It’s possible these days for anybody who wants to publish to do so. Bung the book up on Amazon, and hey presto – you’re published. But it’s risky without proper editing. By editing, in this context, I mean ‘editing the finished manuscript’ – not the stuff an author does to go from Draft 1 to Draft 2, which is often also called ‘editing’.
Self-edited books carry risks because familiarity literally breeds contempt. You can’t see you own mistakes. Even literal typos disappear from view after a while.
There are all sorts of techniques to get around that – reading backwards, for instance, word by word, looking for ‘literals’. Yet at the end of the day nothing beats a fresh pair of eyes. Especially a fresh pair of eyes belonging to an expert editor.
Editing, as a process for preparing a manuscript for publishing, breaks into two main tasks. They are quite specialist, and everyday authors are NOT, I repeat NOT, likely to have necessary skills. As I’ve mentioned before, I had occasional run-ins with proof-editors who have actually been authors, masquerading as editors.
Last year one guy tried to re-write my material to fit his concept of my book, as if he was a better expert in my subject than I was. He wasn’t (he did his re-write from a secondary text) and all he did was break my carefully prepared, researched and peer-reviewed material. The publisher refused my request to send the original MS to a competent proof-editor, with the result that I ended up putting, by my estimate, over 60 hours unplanned time into undoing the vandalism. Ouch.
Here’s how it should work:
- Proof-editing. This is done first. It’s the big structural stuff – making sure the correct overall frameworks are there, that things are introduced in the right order, and that the writing makes sense overall. It’s a specialist skill – authors are usually NOT good proof-editors – certainly not of their own stuff, and often not of others.
- Line-editing. This is the detail stuff – making sure that the grammar is right, that there are no literal typographical errors – that full stops are in the right place, that dashes are all the right lengths (hyphens, em- and en- dashes all have their places). It’s usually done more than once, and it’s always done last. It’s an exceptionally ‘trainspottery’ skill; those who do it need to have an absolute eye for details that are often invisible to others (like the visual difference between en- and em- dashes).
Publishers hire editors with these skills all the time –and often have in-house editors with those skills. It’s not cheap, but it’s essential. The question, of course, is how far self-publishers should go on the same issue – bearing in mind the typical costs versus the likely returns from any book. More soon.
Copyright © Matthew Wright 2015