Beyond Editing: What Are Your Soft Skills?

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Self-publishing clients have a range of needs, and savvy editors have an opportunity to grow their business by filling them. If you are willing to (1) broaden your network and (2) broaden your knowledge of publishing, you can find a wealth of business in the self-publishing market.

Self-publishers are in charge of the full publishing endeavor. They need an editor — you — but they also need a cover and interior designer, an e-book formatter, a marketer, a website designer, and more. If you have a network of vendors you can recommend, you can become a resource for your authors. In some instances, you may even get a referral fee.

Many self-publishers are new to the publishing industry. They don’t know one kind of editor from the next, much less how to choose a printer and e-book company. They might not even fully understand what their goals are in publishing their book.

You have the opportunity to educate yourself and then pass that knowledge on to your authors. You may give away some of this information to build trust, or you may charge for your knowledge in the form of a consulting fee. Either way, your clients and you both benefit when you understand the workings of the self-publishing industry.

Like this blog? Find more insights and advice in Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available from POP Editorial Services LLC, Amazon, Barnes and Noble, Kobo, and other fine retailers.

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Guest Post: How an Editor Helps Your Author Brand

by Dave Chesson

If you want to give your books the best shot of selling, you must give conscious effort to establishing your author brand.

A strong presence helps an author or any online entrepreneur in the same way branding helps companies. An author brand helps you establish a name people recognize and trust, which helps you sell more books.

What is your author brand?

Your author brand should be a combination of your personality, passion, and the type of work you (want to) write, edit, or create. If you haven’t already, I cannot recommend enough that you set aside some time to brainstorm what you want to be known for as an author.

This might include a certain logo, tagline, and colors among all the places you hang out as an author online. Then, as you build your audience of people who love what you write, they’ll more easily recognize you when your name, profile picture, or logo appears.

Do you want to have a humorous tone? Do you want to be known as a medical expert? Do you want to be known for your big caring heart? You’ll want to clarify what the most important things are you’re trying to exude as an author — and make them known everywhere.

Why is your author brand important?

Pieces of who you are as an author can be found all over the internet. Your author website, your social media profiles, your Amazon Author Central page (this is a big one many self-publishing authors miss), your email signature, comments you leave on blog posts, and so on. All of these build your digital footprint, and if you’re an author, they’re also part of your author brand.

Even in person, if you’re networking at a conference, have business cards or book signings, these are all opportunities for you to create and share your author brand. Having the same logo, colors, tagline, job title, and so on creates consistency so people know what to expect.

Let’s pretend your latest book is a book about vegetarian recipes. You are trying to build a fan base of people who value or are curious about being a vegetarian. Someone sees your book recommended online, but doesn’t buy it quite yet. They’ve never heard of you, after all.

Then they see your name pop up somewhere randomly online and click to learn more. They know they’ve heard of you before, and maybe they want to learn a little more about you before spending money on your book. Then they come across a picture of you competing in a chicken wing–eating contest! So long potential fan! Vegetarians don’t buy books from people who gorge on chicken wings.

That is just one example of many where authors lose potential fans (and book sales) by failing to pay attention to their branding online.

So if you haven’t paid much attention to your author brand or what the traces of you across the internet say, it’s time to take a look.

Get a clear idea of:

  • What you write about
  • The customers/readers/fans you want to attract
  • Your values
  • Your passion
  • Your interests

Then it’s time to take an objective review. What does your website say about you? What does your bio on all your book sales pages say about you? What does your Amazon author page say about you? What do your social media profiles and pages say about you? You should aim for a consistent image on all of your online platforms.

Do they say that you’re a serious writer, or that you’re an amateur fiddling with this writing thing on the side?

Your books and your brand

Writing more than one book about a specific topic can help build your brand too. If you write several books related to saving and investing money, this can help build your brand as an expert in the personal finance field.

Or are you an author of vampire romance novels? Then make sure your bio has the tone of what vampire romance readers would expect.

Writing several books around a certain theme can help build your name as someone those fans begin to recognize, like, and trust.

Ways an editor can help build your brand

An editor can help authors develop a stronger author brand because editors specialize in consistency and details. They also are gifted in putting themselves in the reader’s shoes to give a more objective perspective on what the reader wants and expects.

If you begin working with a new editor, or you have a trusty editor teammate already, make sure your author brand is part of your conversations. Then an editor can more easily identify those glaring inconsistencies that your readers will notice, but you’re blind to (see chicken wing example above).

