Thinking Fiction — The Indie Editor/Author Equation, Part 1

Carolyn Haley

In the business combination of independent editor and independent author, especially in the realm of fiction, both parties quickly learn that there are no rules to the game.

Yes, there are best practices we should all consider; and yes, editors and authors must adhere to the legalities and tax responsibilities required by their locations; and yes, there are generally accepted ethical guidelines in conducting financial transactions for services.

Aside from those, indie fiction writing-editing-publishing is the new Wild West!

That’s because anyone can open shop as an editor, just as anyone can write a novel. There are no educational or technical qualifications to be either; no licensure mandated, no expertise needed beyond functional literacy. No official entity is watching or managing; no sanctioned organization or employer is mentoring, evaluating, or penalizing. Individual editors and authors must decide on their own how to operate together, and make personal judgments on what constitutes “good enough.”

This combination almost guarantees messy relationships and novels. The negative results are well-represented in the marketplace, and well-covered in other articles and blogs. This essay focuses on how to avoid those messes and succeed as an indie editor working with indie novelists.

First steps — understanding each other

It starts with understanding what “indie” means. On the surface, “indie” is merely shorthand for “independent.”

For editors, that means “self-employed” (aka “freelance”) versus being on the payroll of a publishing house.

For authors, it means essentially the same thing — they are not writing on behalf of a company, only for themselves. They might plan to self-publish their novel from the start or decide to do so after failing to interest traditional publishers in their work, or they might seek to publish traditionally and persevere toward that end. Any of these authors might seek indie editors to help them advance toward their goals. That’s why we can’t consider “indie publishing” to be synonymous with “self-publishing.”

Options and efforts

It frequently falls on indie editors to help indie authors distinguish between their options and guide their efforts. The main distinction between traditional and indie publishing is in which direction the money goes, combined with author involvement and control.

In the traditional publishing model, the author never parts with a dime. The publishing house bears all of the editing, proofing, production, marketing/promotion, and distribution costs, and eventually the author gets royalties on sales (after earning out any advance), at a modest percentage.

Actually, it isn’t quite true that no money ever comes out of the author’s pocket in traditional publishing (trad-pub). To gain access to the best houses, and often any house at all, novelists need to sign with an agent. Agents offer many valuable benefits to an author, but in exchange they take a commission of 10–20% of the author’s earnings. That indirect tap is often overlooked in the trad-pub vs. indie-pub decision.

Because trad-pub has become extremely competitive, with more authors struggling for fewer slots, many authors hire indie editors before submitting their work to agents and acquisition editors to help get their novels onto the playing field. They also might purchase help to navigate the bewildering maze of queries and synopses. Sometimes that pre-submission investment pays off — big time! — but most authors never recover their investments.

When their novels do get picked up by a trad-pub house, they’ll likely have to pay for their own marketing and promotion to keep their books available over the long term. Although this happens a lot with small publishing houses, it’s becoming increasingly true with big houses, too, so the original economic advantage of traditional publishing is slowly being eroded by changing market forces and consumer practices.

On the control and involvement side: In traditional publishing, authors (or their agents) must negotiate what rights are granted to the publisher for what terms. Assuming they reach a satisfactory contract, the book goes into production and out of the author’s control. They might have some say in the cover design or marketing campaign, and/or acceptance/rejection input over editorial changes, but in many publishing deals, authors are left out altogether between signing the contract and seeing the finished book.

Indie publishing is the reverse. The author pays for everything up front, but gets the full return of any income after expenses, and retains full control of rights, and full or semi-control during production.

For example, if the author is publishing through an author-services company, such as BookBaby, then that entity might perform tasks the author isn’t involved in (e.g., editing, design, production) as part of a purchased package. But most times, authors get authorization control.

Danger comes if an unsavvy author hooks up with an unscrupulous company, which might confuse authors into signing away rights out of ignorance and deliver a sloppy, unprofessional product as well.

Authors who pursue true self-publishing are their own business: a micro-size company with full decision-making authority and retention of all rights. These author-publishers are wholly responsible for hiring editors, proofreaders, cover and interior designers, typesetters and formatters, audiobook narrators and producers, publicists, promoters, schedulers, accountant, attorney. Not to mention ensuring that all tasks are performed, and managing the outgo and income of the enterprise.

Real costs

Many new authors have no idea how much money publishing requires (thousands!), because for generations, those costs were buried in publishing house salaries and administration overhead — information not publicly available. When indie authors move outside that model to get indie help, they are often rocked back on their heels by “sticker shock.” This is a regular problem for indie editors seeking clients, because appalled authors who haven’t done their homework aren’t prepared to pay professional rates.

