The proof copies of She Nodded Her Head Up and Down In Agreement: How Just a Second Thought Can Help Your Book have arrived!
After all these years, I’ve got stories. So I wrote a book on editing. Not so much editing as helpful hints that authors should keep in mind as they’re sending their beautiful words and intriguing characters out into the world.
I’ve entitled it She Nodded Her Head Up and Down In Agreement: How Just a Second Thought Can Help Your Book. As you will conclude — because you’re clever enough to draw conclusions or you wouldn’t be a writer reading this blog — I’ve captured decades of work as an editor to share some of the very obvious traps that my otherwise wonderful clients have fallen into. Things like having a character squint her eyes (is she going to squint her foot?), kiss with his mouth (what else is a he going to kiss with, his foot?), showing when you should be telling (yes! it happens!), wetting his appetite (no, just no!), baiting breath (worms? really?) — these are things you couldn’t care less about, but I absolutely could care less about. In fact, I care a great deal about these things. And that’s why my clients continue to hire me.
These little tidbits will soon be for sale in book form at Amazon and all the other places. First, you can win one in a raffle at the Emerald City Writer’s Conference, where I’ll be presenting (I’ll write a separate post about my topic, which is key to the conference). I hope I’ll see you there — and I hope you win!
Last night I attended the Third Place Books author event in Lake City Way for Heather Redmond’s A Tale of Two Murders. There’s two things to everything to be said about it!
First, I’m affiliated with Heather two ways — as co-author (on Wear Black, which we’re holding here) and as editor for her independently published works.
Second, Heather writes with at least two pseudonyms — Heather Hiestand (the name on what she’s written with me) and Heather Redmond — the name she’s using for her successfully launched Charles Dickens murder mysteries.
Third, yes, although I edit as Elizabeth M.S. Flynn, my pen name is Eilis Flynn. I’m sure you’ve found some of those books. I hope you’ve found them enjoyable. I’ve just reissued the book of my heart, Festival of Stars, a multicultural romance based on a beloved Japanese folk tale.
Fourth, (although you’ve figured this out) I’m both an editor and a published author. So I have a pretty good idea what authors go through and bring all of that experience to bear on any project I edit.
Indie editors are an essential part of indie publishing. It’s not just about writing your story. (Still, hurray! You did it!) But, before you publish it, you need to have it edited. This is not optional! You will need a developmental edit as you’re blocking it out. You will need line edits for content, style, and language. You will certainly need copy edits to ensure your beautiful manuscript is clear and error-free. At all stages, format is important — first, so your manuscript can be professionally edited; then so your manuscript can be published cleanly by the online publishing platforms. You’re up to the task, but it does require taking a hard look at your work. Again. Here’s how to work with your editor to polish your story into a gem. And — there’s even a handy checklist! See you there!
I’ll be bringing the Silk Road to Everett on Saturday, May 19! I’ll be discussing the Dragons of Asia (no, it’s not a band name — but maybe it should be!) when I present to their regular Saturday meeting at Lombardi’s of Everett. The Silk Road…And Beyond is a series of workshops I’ve been giving over the years (often with the assistance of the award-winning western romance writer Jacquie Rogers) that show how familiar ghosties and ghoulies have counterparts around the world, traveling the same paths as we humans.
Super-heroes don’t just fly on the big screen, hurl lightning bolts on your flatscreen, or leap giant buildings in a single bound in the panels of a comic book. I know; I’ve edited and written novels about them. (Did you know I was a proofreader at DC Comics back in the day? Or that I sold Superman stories — to Julius Schwartz, the editor who was Ray Bradbury’s agent — when I was in college?)
On March 1, I’ll be sharing that knowledge with attendees of the Emerald City Comic Convention in Seattle. I’ll be joined by other experts as we present Panel to Prose: Translating Super-Heroes from Four-Color Staple to Literary Trope.
Super-heroes have long been the near-exclusive purview of comics when it comes to print. With the recent massive success of movies adapted from the comics, super-heroes are enjoying wider appeal than ever before. Can body-suit clad heroes make the leap from glossy graphics-laden pages to prose novels? Is there a difference between the approach of the writer and editor? Are the readers different? Come to the panel and find out!
You’ve come to the right place! I’m EMS Flynn, and I’ve been a copy editor for more than three decades. Are you looking to make sure your fiction, nonfiction, novel, article, or marketing piece is the cleanest and most concise it can be? I can help you. Over those three decades (and more), I’ve copy edited academic works, financial works, romance novels, literary short stories, high-tech manuals, comic books (well, that one was proofreading, which is very different), and more. I have a wide range of editing experience. Not only that, I’m a published author, so I’ve been on the other side of the process.
Now the numbers game…you’re nervous about having someone edit your work, and I don’t blame you. Just to make sure you and I are on the same page, you can hire me to copy edit your first ten pages or 1,500 words, whichever comes first (I call this a “shorty edit”). That’s enough for you to get an idea of my style.
I also offer line editing, which involves actually doing some story breakdown (content editing). The price for that differs according to work, so we’d have to discuss that after I see the material. Line editing doesn’t involve grammar or punctuation; it examines structure overall and problems with the story itself. I also offer developmental editing, for varying lengths of work.