Sticking with the same editor (if she’s great) through your series of books can be incredibly helpful because then you don’t have to re-explain what your brand/values/passions/tagline/themes are over and over again. Once you find an editor who knows what you do, knows your target audience, and can help improve your craft, the marketing part of your author job will get that much easier.

That’s what happened when I found my editor from Keep Calm Write On. Val started as my book editor, and now is the editor for my blog Kindlepreneur.com, too. She helps me keep my author and online business brand consistent everywhere my work appears.

So don’t be afraid to ask if an editor can review your website, your author and book pages on Amazon, or your social media pages. Of course, you shouldn’t expect this to be pro bono, but the cost should bring a great ROI by strengthening your author brand.

About the Author

When Dave Chesson is not sipping tea with princesses or chasing the boogeyman out of closets, he’s a best-selling author and digital marketing nut. He teaches authors advanced book marketing tactics at Kindlepreneur.com. He also helps authors discover profitable book ideas through his software KDP Rocket.

Like this blog? Find more insights and advice in Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available from POP Editorial Services LLC, Amazon, Barnes and Noble, Kobo, and other fine retailers.

Publishing Stories: Publishing a Book I Can Stand Behind

Welcome to the second installment of Publishing Stories, a new series from The POP Newsletter in which former POP Editorial Services clients offer publishing lessons for new authors. Today W.K. Dwyer shares his experience in publishing his newly released social science fiction novel, The Killing Flower.

Publishing a Book I Can Stand Behind

by W.K. Dwyer

In mid-October of 2016 I launched my debut novel, The Killing Flower. After more than seven years of writing, followed by two full years of editing, I held a launch party in DC, during which I referred to self-publishing as a misnomer, giving huge credit to the outstanding team I’d worked with, without whom I never would have completed my novel. Now that I’m on the other side, I want to share some of the details of this journey, the choices I made — good and bad — and what I think I ended up with as a result.

I began writing The Killing Flower in 2006, at a time in my life when I was in a lot of anguish. First, 9/11 had happened and was already deeply disturbing, but the nasty polarization that occurred around the time of the Iraq invasion had affected me personally. I felt I had lost my entire family, who I’d always been unusually close to; they had all gone to the other side of the political, sociological, and religious divide. This was alienating, frustrating, extremely upsetting for me, particularly because soldiers and innocent civilians were losing their lives overseas and our only response seemed to be screaming matches on Facebook.

So what motivated me was simply catharsis — writing was my way of working through my angst, and the fictitious character I made up could do anything he wanted to with that tragic situation. He could kill all the bad guys, he could tell the unedited truth about his family, he could survive war, he could bear listening to the two insane sides of America — one saying the sky is blue and the other saying skies don’t exist. As the story developed it became more about the character and his world, but I retained the overall framework, to create a metaphor for what I saw had happened to us post-9/11.

Although I had never published before, in fact had never been involved in journalism or writing clubs or anything related whatsoever, I had been writing all my life — personal journals, poetry and songs, and a few short stories. My mother, being an English major, introduced me to poetry at an early age and influenced my appreciation for literature. The classics were emphasized quite a bit in my preparatory high school, so I did obtain at least a decent foundation.

Despite this, I never considered myself to be well-read at all. I was placed in remedial reading in seventh grade and never quite recovered; there are hundreds of novels I wish I had read and only a very small percentage of them I can say I have. So, for better or worse, when I began writing The Killing Flower my only points of reference for writing were a select set of books most would consider way out of the league of a first-time novelist.

What came out of all this was perhaps pure in the sense that it was naively written, with no bias from knowing the business side of things — targeting a particular audience, making the story marketable, fitting it into a specific genre. I simply focused on telling a good story, mimicking the novelists I had been exposed to and using techniques I had learned in school. “Build it and they will come” was my thought. Make a great product and a readership will follow.

The downside of this is that in the world of self-publishing, this almost never works. Without an established following, there is little chance of the book taking off initially, and if all I did was “build it” and put the book on Amazon there is a very real possibility that it would go completely unnoticed. Even if a few readers here and there are super impressed, no one will have any motivation to go shouting from the rooftops about how my book is the greatest thing since sliced bread.

Regardless of what has happened to the pub world in the last decade or so, it remains a business and excitement over a book is simply a commodity that is bought and sold.