Originally, all book editors worked in-house for publishing houses. Over decades of economic, cultural, and media changes, editorial staff began getting pushed off payrolls and forced to go freelance or change occupation. Meanwhile, computers and the Internet made it easier to work remotely, drawing more editors into the field from myriad directions.

This change was accelerated by the entry of Amazon into the arena along with other author-service providers and aggregators/distributors, which transformed indie publishing from a pure vanity exercise to an intentional option for authors. In turn, it has increased demand for editorial support outside traditional publishing houses.

Today’s indie editors are predominantly sole-proprietor businesses who might contract with a publishing house, or an author-services provider, or directly with an individual author — maybe all of the above — to perform specific editorial services at self-established rates.

Editing roles

When working for a traditional publisher or author-services provider, indie editors deal with an intermediary, who might be called any combination of production or project manager/editor/coordinator. The indie editor has no contact with an author beyond the back-and-forth of files (sometimes not even that — indie editor provides edited files to the coordinator and never sees or hears about them again). The institution pays the editor, under terms that may or may not be negotiable. Editors must adhere to house rules of process and style (sometimes flexible; most times not), and usually wait weeks or months for their paychecks.

In contrast, when an indie editor works directly for an indie author, nobody else is involved. It’s a one-on-one private arrangement with lots of room to go smoothly — or horribly. Both parties are responsible for communicating what they want and need and expect; for establishing and agreeing to rules of engagement, and adhering to them; and being willing to discuss changes in a grown-up and flexible way.

In other words, they must make their own rules.

Time and experience among indie editors and authors are establishing successful approaches. Still, choices must constantly be made, be they for basic operation or how to organize an individual project. See Part 2 of this column for insights into what those choices could be and how to navigate them.

Part 2 of this column will be published on Friday, December 4.

Carolyn Haley, an award-winning novelist, lives and breathes novels. Although specializing in fiction, she edits across the publishing spectrum — fiction and nonfiction, corporate and indie —  and is the author of three novels and a nonfiction book. She has been editing professionally since 1977, and has had her own editorial services company, DocuMania, since 2005. She can be reached at dcma@vermontel.netor through her websites, DocuMania and Borealis Books. Carolyn also reviews for theNew York Journal of Books, and has presented on editing fiction at Communication Central‘s Be a Better Freelancer^® conferences.

Finding, working with, and retaining [ESL] clients, Part 1

Geoff Hart, Contributing Columnist

Editor’s notes: It is an honor and a pleasure to add Geoff Hart to the ranks of An American Editor columnists. We hope you enjoy this expanded and improved version of the author’s presentation at Communication Central’s 2016 Be a Better Freelancer^® conference, Rochester, NY.

Where the author has indicated Note, the text should be a indented or block text, but your An American Editor owner hasn’t figured out how to do that yet in a new version of the WordPress editing function.

Resources will be included in Part 3 of this column.

For those interested in Geoff’s book (see author bio at end of column), Lulu.com offers 30% off all books with code BFCM30 from midnight November 27 through November 30 (presumably midnight North American Eastern Standard Time).

***

For the past 33 years, I’ve been working as a scientific editor. My specialty is working with authors who have English as a second language. (For simplicity, I’ll refer to these authors as “ESL” authors hereafter.) As you can imagine, this leads to challenges I don’t encounter with my authors who speak English as their native language. Challenges that, on the whole, I enjoy. In this series, I’ll tell you a bit about why I enjoy the work so much and how you can find, work with, and retain ESL clients. I’ve placed brackets around “ESL” in the title because, as you’ll see, much of what I’ll discuss is also true for non-ESL clients, with a slightly different spin.

Why you should work with ESL clients

When I started my freelance career, I continued working with scientific researchers, but decided to emphasize authors who learned English as their second (or more) language. In addition to seeing this as an under-exploited niche, I decided that I wanted to broaden my perspective beyond what I’d been learning from my western authors. Specifically, I focused on Japanese and Chinese authors, because these were two cultures I was somewhat familiar with and very much enjoyed. The resulting diversity of topics and concerns has proven every bit as rewarding as I’d hoped. I’ve particularly enjoyed the chance to learn more about other countries and cultures. In one case, expressing this interest even resulted in a short teaching gig at a Beijing university and offers of a longer-term teaching position when I’m retired and can afford to spend multiple months living abroad.

