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Ten things your freelance editor may not be able to tell you - but should be
Many authors decide to work with a free-lance editor before they send their scripts out into the wider public to make their writings firmer, more appealing and finally more saleable. No matter whether you are getting ready to hand in your work to Frahlingen or have chosen self-publication, you don't just want your work to be good - you want to do it great.
I am always happy as a free-lance editor when I go on this trip with a customer. As a writer myself, I know how hard it is to spot mistakes in a script that you have been working on for years. Working with a free-lance editor will shed new perspective on your work and allow you to look at it from an unprecedented angle, leverage the strength of your script, and eliminate issues that could bring you a refusal of your trauma agents or a "Meh" in your first goodreads evaluation.
You need to know what kind of help you are looking for before hiring an editor. Would you like to get your own response about your own music? Development work for a non-fiction textbook can contain feedbacks on the organisational structures of the textbook as well as on stilistic and informative advantages and shortcomings.
"Its most powerful parts are where you use amusing stories to show your points that evil executives don't even know they're evil people. When you write a fictional text, development processing also contains comments on the story, the point of view, as well as the characterisation. For example: "I think the true story begins in section 3 when she won the lottery", or: "I like the way you show the characters that grow in the story, and theirarcasm is often fun, but it's unlikely.
Often development work is done in the shape of a comprehensive review or brief and not in the shape of a note directly on the work. An editor often offers both development feedbacks and line work. Since development feedbacks assume that the author will revert to the script and re-write parts, line processing is sometimes suspended until the rewriting is complete.
As an alternative, the editor can be instructed to work on a second line of the volume to work on everything that has been added or modified in the review. Recruiting a freelancer is a significant capital expenditure that can vary from several hundred to several thousand US Dollar, dependent on the type of processing you need, the editor's rates (which can be either an per-hour or a lump sum, usually calculated per page), and the number of revisions/rounds of processing.
Self-employed correspondents like me want you to make the most of your cash. It is our wish that you feel illuminated, energized and thrilled to publish your work. After all, your letter is the combination of work, effort and soul. And I like to write, and I like to write.
So, before you employ someone like me, it's only right that you know this: Do not be tempted to employ someone to work on your first design. And I know you're really upset that you got that script over with! Don't have it sent to an editor yet. Write the script at least once - twice is better.
Don't take a pro with you until you've done the best you can. You' re still best prepared to take your books to the next step. You will only get the best for your budget if you hire a freelancer when you have made it as far alone as possible.
So, two, an editor's not a ghost writer. It is not unusual for non-fiction customers to believe that their books are "almost finished" and that they are prepared for an editor because they have a sketch, research note or testimonial. However, if you are looking for someone who can turn any of the above into a script, then that is what you want, a ghost writer.
An editor of non-fiction books will not carry out any comprehensive research for you. Belletristic editors will not create personalities, create dialogues or create absent sequences. Hiring an editor for the work of a ghost writer will certainly disappoint you. Her editor will probably find herself more interested in the kind of books she likes to read.
The editor should be conversant with the convention of what you are writing. For example, you don't want her to suggest that you incorporate an express sexual sequence into your female fictional Christianity. More importantly, you want her to think your textbook is so good that it's the best it can be.
When a budding editor seems tepid about your script or style from the beginning, go away. You will find an editor who shows real enthusiasm for your projects. That doesn't mean that if you've created a young, grown-up, para-normal vendor romantic, you need an editor who specialises exclusively in this one. It means you don't want an editor who hate teenage boys, hate vice and hate romances.
They need to be prepared for feedbacks, criticisms and guidance. That kind of feed-back can be difficult to listen to, especially if the sequence your editor is suggesting is actually your favourite part of the whole script - a part you have already reworked 23 time. For example, you might concur with the editor about a issue in the script, but you may not approve of his proposals on how to fix it.
When you have invested a lot of effort in typing a textbook, it is quite simple to feel distressed, to have it" ready" at last - so much so that you run the danger of shortening the processing of it. However, the reality is that you cannot react to a round of thorough research in a fortnight. When you ask an editor for feedbacks on big topics like texture, perspective and personality building, it can and should take some amount of your own preparation to integrate this feedbacks into a re-ed.
It' a wasted amount of your own resources and resources to get someone to work on your books before you've made all the development and line changes. When you want to pinpoint the type of grammatical and punctuation errors you make so that you can correct this part of your script while working on your revision, consider making a payment to have your first copy of the chapters processed to give an example.
Otherwise, wait until the script only needs the finishing touches. There is a distinction between the desire to release this work and the desire to improve your writing skills. When you know that this is the only volume you ever want to create (e.g. your full memoir, a relative's biography, or a tutorial to help your trading platform), you might want an editor to fix things for you instead of teach you how to fix them.
There is nothing to complain about; select an editor accordingly and be aware of your needs in advance. On the other side, if you may want to add extra book writing, find an editor who will tell you her reasons for editing so you can learnt from the experience and make the most of your service outlay.
Don't be afraid to tell your editor what you want to achieve with your work. Keep in mind that although you know what you want to say in this volume, writers are not thought-leaders. When your editor knows what you're up to, she has a much better shot of getting you there.
And if your editor does not ask explicitly: "What should the readers take with them", tell her anyway, so that she knows your aim and can ensure that you achieve it. It is the editor's task to design your textbook as well as possible. "The" "best it can be" doesn't mean "the best work in the whole universe".
" Nor does it mean - and should it not - "the vampire-free textbook the editor wants. Since this is of the utmost importance to you, your editor must tell you things about your script that your friend, relative or even members of the critics might not dare to say, such as: "Your character is not very likeable at the beginning.
Look at my humour textbook, Oh Boy, You're Having a Girl.