Nevertheless, that was my approach, and it affected my decision to go with self-publishing over traditional as well. For me it was pretty clear; no way was I going to hand over the cover design to a publishing house and risk having readers get the wrong impression about my novel. It was an easy decision, and although it did sign me up for three solid months of stress, pushing the limits of my artistic side and navigating through choices and judgment calls usually made by professionals, it did pay off in the end. My artist, Carlton Tomlin, came up with an absolutely brilliant interpretive piece of original art that fits the story perfectly, and I could not be happier with how the novel looks.

But the most critical part of this process by far was the editing. Again, with an emphasis on building the best product possible and doing things by the book, I turned to professionals in the business. I was lucky enough to find Katherine Pickett, a seasoned editor and self-publishing expert with more than a decade of experience in publishing, including the editing of over 300 books. She not only played the role of my developmental editor, but also served as my personal self-publishing consultant-slash-mentor.

My first step in the process was to read her book, Perfect Bound, and it became my reference throughout. Although the query/editing was a ton of hard work, and was harrowing at times, it was extremely productive and positive every step of the way, even surprisingly so.

The manuscript we began with was a hodgepodge of passages, somewhat story-ish perhaps, but rather disjointed and very incongruent. What came out was a well-organized and smoothly flowing narrative; every passage had an important role, moved the story along, delivered the plot. It was so polished I actually considered skipping copyediting, but Katherine convinced me to go the extra mile again (and this was great advice).

Copyediting, which was performed by Christina Frey, was a similar experience for me. There were hundreds of queries and issues to work through, and those several months were extremely intense, but the entire effort was methodical and predictable and clearly added quality to the novel. Although I expected little more than fixing commas and grammar here and there, what I got was a second, laser-focused pass through the novel, fixing everything from timelines to fact-checking to character inconsistencies.

It was only after the copyedit phase was completed that it finally hit me what an actual professional-quality novel really looks like. Proofreading and interior design added the final look and feel, and the book was finally complete. Looking back, I consider the choice to have the book professionally edited — which obviously incurred some expense — well worth it and one of the best decisions I made.

All in all I am very happy with the results. Sure, some of the technical aspects of putting everything together were neglected and I would have been better off if I had followed Perfect Bound more closely and studied self-publishing for six months prior to starting the process. Researching Bowker, ISBNs, review sites, establishing a platform and followers, how to throw a launch party — these are things that are critical in the process and ideally should not be rushed at the last moment. But the most important thing by far is the book itself, and this was given top priority.

To market a book takes confidence in the product, and that is what I have achieved. Developing a new strategy or angle for marketing can be tweaked along the way; not so much for the novel itself. It has to be something I can stand behind, and it truly is.

W.K. Dwyer, author of the novel The Killing Flower, has written short stories and poetry for decades and was trained as a musician under J.D. Blair. Following the events of September 11, he stopped creating music to focus on writing and podcasting about the root causes of terrorism. W.K. holds a bachelor’s degree in aerospace engineering and has done postgraduate work in artificial intelligence and cognitive science. He works as a government contractor, developing targeting systems for counterterrorism.

Like this blog? Find more insights and advice in Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available from POP Editorial Services LLC, Amazon, Barnes and Noble, Kobo, and other fine retailers.

Publishing Stories: Successful Self-Publishing Takes a Team

In the new blog series Publishing Stories, I have asked former clients to share their experiences with book publishing. This first contribution is by Gary Bargatze, author of the eight-book series Your Winding Daybreak Ways. His self-published books have earned praise from many corners, including the Baltimore Sun. Here he tells us how he found success as a self-publisher.

Successful Self-Publishing Takes a Team

by Gary Bargatze

When our first child was born some 30 years ago, a wise old friend foretold our future as parents. He flashed a knowing smile and accurately predicted,

“Children give you the greatest joy and the greatest sorrow. … The challenges will never go away; they’ll just get different.”

And as writers who’ve “given birth” to a number of works over the years, my wife and I have often compared the ongoing challenges of parenting to the long, winding road of crafting an idea and managing it to print.

After overcoming the myriad challenges associated with a successful “delivery” (e.g., daily decisions about plot, character, syntax, grammar, word choice, and consistency), we stare at the newborn manuscripts in our hands, sigh with relief, and smile with a rightful sense of accomplishment.

But as the thrill of our newborns’ births begins to fade, we slowly realize that we now face a whole new set of daunting questions and responsibilities to ensure that our “children” reach adulthood and succeed in their lives.