As an ecologist by training, I benefited from another lesson: Diverse ecosystems are most robust, and tend to be most stable. Translated into editing terms, adding Asian clients meant that my workload was potentially recession-proof (like an ecosystem or a diversified stock portfolio) because economic downturns in Asia usually differ in timing and intensity from western downturns. In addition, authors in different countries tend to have different busy periods, and this helps to spread out the work somewhat. For example, the school year (for university authors) differs among countries, as do the teaching and writing responsibilities that university professors have to fit into their busy schedules. Because most of my clients work outdoors, at locations ranging from forests to deserts, their field research seasons differ between hemispheres (e.g., summer in the south is winter in the north). I still have “crunch” periods when it seems that all my authors need my help simultaneously, but the reduced number of slow periods with no work more than compensates.

As a freelancer, it also didn’t escape my notice that higher pay rates are possible in some areas of the world. For example, costs are higher in parts of the European Union and in Japan than they are in North America. For simplicity, I use a standard rate for all my clients (but with a discount for my Chinese clients, due to their smaller incomes and budgets), but if you’re more economically astute than I am and tailor your rate to each market you work in, you may have the option of raising your rate as high as each individual market will bear.

How to find ESL clients

There are as many ways to find clients as there are editors. I’ve listed several in my article on “finding work in tough times” (Hart 2006). I started by defining the authors I most wanted to work with (ESL authors). Once I knew who I wanted to work with, I contacted the editors of hundreds of peer-reviewed science journals that published articles in the areas of research I understood well enough to do substantive editing. I started with a form letter, in which I explained what I proposed:

•       I would work directly with authors, eliminating the burden on the journal’s staff.

•       I would help the author produce manuscripts sufficiently clear that the editor knew whether they were ready for peer review, and sufficiently good that it was worthwhile sending them for review.

•       I would ease the burden both on peer reviewers and on the journal’s editorial staff.

•       There would be no cost whatsoever to the journal; all they had to do was send my brochure (a concise PDF file I provided) to authors who needed my help.

That is, I focused on the problems experienced by journal editors that I could solve for them, not on why I was a good editor. To support this proposal, I explained the skills I offered (training as a scientist and many years of work with ESL authors) — but this supported my proposal (“let me solve your problems”) and was not the key to my proposal. The key was that I focused on the needs of my clients, a philosophy I’ve emphasized throughout my career. I quickly began receiving inquiries from Asian authors.

(The rest of this article focuses on examples from my Chinese authors, since they represent the majority of my clients, and the cultural differences from western authors are most revealing.)

Another approach is to start with the languages you speak. I speak French fairly fluently, and have worked for years with French authors, but I wanted to broaden my search to other languages, so I learned enough Mandarin and Japanese that I can at least greet authors politely in those languages, even if I can’t carry on a conversation in either language. Wanting an excuse to learn more of both languages and more about both cultures gave me a strong incentive to do so, and that desire was very much appreciated by my authors as they came to know me.

Although this suggests that you should think across borders and oceans when you look for ESL clients, the high mobility of modern writers suggests that you should also think locally. For example, universities, research institutes, and think tanks often employ authors from other countries. Attending international, national, or local conferences that focus on the subject you want to work on is another way to meet authors — these authors often need help from an English editor who can communicate well with them, possibly even in their own language.

To meet non-researcher authors, look for social groups such as the cultural societies that host events (e.g., Chinese new year, Diwali) or business associations (such as the Pan-Asian American Business Council). Meeting people in these groups is pleasant for its own sake, but also offers ways to find future clients. But avoid the mistake of only attending to seek clients; people will recognize this kind of mercenary behavior and turn away from you.

Note: If you want to work with graduate students at a university, carefully confirm with the university’s graduate studies department whether any regulations limit the nature of your work. For example, a PhD thesis must be an original work of scholarship, and some universities interpret this to mean that no developmental or substantive editing is allowed. In such cases, all you can do without obtaining a written exception to that rule is to offer proofreading and formatting services. A student’s failure to follow the university’s rules scrupulously can lead to a thesis being rejected. When in doubt, ask the university to respond in writing so you have proof of your permission to proceed.

In addition, leverage your network by asking your colleagues about opportunities. I exchange work opportunities with half a dozen colleagues. When I have work I can’t do, whether due to lack of expertise or lack of time, I refer the inquiries to those colleagues. In return, they refer some authors they can’t handle to me. I don’t charge a fee for such referrals; I treat it as a purely pro bono thing, which I can afford to do because I have far more work than I can handle and a good income. I do have colleagues who ask for a “finder’s fee” for such referrals, and that’s perfectly legitimate if you prefer to work that way.

