Frequently Asked Questions
Q. I’m confused about how to submit my work – paper copy or electronically?
A. The choice is yours and we work on both formats. If you are submitting hard copy, make certain you use a high-quality printer. In both formats, don’t use fancy fonts and adhere to correct manuscript presentation.
Q. Why do I have to set out my manuscript to certain guidelines?
Manuscripts need to be presented in a certain way because it makes the process of editing easier. The reading experience should be pleasant, not a chore, so a writer needs to focus on what actually sells a manuscript – good quality writing – and no amount of elaborate presentation can hide poorly written text. Attempting to include lots of fancy bells and whistles only labels you as an amateur.
Q. What are the qualities of a good editor?
A. An editor is the intermediary who stands between the writer and the reader, and helps them to understand each other. He/she must have an excellent command of the English language, good communication skills, a practical knowledge of standard publishing procedures, honesty (writers need to be told the truth about their work in order to make it the best it can be) and enough humility to know their goal is to turn the spotlight on the writer, not themselves. Good editors must also know their limitations and be sure they are working within the bounds of their skills.
People come into editing from many different fields. Some are writers, some are teachers, some are librarians, and some begin in entry-level jobs in publishing houses. The list of starting points is long and varied. When you hire an editor, make sure he/she has the skills and personality you need for your project. As well as technical expertise, the ability to connect with you – both as a writer and a person – is just as important.
Q. How much does editing cost?
Just like asking, ‘How long is a piece of string?’, this is a reasonable question to ask but a difficult one to answer! Editing costs are related to the time the editor spends on the job, and this can be influenced by the complexity of the subject and material, the writer’s skill and the type of editing required. For this reason, when it comes to book-length work, it’s preferable to have a Chapter 1 Manuscript Assessment done before you submit your work for a detailed edit, so we can assess your writing skill and see what level of editing will be required to bring it to publishable standard.
Q. Will my edited work be published?
A. While we will do the best job possible when editing your work, Cre8ive Words cannot guarantee publication.
Q. How can I enhance my potential to be published?
A. When it comes to book sales, it’s all about supply and demand. Your work must appeal to the market you are writing for, have a unique slant, and ideally have no competition (or complement any similar works). Obviously, your book also needs to contain accurate and powerful writing,
If you self-publish, your edited and properly laid out book will ensure that you look like a professional, which could result in increased sales and spin-off opportunities, like speaking engagements or even acceptance by a regular publisher. For those submitting manuscripts to agents or publishers – if you submit substandard work and are rejected, you do not get a second chance. Never submit your work unless you are certain it is as good as it can be.
Q. I worry that an editor might steal my work?
A. Ideas can’t be copyrighted, but your work, from the moment you write the words, is protected by copyright laws – this is free and automatic. Reputable editors belong to organisations that set high ethical standards for their members.
However, if you are concerned that someone may copy your work, regularly send yourself an email with all your work files attached – that way you will have proof that the work was yours at a certain point in time. This is also a good backup plan for storing your files in an alternative place to your home or office, in case of fire or theft.
Q. What if I don’t agree with what the editor/proofreader says about my work?
A. The role of an editor or proofreader isn’t to change your writing style, but to correct obvious errors and ambiguities. They see things writers don’t – that’s their job. If you disagree with an editor, ask why the change was suggested. Once you know what the editor is thinking, if you still believe your wording is better, explain why.
As the customer, you have all the power in this situation to make a final decision. In the end, the words are yours and you can choose to either take the editor’s suggestions on board, or ignore them altogether. However, since you've paid for them, I suggest you make sure you understand them.
I welcome conversation with my clients who disagree with my suggestions, and I'm not so bigheaded to think everything I say is the last word, but as a fellow writer, I respect you and your work enough to tell you honestly what I think. If I have difficulty understanding your intent, other readers may well feel the same. In the end, what I want for you is work that’s presented in the best possible way, and error-free.
Q. What is a style sheet?
A. To make sure a client’s work is kept internally consistent, a style sheet is where we keep track of how to spell special words or format inclusions like tables, captions, and headings. When I'm not sure of how something should be presented, I check with the Australian publishing industry “bible” – Wiley’s Style manual for authors, editors and printers. For example, if I’m tossing up between the following possibilities ...
• 7 PM
• 7:00 PM
• 7 p.m.