And when these new questions arise, “they come not as single spies, but as battalions”:

  • Which route to publication should we choose?
  • Should we attempt to publish traditionally via an agent and a major publishing house?
  • Should we publish independently through our own start-up publishing companies? Or should we hire an existing press to perform most of the publishing and marketing tasks for us?
  • If we go either the independent route or hire a company, do we engage professional editors?
  • Whom will we hire to design the covers and format the interiors? How many editions of our works should we produce—a print version, an e-book, and/or an audio edition?
  • How will we distribute our new books to retailers (e.g., Amazon, Barnes & Noble, and Apple)?
  • Whom will we hire to develop our author websites?
  • And last but not least, should we tackle social media marketing on our own or engage a professional to develop our social media persona, visibility, and branding?

In my own case, after spending seven-plus years writing the Your Winding Daybreak Ways series consisting of seven novels and a novella (e.g., Warfield, Happy Hollow, and McGill), I ventured out into the vast reaches of the Internet seeking answers to these challenging questions. When I discovered that I could deduct most of the expenses associated with developing and operating a new company from my income taxes, I chose to create my own publishing house, Rigor Hill Press, and to publish my works independently. And then the question arose, how many of the publishing and marketing processes do I really have the desire and expertise to tackle on my own?

After further research, I identified several presses specializing in independent and self-publishing. And over the next several weeks, I conducted a number of staff and customer interviews and ultimately decided to engage Mill City Press headquartered in Minneapolis, Minnesota.

Our contract included a number of milestones — for example: cover design, interior formatting, printing, e-book formatting, publishing, distribution, and marketing programs via Facebook, Goodreads, and Amazon. While Mill City Press offers editorial services and the use of one of its imprints, I chose to use my own Rigor Hill Press imprint and to engage a copyeditor whom I had thoroughly vetted for qualifications, editorial style, and personal compatibility.

The good news is that I chose wisely. Mill City Press has delivered on time as advertised, and the few times that there have been hiccups in our multibook, multifaceted project, they have quickly and effectively remedied the situation, which is the sign of a first-class operation.

During my search in 2014 for the perfect copyeditor, I discovered Katherine Pickett’s recently published book, Perfect Bound: How to Navigate the Book Publishing Process Like a Pro. I ordered a copy, read it thoroughly, and contacted her company, POP Editorial Services, in Silver Spring, Maryland. After several conversations with Ms. Pickett via email, the telephone, and a personal meeting at a local bookstore signing, I concluded that she was the right person for the job.

Ms. Pickett had the experience and qualifications, her editorial style was what I had envisioned for the series, and our personalities were quite compatible. Not only is she a pleasant person, but she has the ability to offer constructive criticism that motivates, provides potential solutions, and fosters vitally important trust between the author and herself.

And I cannot overemphasize the trust factor in the author/copyeditor relationship. Since great copyeditors as Ms. Pickett will openly express their opinions with no holds barred, the author must be prepared to suffer a few bruises to the ego along the way. I must admit that as we edited the eight books in the series, I always dreaded receiving another of Ms. Pickett’s lengthy, single-spaced editorial letters detailing everything that I needed to enhance to publish a first-rate novel — for example:

“(1) include more description and feeling around dialogue so that it doesn’t feel like an interview; (2) balance dialogue against straight narration; (3) remove unneeded or excessive adverbs; and (4) insert line spaces to indicate large time lapses. … In addition, the narrator and his three closest friends would benefit from some additional character development.”

But the good news again is that I chose my copyeditor wisely. Ms. Pickett is a true professional who delivers as advertised. And the positive reviews for the series posted by readers in the US and Europe speak volumes to her ability to raise an author’s level of play — for example: “A literary landmark!” “A saga for the big screen!” “Profound, meaningful characters!” “Riveting and imaginative.” “Impossible to put down!”

So when I’m asked at book signings to explain the keys to self-publishing success, I respond, “Choose your partners wisely, and prepare rigorously for every step along the way to publication.” I then usually close my remarks with a quote from the legendary heavyweight champion, Muhammad Ali, who believed that rigorous preparation was the key to long-term success. He said, “The fight is won or lost far away from witnesses — behind the lines, in the gym, and out there on the road, long before I dance under those lights. … I hated every minute of training, but I said, ‘Don’t quit. Suffer now and live the rest of your life as a champion.’”

