What Does the Kilted Writer Do?
Wow. I didn't realize it had been over a year since my last post until I sat down to write this. This past year has been a whirlwind with purchasing a new home, getting moved in, starting a new part-time job, and trying to get some editing done. Time flies when you're having fun.
Now that all that has settled down a bit, I wanted to take the time to answer some common questions I've begun to see about what I do, especially in the field of editing.
First off, while what I do for writers is technically considered developmental, or content, editing, I really don't like using that term. It creates too much confusion, especially among writers new to the process or to the business. I prefer to use the term "manuscript review" for the editing I do and "story coaching" for the ongoing consultation service I provide.
For me, a review means I read every word of your manuscript (no skipping, skimming, or giving up after the first page). Along the way, I am looking for ways to strengthen the story you are trying to tell, making recommendations about scene structure and placement, story and character development, world building, etc. Notice I said "recommendations." Ultimately it is your story to tell, but if you are hiring me, I am guessing you are open to ideas about how to tell it better.
This is why I prefer the term "reviewer." I'm not that kind of editor. If you just want your grammar dealt with, you need to find a good copyeditor. If you want to tighten up your writing on a line-by-line level of detail, you need to find a good line editor. If you want to have the story analyzed and critiqued, you need me. While I do some line and copyediting as I review your manuscript, it is not the focus of my effort. I simply point those things out as I notice them rather than looking at them specifically.
Also, I don't try to rewrite your manuscript. That's called "revision" and it's your job to do. Instead, I try to work with you more like a coach than a professor. My goal is to help you create the best possible story you can.
I am also not that kind of editor. I do not work acquisitions for any publishing house, and while I do try to keep one ear to the ground when it comes to the market for various types of stories, I can't tell you if your book will sell. I can, however, tell you whether or not it's a good story.
That's a tricky question because, honestly, I am self-taught. As of this writing, I have spent about eight years studying story and character development, breaking down character arcs, plot development, world building, etc. in hundreds of stories over that time. Previous posts in this blog are an example of the type of analysis and study I have done.
My strengths are in the science fiction/fantasy/horror genres, but I can also handle mystery/suspense/thriller and some historical. In other genres, like romance, western, or women's fiction, I can still tell you whether or not you have a good story - just not how well it works within that specific genre.
The issue I've probably dealt with the most is where to start the story. Many writers tend to start their stories too early, which usually means way too much backstory in the opening chapters. Some writers have been warned against this, or have been taught to "start with action," and end up beginning the story too late, throwing the reader into the middle of a situation for which they have no context. I help writers refine where to start their stories in order to get the maximum impact.
Another common problem I see has to do with the concept of "scene and sequel," which I look at through the more detailed lens of "antecedent, behavior, and consequence." In general, this has to do with the flow of the story and how all the pieces of the story link together. Sometimes it's just a matter of switching the order of a scene or two. Sometimes it requires the removal or addition of scenes to create the necessary links.
Finally, another problem I see is a misunderstanding or misuse of the 1st person POV. Using 1st person is popular right now, but it is not something you can just decide to do. It has to be right for the story you are trying to tell. It is also more than just using first person pronouns and verb conjugations. There is a certain visceral feel to the 1st person POV that must be present to make it work properly.
A lot less than you might think, if you've been researching editors. I charge 3/4 of a cent per word ($0.0075/word) for a full manuscript review, which includes a full reading and markup, a summary report with overall suggestions and recommendations, and a meeting with me (phone or in person, depending on location) to review the manuscript page by page. That comes to about $525 for a 70,000 word manuscript.
I do not charge by the hour for two reasons. First, I don't want to punish you for my slow reading (though I typically finish a review in about 7-10 days). Second, I don't want there to be any surprises for you when the invoice arrives. By basing my fee on word count, you know up front what the final charge will be.
Hey, I get it. It's still a lot of money, especially for a new writer. Plus, you are probably also paying for workshops or conferences to build your network and hone your craft. That's why I will give you a free sample review of your first five pages (1250 words). Usually, I can tell a lot within that amount of writing, so even if you decide not to spring for the full manuscript review, you'll at least have a start on the kind of feedback I can give. All you have to do is send those pages to kiltedwriter@gmail.com with the subject line "Sample Request." Turnaround on sample requests is usually 24-48 hours.
Just send me an email. If it turns out it's more complicated than an email exchange will allow, then we'll set up a time to meet either in person or by phone. I believe an editor (or "reviewer") should be willing to build a relationship with their clients, and I am willing to put in the effort to make that happen.