How to work with ESL clients

Working with ESL authors is mostly similar to working with native-English authors, but a few quirks are worth mentioning.

Clear communication

Clear communication is important for any author­–editor relationship, but it’s particularly important when you work with ESL authors. First and foremost, self-edit your written communications ruthlessly. Don’t assume your meaning is clear. You’ll find that people who are communicating with you in their second language have much higher expertise in the language of their subjects than in the daily conversational language that relates to bread and butter issues such as specifying deadlines and contract terms for working together.

Although some editors communicate extensively with their ESL authors using online meeting software such as Zoom, particularly in these pandemic days, I find that most of my authors aren’t sufficiently comfortable with spoken English to enjoy this approach. Thus, almost all of our communication is via e-mail. To ensure that messages reach their target, I maintain two backup e-mail addresses in addition to the address provided by my service provider: the address associated with my website and a Gmail address. If one address is blocked or the service is temporarily unavailable, I can use the other addresses. For example, my service provider is often blocked by government and university networks because of their cavalier attitude toward spam. For many of this group of authors, I know I can’t use my main address. Similarly, ask your authors whether they have a second address you can use if necessary. If you don’t receive a reply within a day of sending an e-mail, try again using their second address. For particularly unreliable e-mail systems, send your message to both addresses at the same time, since it’s unlikely that both will be unavailable simultaneously.

Note: Carefully check your e-mail provider’s terms of service. For example, Google analyzes and indexes all Gmail messages, which means Gmail is inappropriate for messages that contain files that describe research breakthroughs, patent applications, and other confidential information. Most e-mail providers don’t encrypt their e-mail in any way, so e-mail can be read by anyone who gains access to their account. For e-mail that must be protected against prying eyes, consider using ProtonMail (https://protonmail.com/).

Reply as fast as possible (ideally, immediately!) to queries. Remember: If you’re working with authors on the other side of the world, the time zone difference means there can be a delay of up to 12 hours before they receive your reply, and this time can be critical for authors who are working under a tight deadline. Don’t assume your message was received. Always ask authors to confirm reception of your e-mail by explicitly requesting confirmation (e.g., “please confirm that you received both files with no problems”) or by asking a question they’ll have to answer (e.g., “which of your two addresses should I use on the invoice?”). Resend your message and any attached files if you receive no reply within about a day. It’s better to “spam” an author than to make them miss a deadline because you incorrectly assumed they received a file that you sent them.

Note: When you negotiate schedules, carefully account for time zone differences (http://www.worldtimeserver.com/). For example, I use language such as “I will return your paper on [date], eastern Canada (Montreal) time.”

Retain copies of all correspondence, in case you need to return to an earlier message to clarify some point. Disk space is cheap, particularly if you use an online e-mail service like Gmail. Although you can leave all your messages in your mail software, I prefer to copy them into a correspondence file in Microsoft Word for each author. This collects the information in one place, the search functions are generally superior, and it’s easier to move the text to other programs if necessary. Alternatively, if you prefer storing e-mail as e-mail, consider configuring your e-mail software to use the IMAP protocol (https://en.wikipedia.org/wiki/Internet_Message_Access_Protocol), which leaves your e-mail on the service provider’s servers so that you can access it from all of your computing devices (e.g., your smartphone in addition to your laptop computer).

Until you’ve worked with an author long enough to know their needs, don’t assume you understand those needs. Learn the difference between what they want (e.g., “I need the edited manuscript Friday”) and what they really need (e.g., “but I’m not going to work on it before Monday, so Monday is probably fine”). Make these needs explicit rather than guessing. Back when I was a wage slave, I always asked each author when they wanted the manuscript and when they really needed it; the two dates were rarely the same.

For an ESL author, spend some time learning how they want to work with you; this may not be “the western way.” Some will just want you to tell them what to change; others want to understand why you recommend changes and to work with you to discuss all changes. Learn their busy periods (e.g., the date range for the school term vs. the summer research period, annual conferences they try to attend, national holidays). Add notes to your calendar, well in advance, to warn you that these periods are coming so you can plan your schedule more effectively.

Speaking of schedules, carefully note your own planned absences on the calendar so you can warn your authors well in advance about when you’ll be unavailable. For example, as I’ve begun moving toward retirement, I now reserve most of December as private time, when I will concentrate on my own writing. Thus, I warn authors at least two months in advance that I won’t be available during that period and that they need to reserve my time well in advance; I warn them that once my schedule is full, they’ll wait three+ weeks before I’m available again in January.