Gary Bargatze is the author of the novels Warfield, Happy Hollow, Hurricane Creek, Hollow Rock, and McGill, the first five works in the critically acclaimed 10-part fictional series, Your Winding Daybreak Ways, comprised of a prologue, an epilogue, seven novels, and a novella. Mr. Bargatze divides his time between Williamsburg, Virginia, and the Berkshires of Massachusetts.

Like this blog? Find more insights and advice in Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available from POP Editorial Services LLC, Amazon, Barnes and Noble, Kobo, and other fine retailers.

Red Flags When Hiring an Editor

I have written extensively about how to find and hire a copyeditor that is right for you. In the blog series How to Hire an Editor in 5 Easy Steps I discuss what to look for so you know you are hiring a qualified editor and the one who is best suited to you and your book. In this post I discuss the other side, the red flags.

Danger

Perhaps the biggest red flag to look for is someone who makes promises they can’t possibly keep. I recently came across this bold statement on an editor’s website:

Because of David’s experience and cachet, you are more likely to sell your book to a publisher if his name is attached to the project. A book “authored by J. Doe and edited by David [Lastname]” will give the publisher assurance that the book will be a professional effort.

There is no way this editor can make such a promise unless he is an agent also. Freelance editors do not get special treatment within publishing houses. Even with an agent, the only special treatment I ever saw when I worked in-house was a closer look at the manuscript and a personalized rejection letter rather than a form letter. The book has to be good and right for the publisher. An editor’s name is not going to sell the book for you.

Another red flag to look for is anyone who does not list credentials on her website, or her only credential is a degree in English and/or time spent as an English teacher. Book editing requires specialized training, whether that’s through classes and certifications or through on-the-job training. Good training is very important, and you should expect your editor to tout whatever training she has received.

Warning

Two factors when choosing your editor warrant further exploration. I wouldn’t call these red flags, but you should know what they mean to you before you commit to an editor.

First, most of the time if you are hiring an editor who is part of a large editing group, you will pay a higher rate than if you hire a solo editor. This includes editing packages provided through self-publishing companies. If you aren’t paying more, then the editor is getting less than other editors. That’s because the leader or organizer of the group has to get paid somehow. The upshot is that you may not be getting the same quality of editing for the price.

And second, I have mentioned before that you will get the best edit from someone familiar with your genre and topic. If you work in a subgenre, you may need to be more particular. For example, if you write adult fiction, your editor should be familiar with adult fiction. Experience in young adult fiction is not enough, as the conventions are different. Similarly, if you write romance, an editor of sci-fi/fantasy may not give your book the edit it needs. He might overedit your manuscript or miss key elements that romance readers are looking for. With the number of editors out there, you can and should be picky.

Proceed with Caution

There are a few practices that some authors think are red flags that are not necessarily so. It is up to you to decide if you dislike the way an editor works, but you probably don’t have much to worry about with these editor preferences.

Some freelance editors like to see a full manuscript before agreeing to take on a project. It is unlikely she is planning to run away with your book. Rather, she may be able to get a better sense of how much work the project needs and therefore how much time and cost to estimate for the project. If you trust the editor otherwise, you should feel comfortable sending the full manuscript.

Further, I have found an increasing number of editors do not like to release their phone number. I prefer to speak to a client over the phone, and many of my clients feel the same way, because it gives me more insight into what our working relationship will be. It can also be a time-saver compared to email and can clear up misunderstandings faster.

However, most freelance editors work from their homes and may not have a separate work number. Giving out their phone number means giving access to their personal lives as well as their work lives. Others may have found that they spend too much time on the phone with clients who require hand-holding, and the editors prefer to control their time by restricting communications to email.

If you really want to be able to speak to your editor on the phone, then you should find someone willing to do that. At the same time, if you have found an editor you think will be great for your project and you don’t mind email as a primary form of communication, you do not need to discount your editor for this one preference.

Due diligence is essential to finding a qualified, reputable editor. When you know what to look for, you can hire your editor with confidence.

Protecting Your Copyright: How to Keep an Editor (or Anyone Else) from Stealing Your Work

copyright symbolMany authors are concerned that someone, anyone, will learn of their book idea and try to pass it off as their own. Although this is rare, the worry is understandable. Ideas do get stolen, copyrights are infringed, and the originator of the idea may end up with nothing.

The trouble for the author is, if you want to create a really good book, you have to be willing to share it with others before you publish it. You need feedback from friends, family, beta readers, industry experts, professional editors, agents, and publishers.  You also need to be able to share it with reviewers and anyone you might ask for a foreword or a blurb. You have to be confident enough in the system to send your work out into the world and let other people reflect on your ideas.