• 7 pm
• 7pm
Q. How many projects does an editor have on the go at any one time?
A. Because there can be many backwards and forwards exchanges between the writer and editor, while one writer is revising text, the editor can be assessing another’s manuscript. So, while editors can work on more than one project at a time, everyone has a limit. If time is an issue for you and you have a definite deadline, check with your editor first before work commences.
Q. What are the pros and cons of self-publishing?
A. That’s a tricky one! I’ve self-published three books; however, they were local histories, relevant to certain localities, and something that would never have been considered by a large publishing company because of their limited parochial appeal.
There is no one right way to get a book into print and it's important for each writer to consider their goals and resources before choosing how to proceed. Local histories, family histories and limited appeal memoirs definitely belong in the world of self-publishing, and there are numerous small publishing/printing companies that cater for this market. However, it’s important to know the pros and cons so you can make the best choice for your project.
Many people who self-publish do so because they will retain all rights and have control over who uses the work and how. Others have a niche market for their work, only envision a small print run (local histories, family histories, etc.), or simply just want see their name on the front cover.
If you self-publish, you can get your book out much more quickly, you can test the market and, apart from the production costs, the profits are all yours – as opposed to earning only approximately 10% royalties with traditional publishers. On the downside, to do a good job of self-publishing you also need to be a skilled editor, layout artist, printer, publicist, salesman and distributor, or be prepared to hire expert help. You also have to spend money before you earn anything, and there is no guarantee that you will receive a return on your investment.
As an industry professional, I caution anyone against self-publishing poetry, a novel or non-fiction book intended for widespread readership. Why? Simply because you won't have the facilities for distribution, and bookshops are unlikely to stock them because they usually only deal with the major distribution companies and publishers.
Q. As a first-time writer, what chance do I have of being published?
A. Although publishing slots in Australia are limited – Aussie readership numbers are quite small compared to Europe and America – don’t be put off! Publishing houses do take on a small percentage of first-time authors each year. Desirable qualities are high levels of originality and good market appeal.
Q. What’s a manuscript assessment service?
A. Manuscript assessment services are usually managed by professional writers or people who have been associated with the publishing industry, such as editors. For a set fee, the service can provide a fresh unbiased view of your work and comprehensive feedback on fiction topics such as structure, character description and development, motivation and believability, viewpoint, conflict, dialogue, setting, emotion, tone, theme and plotting. In a work of non-fiction the assessor also determines whether the document fulfils its purpose, if there is a need for additional material such as an introduction, glossary or index, or whether the content needs rearranging into more logical order.
Q. But my friends and family have read my book and they love it!
A. Of course they do! They’re biased! But family and friends aren’t professional writers, and what you need is an objective professional analysis.
Q. Why do I need an agent and where can I find one?
A. A reputable literary agent acts as a go-between between you and your publisher, and is experienced at negotiating contractual arrangements such as advances, print runs and publishing rights. Agents also know which publishers prefer various genres.
While they can’t guarantee publication of your work, if an agent agrees to “take you on” then you can safely assume you have a reasonable chance of success. Because most good agents already have large stables of writers, they are notoriously difficult to procure. Many have closed books and, because of time constraints and the large volume of manuscripts being submitted for possible publication, others won’t look at your manuscript unless it has a favourable assessment report.
If you’re looking for an agent, try the Writers’ Centre in your nearest capital city, The Australian Writers’ Marketplace (available at most municipal libraries or bookstores) or the Yellow Pages directories, especially Sydney and Melbourne. A reputable agent never charges a fee for assessing a manuscript, but will command a percentage of your earnings if a contract is negotiated.
Q. What if I decide to submit my work directly to a publisher?
A. Go for it, but be prepared. Publishers expect a certain professional standard and unless your work is exceptionally brilliant they won’t be interested in doing major renovations to a manuscript. Often the gap between the finished product of a first time writer, and what the editor is prepared to work with, may mean a rejection slip. Also, many publishers don’t read unsolicited manuscripts.
Q. My computer has a spell checker and a grammar checker, so why do I need a proofreader?
A. Spell checkers can’t detect a typographical error (using pot instead of plot) or tell you if you use the wrong word (for example, complement instead of compliment). Most default to American or British spelling, and when checking your work, the different spellings can also be hard to detect.
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