Early Readers, Editors Worth Gold

Wat the Editor Know


Recently, I read this line on a chat group I hang with: An editor who does not charge is not a true editor. That sort of logic if taken to writing would say that an artist or writer or composer is not a true WHATEVER unless he or she is making money at it; unless and editor is making money at editing, he or she is not a real editor. This sort of snobbery has existed in NYC book business forever as they pay editors so well (HA!). I have had many many editors, some who woud place a comma between many many and some who would not, and I have as yet to find one properly compensated by anyone. I have also operated my own editorial services (Knife Services) from my website, and I charge half or a third of what some editors charge, and lately, the business is slow as molasses.

No one wants to pay for editing services. To this I can attest. To qualify that, few want to pay for editing services, but one way or another every author needs a great editor or two or three in order to truly get a MS to sing.

An editor for your work is worth his or her weight in gold, even if he or she edits your work for nothing but the opportunity and "privilege" and charge you nada...for no charge. Despite the line this blog began with, there are capable and surprisingly fine editors among those who do not charge a fee; I know because I have availed myself of some excellent editorial help at no charge over the years. These people are my early readers. People I have cultivated a strong friendship with as a result of our making great books together, people who wind up in my acknowledgment pages.

It may upset some pricey editors (some priced at ten dollars a page if you can imagine it) to hear such talk from a professional writer and published author, but I have relied all my life and career on people who have a sixth sense about what works and what does not work in a manuscript, items you want OUT before the MS goes to press or release to Kindle or Smashwords or wherever you are publishing nowadays.

My Children of Salem, my highest grossing Kindle title, was put through the grist mill by two editors in particular who suffered and struggled with me like Jonah and the Whale until we GOT it. My work in progress, Titanic 2012 has had the tremendous help of two editors in particular who have wrestled that one to the mat where they MAKE me wring out rather than ring out the right words and save me countless embarrssing moments as well as point out plot weaknesses and sags. They are simultaneously copyeditors and developmental editors these folks.

I go back as far as 1965 or 6 working with my Wells High School managing editor on the school newspaper for editorial advice, and damn but she was good with langauge and writing; one lesson she taught me then stayed with me all my writing career - Acitve over Passive. I get cudos for making my work "compelling, fast-paced, a page-turning roller-coaster ride" etc. etc. due in great part to my editorial board -- and now that I am a writer turned publisher putting out Original to Kindle titles, I rely even more on my early readers, my editorial board. They have recently truly impressed me, digging damn deep to make the work the best it can be to the point it is no longer about me but the novel itself that comes first. Of course, it helps that the publishing industry has long, long ago beat the living ego out of me.

My apologies to those who consider themselves legitimate editors because they charge a fee, whether fair or exorbitant, but sorry as I am, I must say that there are people who are not just willing to be early readers for an author but who become invaluable editors an author can and does TRUST, often just as much as he trusts an editor within a publishing house or with a logo. I love editors, love them all, and feel they all deserve a raise but the practice of authors cultivating two, three, four early readers is not likely to stop but increase as we go to press as Indie author-publishers. Certainly been the case with me, but then I had always cultivated early readers. By the same token, over the years, I have learned a great deal from my contacts with all editors, those who were paid--even if poorly by the publsihing house--and those who have graced me with thier help out of the goodness of heart and understanding and unfettered desire to be a part of the process of creation.

Sneak peek of Children of Salem and/or Titanic 2012 is available at http://www.robertwalkerbooks.com/

Thanks so much for coming by and do leave a comment, good, bad, ugly, indifferent but leave some word....

Robert W. Walker (Rob to my friends)

Sixteen Tips for Writing Great Thrillers

by Jean Henry Mead

One of the best features of my new release, Mysterious Writers, is the advice offered by mystery/crime writers I've interviewed. Among them "Sixteen Tips for Writing a Great Thriller" by international bestselling Canadian novelist, Rick Mofina:

1. A problem befalls the protagonist that will change/threaten her/his life.
2. Define the stakes. Establish a deadline. The clock is ticking.
3. Who is your protagonist? Give readers what they need to know to empathize.
4. Who/what is your antagonist? Give readers what they need to understand or fear.
5. Action = Character. Conflict = Tension. Tension = Drama. Time is slipping by.
6. Hooks compel readers to turn pages. Otherwise, what's the point?
7. Hope emerges. A resolution is in sight. Or is it?
8. Protagonist’s credibility. Use what you know personally to build a solid frame.
9. Story plausibility. Use what you know personally to reinforce that frame.
10. Make readers feel the story, smell it, taste it, live it.
11. Dialogue and details must reveal character, drive the story.
12. The clock is ticking. Urgency is critical.
13. Things just got a whole lot worse. The reader sweats it out with the protagonist.
14. Time is up. The antagonist will triumph.
15. All hope appears to be gone but the protagonist battles on against the odds.
16. The protagonist defeats the antagonist in a life-changing resolution of the problem.

Copyright © 2009 by www.RickMofina.com

Mysterious Writers also contains Elmore Leonard's ten writing tips, among other writing advice from 75 authors.