So how do you get that confidence? As an editor, I often have potential clients ask what they can do to protect themselves from having their work stolen (“by you or anyone else” being the unspoken implication). Well, my first thought is always, “I have no interest in writing or publishing your book. Do you know how much work that would be for me?” But for those who are truly worried, I suggest a few precautions they could take. These protections apply to anyone you may share your work with:

  • Research your editors, agents, publishers, or other publishing professional. Your first responsibility is to ensure you are working with someone who is above board, whom you can trust. Ask for references, ask about their work history, and talk to other writers to find out if they have any experience with this person. Look online for warnings, and listen to your gut. If you don’t trust the person, don’t work with them. For in-depth advice on this topic, see How to Hire a Freelance Editor in 5 Easy Steps.
  • Ask the person to sign a nondisclosure/confidentiality agreement. I have signed a few of these in my career for both publishing houses and individuals. I have no plans for your book, so it’s no skin off my back. For you as the author it clarifies to the person that you don’t want your ideas spread around. You consider the work confidential and they should too.
  • Register your copyright. This is the most extreme step, but it also assures the most protection. Plus, it’s easy, it’s only $35 if you do it electronically, and no one has to know you did it. You have an inherent copyright in your work, but registration helps you to defend that copyright. Visit the US Copyright Office website or the Canadian Intellectual Property Office website for details. You can find a crib sheet on registering copyright in this blog post here.

As one blog reader pointed out, documentation is key in all of this. Periodically saving your files as PDFs or other nonalterable formats with date stamps will help you to prove what you wrote and when you wrote it.

Of course, none of these steps will prevent someone from taking your work. Once the document leaves your computer, some malicious person could find it and try to make it their own. But by taking these simple steps, you can minimize the chances of that happening, and you can maximize your ability to fight any legal battles that may come up as a result.

PerfectBound by Katherine PickettLike this blog? Find more advice and insights in Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available through Hop On Publishing, Amazon.com, Barnes and Noble, Left Bank Books, and other fine retailers

Copyright Tips and Tidbits: How and When to Register, How to Format Your Notice, and What Not to Do

Self-publishers, take note: While it’s true that you hold an inherent copyright to your work just for the fact that you wrote it, should anyone try to infringe on your copyright you will be best served by registering with the US Copyright Office (www.copyright.gov). That may sound intimidating, but it is actually a fairly straightforward process.

How to Register

Start by going to the US Copyright Office website. The Copyright Office accepts both online and paper applications, and the applications come with easy-to-understand instructions. The filing fee (as of 2015) is $35 for online registration and $85 for hard copy.

In addition to the application and the filing fee, you will be asked to provide a copy of the “deposit” — what the Copyright Office calls the work to be registered. If you file electronically you can send an electronic file or a hard copy of your work; file with paper and you  have to send a hard copy. (The Copyright Office prefers online applications, but you are not bound by that.)

When to Register

You can register your book either before or after publication. Although simple, it can be a lengthy process, as getting the certificate can take nearly three months for the electronic application and nearly six months for paper applications. During particularly busy times, those lags can be even longer.

The good news is, unless you have reason to believe you will not be granted copyright, you don’t have to wait until you receive your certificate before publishing the work. The date of registration is the date the office receives the completed application, not the date you receive your certificate. Still, copyright registration is not something you want to let slip through the cracks. I would recommend beginning earlier rather than later.

Upon publication, if you have a print book, submit a hard copy to be held in the Library of Congress.

What Not to Include

When you apply for copyright, you are making a public record. That means anyone can view the information you supply. The Copyright Office website offers this pointed advice:

Personally identifying information, such as your address, telephone number, and email address, that is submitted on the registration application becomes part of the public record. Some information will be viewable in the Copyright Office’s on‑line databases that are available on the Internet. For this reason, you should provide only the information requested. Please do NOT provide any additional personal information that is not requested, such as your social security number or your driver’s license number.

As identity theft is a real problem in this country, heeding this advice only makes sense.

How and Where Your Copyright Notice Should Appear

Your copyright notice belongs on the reverse of the title page in your book. A valid copyright notice includes the word “Copyright” or the symbol “©”; the year of registration; and the copyright holder’s name, in that order:  © 2015 Katherine Pickett

Some publishers choose to use both the word and the symbol for copyright as well as the word “by” — Copyright © 2015 by Katherine Pickett — but that is not required.