In my experience, busy authors often forget these warnings. That’s fair, since our job is to meet their needs, and their job is to write. In any event, authors benefit from a reminder. When I plan my annual vacation, I notify authors two months in advance and again one month before I leave. One useful, if deceptive, trick: If you know that certain authors always write to you at the last minute, tell them you’ll be gone one week before your actual departure date. That way, when work arrives at the last minute, you still have time to do the work. If an author notices this trick (“I thought you said you’d be away …”), explain that you would ideally like to have left on the date you announced, but you made time to help them anyway because helping them is important to you. This isn’t a lie if it’s true; the last week before my vacation is usually filled with domestic work and other preparations.

Provide status updates about your availability. For example, if you’ll be trying to edit a large book during a certain period, warn your clients there will be delays during that period. Be willing to negotiate extensions both with the author (for yourself), and with publishers that impose deadlines on your authors. For example, most journal editors are willing to give an ESL author more time to return a revised manuscript if they know that the revision is complete and the author is only waiting for their English editor to become available. (This won’t work if the publisher has a hard deadline, such as releasing a book or special issue of a journal right before a major conference, but negotiation works more often than you’d expect.)

Note: If you’re in the fortunate situation of having more work than time, negotiate agreements with colleagues you trust to work with your authors when you’re not available. Coordinate their schedules with yours well in advance to avoid any surprises; they’ll be absent sometimes, too.

As your workload increases, start building room and flexibility into your schedule to cope with unexpected busy periods. For example, I reserve one day per week for a client who sends me a regular stream of work. When they don’t send me a manuscript, I can usually find another manuscript I can work on while I wait for theirs to arrive. Based on many years of experience with how my workload varies during the year, I’ve learned to include such unscheduled (“open”) days on my calendar. Currently, I try to keep one day open per week in addition to the work for that weekly client.

When you receive a manuscript that’s longer than the author estimated when they reserved your time, ask for more time. If you can meet the original deadline, that’s great — but if you need more time, you have it. I’ve always appreciated the advice to “promise late, deliver early”; that is, if I’m able to complete the work faster than expected, the author gets a pleasant surprise, but if not, they still receive my work on the expected date. As I’m getting older, my editing speed is declining, so I find that I need this extra time more often. I warn my authors at least annually about the maximum I can reliably edit in a day’s work, and ask them to predict the length of their manuscript and ask for more than a day when they contact me to reserve my time.

Show, don’t tell

As I noted earlier, ESL authors often speak the language of their specialty far better than they speak the common language that represents the glue for social interactions.

Although you can sometimes rely on complex words if you know your author is willing to use a dictionary, consider instead whether you can illustrate your meaning. For example:

•       If you must resort to grammatical jargon, illustrate it. For example, “In this sentence, the verb accord is the dataset is or the data are.”

•       If you must name punctuation, illustrate it: “Add or delete the semicolon (;) between author names in all references.”

•       If you must refer to shapes or symbol names, illustrate: “delete the asterisk (*) and replace it with a triangle (Δ).” Similarly, showing works better for patterns and colors: “Delete the red cross-hatching: [///].” (Editor’s note: Attempting to apply red “ink? to the /// element results in the whole sentence being made red.)

Part 2 of this article will continue with a discussion of cultural considerations, related rhetorical issues, and editing tips.” The final part will include references for the entire discussion.

Part 2 of this column will be published on Wednesday, December 2.

Geoff Hart (he/him) (www.geoff-hart.com) works as a scientific editor, specializing in helping scientists who have English as their second language to publish their research. He’s the author of the popular Effective Onscreen Editing, now in its 4th edition, and of the well-reviewed Writing for Science Journals. He has been a frequent presenter at Communication Central’s Be a Better Freelancer^® conferences. He also writes fiction in his spare time, and has sold 28 stories thus far.

Back to the present

Ruth E. Thaler-Carter, Owner

An American Editor

It’s been too long since I’ve posted here; I apologize and plead a boatload of work (a good thing!) and recuperating from major surgery in early October. I’m pretty much back to normal and hope to be more active here in coming weeks as we try to wrap up this crazy, scary year and look to the new one with hope.

While I figure out what you might like to see from An American Editor, two colleagues have stepped up with new content for you. Carolyn Haley‘s new Thinking Fiction column is at https://americaneditor.wordpress.com/2020/11/27/thinking-fiction-the-indie-editor-author-equation-part-1/, and a three-part series from a new contributor, Geoff Hart, began this week at https://americaneditor.wordpress.com/2020/11/25/finding-working-with-and-retaining-esl-clients-part-1/.

Thank you for your patience and presence!