "foreshadowing."
It means "a warning or indication of (a future event)."
In short, as you write a scene or tell a story, you signal that something (often ominous) is going to happen.
This doesn't give away the cookies.
In fact, it raises tension. It makes the reader lean forward in her chair.
The reader now knows that something big is going to happen.
In the spot in the biography that I'm (still reading) of Catherine the Great, she is now in her early thirties.
She is the wife of Peter III, the grandson of Peter the Great.
Young Peter has just ascended to power because his aunt (Russian Empress Elizabeth) basically handed him power before she died.
But Peter (now also in his early thirties) was an insolent, petty, "small man" who preferred to play "war" with his guards. Right before he was overthrown by Catherine, he renounced his Orthodox faith and embraced Lutheranism.
He really wanted to be Prussian (like his father), not Russian (like his mother).
You can't imagine what a slap in the face that was to the Russian elite and, especially, the Russian Orthodox Church.
Within 186 days of Peter's ascent to power, Catherine (Peter's wife) overthrows him. She had curried favor with some of the Imperial Guards and others.
Here's the foreshadowing in the text. There is a party a few days before the coup by Catherine:
"On June 19, an opera was performed during which Peter played his violin in the court orchestra. Catherine was invited and came from Peterhof. This was the last time husband and wife were to see each other."
See that last phrase?
That is foreshadowing.
It comes at the beginning of the scene in which Catherine overthrows Peter.
It signals that Peter dies in the coup.
1. Raising and sustaining tension in your writing is the ONLY way to keep a reader's attention.
2. There are many storytelling techniques to do that.
3. Foreshadowing is one technique to create tension and signal what comes next.
See if you can foreshadow some event in your memoir, fiction, or even nonfiction writing.
You can do it!
Now, buckle up and write.
“Melissa, I need you to rewrite this article. The hook is a cliché.”
My editor at Flea Market Style magazine served me one of the most valuable writing lessons.
With a good eight hours already invested in the article, I didn’t want to rewrite it.
But she was right. The opening was predictable and therefore forgettable.
You have one chance to grip the reader, and I had failed.
If you read shelter magazines (or watch any HGTV show, for that matter), you’ll know the storyline—the one I launched my article with:
A young couple finds a run-down old house and, with passion and creativity, brings it back to life.
Like I said, it was a yawner.
The Buried Lead
I needed a new hook, a better angle. So, I went back to my homeowner interview transcript.
I scanned the highlighted sections—the quotes and stories that were idiosyncratic, funny, moving, or insightful.
And there it was: my lead. Buried deep in the transcript.
It was a story about how the couple visited an estate sale and found a bundle of love letters penned by a WWII soldier to his love back home.
They bought the stack and began reading them one by one, slowly and only together. When I interviewed them, they weren’t even a quarter of the way through the stack.
I lingered on that story.
It was the most memorable part of the interview. But how could I stitch it into a story about a couple and a house and a makeover?
I probably took a few walks or did some laundry before the opening crystalized.
Their Love Letters
The story wasn’t about the home. It was about the people in the home, Ky and Phoebe.
They were romantics, and their home was their own romance story, or love letter.
So, I started the story with the love letters, and here’s how I transitioned to their home (because the story was supposed to be about their home):
“When the couple began renovating their 1920 Everett, Washington bungalow, they became immersed in yet another stranger’s love story. A simple message they found written on trim in the attic reads: ‘Bud Agnew, I always will love.’
“The couple wasted no time tracking down the story of Bud… Stumbling upon stories like these inspires Phoebe …
“In some ways, Phoebe and Ky have been writing their own love story for the old house, which had been inhabited by squatters and animals.”
Trust Your Gut
I wish I would have trusted my gut.
I knew that the love letters story was the lead, but I defaulted to the easy home-makeover cliché. Clichés are convenient.
Yes, it was tricky to find a way from the love letters to the house. It demanded thinking creatively. I had to mine for the metanarrative that would tie...