Pitfall: Preregistration vs. Registration

The Copyright Office provides the option of “preregistration” for works that have not yet been completed. (Important: This is separate from registration of unpublished works.) The fee for preregistration is a whopping $140. I suspect this fee is intended to be a deterrent, as even the Copyright Office notes that preregistration is not helpful for most people. Rather, preregistration is recommended only for those who meet these two criteria:

  1. You think it is likely someone will infringe on your copyright before the work is made public, and
  2. The work isn’t finished.

Note also that even if you preregister, you will still need to go through the registration process. Except in extreme circumstances, you will most likely want to register your work rather than preregister it.

 

Like this blog? Find more advice and insights in Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available through Hop On Publishing, Amazon.com, Barnes and Noble, Left Bank Books, and other retailers

Beta Readers Aren’t Editors; Editors Aren’t Beta Readers

If you have spent any time in the writing community over the past five to ten years, you’ve probably heard about beta readers. These are unpaid people who read your manuscript and give you feedback. The type, quality, and extent of feedback you receive depends on the readers you have enlisted to help you. Editors, of course, are professionally trained and educated to correct a wide range of problems in a manuscript to get it ready for publication. Although beta readers can greatly enhance the revision process, they do not replace editors. Similarly, an editor should not be thought of as a paid beta reader.

Beta Readers Are Not Beta BitsEditors

The feedback you get from your beta readers can be hugely helpful for identifying and resolving problems with plot, characterization, pacing, or a weak argument. These readers give you the opportunity to share your work and find out how it strikes the average reader. They do not usually make the corrections the way an editor will, but rather offer suggestions for you to implement. When you choose your readers, I recommend finding a range of people with differing skills and backgrounds so that you get a well-rounded view of your manuscript.

There are a number of sources for finding beta readers — critique groups, colleagues, writing partners, people you connect with via Goodreads or a Facebook group, among other places. Each will have something different to offer, and you will need to assess and evaluate their critiques individually to determine what feedback to accept and what to reject. These people are not professionals; they are simply giving you their opinions as to how you can improve your writing.

Some authors think that if they get enough beta readers, they can skip editing. This is generally not true. In the case of really good readers and a talented writer, the beta-reading stage can lessen or eliminate the need for a developmental editor. As mentioned, beta readers may uncover big-picture issues such as an inconsistent timeline, poor pacing, poor organization, or unrelateable characters, and the author may be able to address and resolve these problems on their own.

However, unless one of your readers is a professional editor who has done a complete line edit on your manuscript, you will still need a copyeditor at some point. If you find a publisher, the publisher may take care of the copyediting; if you self-publish, you will need to arrange the editing yourself. (For guidance on how to do this without getting taken, see my series of posts How to Hire a Freelance Editor in 5 Easy Steps.)

Employing beta readers in your writing journey is an excellent idea that can save you time and money. It is essential, however, that you know the limits of what such readers can do for your manuscript.

red penEditors Are Not Beta Readers

One major benefit beta readers do offer is a fresh set of eyes when a  writer feels she has taken the manuscript as far as she can on her own. Perhaps this is why some authors seem to think of their editor as a paid beta reader. Again, that is incorrect and may lead to problems.

In most cases, an editor should not be the first person you share your work with. You can go that route, but you can likely save yourself some money — potentially, a lot of money — if you get the outside, free opinion of beta readers first. Find out what average readers think and get the manuscript nailed down as much as possible on your own before investing in editing. Editing is expensive, and the more refinement you do on your own, the less you will have to pay someone else to do. (Read this article for more thoughts on this topic.)

Beyond that, working with an editor is different from working with beta readers. For instance, editors need a certain level of understanding about what it is you are trying to achieve with your book so that they can help you achieve it. Whereas you may want your beta readers to approach the manuscript with no preconceived notions, editing is more efficient — and better — when there aren’t a lot of surprises. So if your book has a twist at the end and you aren’t sure it’s working, you will get to the solution faster if you tell your editor what you suspect. It means revealing the twist, but that’s OK. If you aren’t sure it’s working, your editor can keep that in mind while she reads. If she agrees, she can then let you know why it isn’t working and how to improve it.

In addition, the corrections and suggested changes you receive from your editor deserve more weight than those of a traditional beta reader.  With both editors and beta readers, you as the author have to decide whether the changes further your vision for the book. However, professional editors have years of experience and training in their field, and if they see a problem, it’s likely other readers will too. If they have changed your grammar, punctuation, and syntax, it likely was incorrect. If they have suggested ways to strengthen your argument, you likely need to address that problem.