Now that all that has settled down a bit, I wanted to take the time to answer some common questions I've begun to see about what I do, especially in the field of editing.
First off, while what I do for writers is technically considered developmental, or content, editing, I really don't like using that term. It creates too much confusion, especially among writers new to the process or to the business. I prefer to use the term "manuscript review" for the editing I do and "story coaching" for the ongoing consultation service I provide.
"So, what is a "manuscript review," then?"
For me, a review means I read every word of your manuscript (no skipping, skimming, or giving up after the first page). Along the way, I am looking for ways to strengthen the story you are trying to tell, making recommendations about scene structure and placement, story and character development, world building, etc. Notice I said "recommendations." Ultimately it is your story to tell, but if you are hiring me, I am guessing you are open to ideas about how to tell it better.
"But, you're an editor. Aren't you supposed to fix my spelling errors?"
This is why I prefer the term "reviewer." I'm not that kind of editor. If you just want your grammar dealt with, you need to find a good copyeditor. If you want to tighten up your writing on a line-by-line level of detail, you need to find a good line editor. If you want to have the story analyzed and critiqued, you need me. While I do some line and copyediting as I review your manuscript, it is not the focus of my effort. I simply point those things out as I notice them rather than looking at them specifically.
Also, I don't try to rewrite your manuscript. That's called "revision" and it's your job to do. Instead, I try to work with you more like a coach than a professor. My goal is to help you create the best possible story you can.
"Can you get my book published?"
I am also not that kind of editor. I do not work acquisitions for any publishing house, and while I do try to keep one ear to the ground when it comes to the market for various types of stories, I can't tell you if your book will sell. I can, however, tell you whether or not it's a good story.
"What kind of experience do you have?"
That's a tricky question because, honestly, I am self-taught. As of this writing, I have spent about eight years studying story and character development, breaking down character arcs, plot development, world building, etc. in hundreds of stories over that time. Previous posts in this blog are an example of the type of analysis and study I have done.
My strengths are in the science fiction/fantasy/horror genres, but I can also handle mystery/suspense/thriller and some historical. In other genres, like romance, western, or women's fiction, I can still tell you whether or not you have a good story - just not how well it works within that specific genre.
"What's the most common problems you see in manuscripts you've reviewed?"
The issue I've probably dealt with the most is where to start the story. Many writers tend to start their stories too early, which usually means way too much backstory in the opening chapters. Some writers have been warned against this, or have been taught to "start with action," and end up beginning the story too late, throwing the reader into the middle of a situation for which they have no context. I help writers refine where to start their stories in order to get the maximum impact.
Another common problem I see has to do with the concept of "scene and sequel," which I look at through the more detailed lens of "antecedent, behavior, and consequence." In general, this has to do with the flow of the story and how all the pieces of the story link together. Sometimes it's just a matter of switching the order of a scene or two. Sometimes it requires the removal or addition of scenes to create the necessary links.
Finally, another problem I see is a misunderstanding or misuse of the 1st person POV. Using 1st person is popular right now, but it is not something you can just decide to do. It has to be right for the story you are trying to tell. It is also more than just using first person pronouns and verb conjugations. There is a certain visceral feel to the 1st person POV that must be present to make it work properly.
"Sounds great! But how much is it gonna cost me?"
A lot less than you might think, if you've been researching editors. I charge 3/4 of a cent per word ($0.0075/word) for a full manuscript review, which includes a full reading and markup, a summary report with overall suggestions and recommendations, and a meeting with me (phone or in person, depending on location) to review the manuscript page by page. That comes to about $525 for a 70,000 word manuscript.
I do not charge by the hour for two reasons. First, I don't want to punish you for my slow reading (though I typically finish a review in about 7-10 days). Second, I don't want there to be any surprises for you when the invoice arrives. By basing my fee on word count, you know up front what the final charge will be.
"I'm still not sure..."
Hey, I get it. It's still a lot of money, especially for a new writer. Plus, you are probably also paying for workshops or conferences to build your network and hone your craft. That's why I will give you a free sample review of your first five pages (1250 words). Usually, I can tell a lot within that amount of writing, so even if you decide not to spring for the full manuscript review, you'll at least have a start on the kind of feedback I can give. All you have to do is send those pages to kiltedwriter@gmail.com with the subject line "Sample Request." Turnaround on sample requests is usually 24-48 hours.
"What if I have other questions?"
Just send me an email. If it turns out it's more complicated than an email exchange will allow, then we'll set up a time to meet either in person or by phone. I believe an editor (or "reviewer") should be willing to build a relationship with their clients, and I am willing to put in the effort to make that happen.
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