That does not mean you need to take every suggested change from your editor, but you should make an educated decision. If you don’t know why a change was made, ask for an explanation before overriding your editor. Assuming you have vetted your editor (see step 2 of How to Hire a Freelance Editor in 5 Easy Steps), you know you have chosen someone with the credentials to help you make your book the best it can be. Avoid negating that expertise by ignoring your editor’s feedback.

Beta readers aren’t editors. They don’t have the training, the experience, or the expertise. And editors aren’t beta readers. They want to get to the solution as fast as possible, and that means revealing aspects of the manuscript you may be hesitant to reveal to a general reader. Beta readers offer opinions; editors offer a professional’s perspective. Each of these roles has something to offer writers on their journey. For best results, do not confuse the two.

 

Like this blog? Find more advice and insights in Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available through Hop On Publishing, Amazon.com, Barnes and Noble, Kobo, Left Bank Books, and other retailers.

Four Kinds of Editors: In Brief

Editors go by many different titles. Here are job descriptions of the four main types of editors you will come across, along with their alternate names and how much you can expect to pay when you hire them (based on industry averages).

Book coaches

Manuscripts in progress. Focus your writing and shape the overall direction of the book. May work with you from inception. Can guide you through the publishing process or for just a few months until you have your writing on track. Also called book shepherd.

Average rates: $100 to $300 per 1.5-hour session

Developmental editors

Very big picture. Shape the content of the book. Review organization of the book as a whole as well as organization within chapters; highlight areas that need work, need rewriting, require expansion, stray from topic. May overlap with copyediting. Also called content editing.

Average rates: $10 to $15 per manuscript page, or $45 to $75 an hour

Copyeditors

Big picture. Work with completed manuscripts. Fix errors of grammar, punctuation, style, consistency, sense, as well as flow of paragraphs and word choice. Highlight further areas of development. Will do some rewriting; query places that don’t work, don’t make sense, don’t say what you think they say. Can overlap with development. Also called line editing.

Average rates: $4 to $10 per manuscript page, or $18 to $45 an hour

Proofreaders

Finer details. Catch whatever the copyeditor may have missed. Fix grammar, punctuation, style, consistency, sense. Very little rewriting. Usually pages have been typeset so making changes becomes costly and time-consuming. For best results, do NOT use the same person to copyedit and proofread your work.

Average rates: $2 to $5 per typeset page, or $15 to $30 an hour

Whenever you hire a vendor of any kind, be sure to clarify what their services include. Open communication is the best way to ensure you are getting what you expect.

Like this blog? Check out Perfect Bound: How to Navigate the Book Publishing Process Like a Pro, available through Hop On Publishing, Amazon.com, Barnes and Noble, Kobo, Left Bank Books, and other retailers.

Learn How to Make Your Book Commercially Competitive — Now Save 25%!

In the past, I have offered two related workshops, one that presents information on how to make your manuscript more marketable and another that teaches you how to take your manuscript through the publishing process. I gave these workshops often when I lived in St. Louis, and now that I am settled into life in Maryland, I am resurrecting them here!

Saturday, November 8, 2014, please join me at Kensington Row Bookshop for Crafting a Marketable Manuscript. This interactive workshop runs from 10 a.m. to 12:30 p.m. and includes personalized guidance on how to make your manuscript more marketable.  Registration is required. Visit http://www.popediting.net/ServicesandWorkshops.html to reserve your seat.

This workshop is ideal for:

  • Writers who are interested in selling their books, either to publishers, to agents, or directly to readers
  • Writers who are in the early stages of writing (idea stage, first draft, manuscript development)

What you will learn:

  • How to catch the eye of publishers and readers
  • Why having a marketing plan upfront makes you more competitive
  • Practical advice on how to craft a marketing hook, define your audience, and research the competition

Why take a workshop from me? Read my bio here.

And these are the notes I received after presenting this workshop to the Rehoboth Beach Writers Guild:

“Thank you! Loved it!”

“Excellent presentation! Thank you!”

“Thank you, Katherine, for your input and valuable knowledge on Crafting a More Marketable Manuscript! I enjoyed the class and will certainly use the marketing tools and resources from your handouts.”

Kensington Row Bookshop is located at 3786 Howard Ave., Kensington, MD 20895, between Silver Spring and Bethesda. $70.
Now just $50.