Tag: how to edit your manuscript

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Contests 101: 5 Editor Takeaways

Contests bring out the best in all of us—the entrants, the judges, the agents. 

Contests-101-five-editor-takeaways-tisha-martin-author-editor

I’ve been on the receiving and giving side of both ends of the manuscript contest spectrum.

This blog posts focuses on the editor’s response to contest critiques.

As an editor with experience in evaluating and editing manuscripts (250 since 2017), I understand what it takes to catch an editor’s eye. I value the awesome responsibility required to evaluate and comment on a writer’s beloved work. And I respect what’s needed for each manuscript that comes across the work desk. It’s exhilarating. Truly.

Five Facts about Evaluating Contest Manuscripts

  1. Evaluating is hard.
  2. Evaluating is vulnerable.
  3. Evaluating is empowering.
  4. Evaluating is responsive.
  5. Evaluating is unpredictable.

I’d like to think that these are five of many possible facts about evaluating contest manuscripts.

Five facts from an editor’s perspective in evaluating manuscripts

  • Hard, because we know the author has poured blood, sweat, and tears into their manuscript, and it’s as much a part of them as their massive library collection.
  • Vulnerable, because we’re judging blind, not knowing who wrote what we’re reading. Yet we want to offer kind and helpful comments for each entry.
  • Empowering, because to think that we get to empower and validate a writer we don’t know is just the best thing there could ever be. That’s just pure bliss right there, and tastes richer than any mint dark chocolate bar in the whole wide world.
  • Responsive, because hitting that Submit button after judging an entry because we hope we have judged to the best of our ability and respected the author’s voice, their story, and the message while providing active feedback tailored for each manuscript.
  • Unpredictable, because once we hit that Submit button, there is no turning back. No guarantee that the writer will agree with us as we prayed our way through each story for wisdom in assessing and for words of encouragement in offering helpful feedback so that the story can be improved and scale up the ladder toward publication success.

What ebb-and-flow levels of curiosity and responsibility, huh?

In truth, most editors are happy to review manuscripts, to offer advice, to empower authors because if it weren’t for authors, we’d be out of a job. Publishers would not survive. Bookstores would not add to their shelves. And readers would have no books to enjoy.

Contests 101: Five Editor Takeaways

  1. Evaluating is easy.
  2. Evaluating is protection.
  3. Evaluating is discouraging.
  4. Evaluating is empowering.
  5. Evaluating is predictable.

I know, I know. Oxymoron, but we’re doing a switch on the “fear” words from the five facts about evaluating contest manuscripts.

  • Easy. While we realize that we take great care in providing useful, helpful, and honest feedback to each writer’s entry, we know that being as clear as we can about how the writer can implement our comments will be easy for them.
  • Protection. Most contests have high guidelines for their judges (or they should!). We know that a contest that has solid expectations for each entry is gold because we do indeed value each submitted manuscript and want to critique it to the absolute best of our industry knowledge. This creates a sense of protection for the entrants because the judge knows what they’re looking for and will have your story’s best interest at heart.
  • Discouraging. We sometimes do have to provide the author with a low score because perhaps the story is not where it needs to be . . . yet. And that yet is so empowering!
  • Empowering. And sometimes we give a great score because the writer did well in their story presentation.
  • Predictable. In all, we know that if the writer has done their homework, studied the craft, enlisted beta readers or a professional editor in the editing and proofreading stage, and knows that a contest does not define them or their writing, then we are confident that our comments on the writer’s manuscript will be received in a manner of gratefulness and encouragement.

And, who knows? You might even place in the contest, like one of my author-clients did!

Above all, each judge should view your manuscript through the eyes of grace. If they don’t, then please by all means, you’re free to chuck their advice. Grace given is a valuable and precious gift.

So, my writer-friend, don’t bemoan when submitting to contests. Exercise due diligence. Find out what your manuscript needs *before you submit. Most often, this includes reaching out to a trusted and experienced editor who knows what they’re looking for and who can give you the best overall critique advice for your story—in hopes of getting great feedback on that story submission.

If you’re worried about the cost, it’s usually not much. The cost of a critique is basically the same cost as a cup of coffee—-in general terms of experience. Both prices and experiences are just right.

So . . . are YOU submitting this season? Le me know in the comments!

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Contests 101: 5 Author Takeaways

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Contests bring out the best and the worst in all of us—the entrants, the judges, the agents or editors. 

As a published author and professional editor, I’ve been on the receiving and giving side of both ends of the contest spectrum. And though I often didn’t like the judges’ score, I did appreciate their gracious feedback and insightful questions.

Their feedback and score did not define me or my writing skills.

I’m still alive and well to tell about it. Like now.

This blog focuses on the author’s response to contest judges’ feedback. (Next month, I will share the judges’ side.)

As a writer with about twenty years behind me (well, twenty exploratory, learning, and professional years combined, but still counts!), and having submitted to college contests three years in a row with nothing but disappointment (and I was a writing major), and having submitted to professional contests three years in a row with nothing but confusion and tears to show for (didn’t my writing degree prove anything??), I’ll share my personal journey with you.

Five Facts about Submitting to Contests

  1. Submitting is hard.
  2. Submitting is vulnerable.
  3. Submitting is empowering.
  4. Submitting is scary.
  5. Submitting is unpredictable.

I’d like to think that these are five of many possible facts about submitting to contests.

  • Hard, because we will never know if our manuscript has been edited enough. What if we missed that comma that we didn’t know we missed? What if our dialogue doesn’t sing? What if . . .? What if someone is just a better writer than me? Oop, let’s just close the computer right now and hang it up forever.
  • Vulnerable, because someone we don’t know is going to read our precious words. Oh my gosh, that’s just too much for me. What if this judge absolutely hates my story because their uncle chased them with a scary clown mask. giving them lifetime nightmares too? Oh dear. That’ll disqualify me for sure!
  • Empowering, because to think that someone we don’t know is going to possibly, hopefully validate us is just the best thing there could ever be. That’s just pure bliss right there, and tastes richer than any mint dark chocolate bar in the whole wide world.
  • Scary, because hitting that Submit button just might seal our fate to never ever send out our work again, so we might as well just keep sipping coffee and eating dark chocolate and loving, appreciating our words, as if no one else will ever like them but us.
  • Unpredictable, because once we hit that Submit button, there is no turning back. No guarantee that a judge will agree with us. No promise that a judge will believe in us or our story.

What ebb-and-flow levels of fear we’ve created, huh?

True. If you are not inclined to submit because of these fears (yes, let’s say what they are), then you won’t follow through. If that sounds harsh, please understand that I have been in that spot before.

I didn’t follow through because I sincerely thought my manuscript idea and story was not good enough. No one would like it. The judges would give my manuscript a total score 40 and tell me I needed to enhance my characterization, my theme, my dialogue. Blah. Why enter if I was going to get that kind of rejection? Not worth it!

Ohhh, but what I didn’t realize was that submitting to contests *was worth it! Don’t believe me? That’s okay. You’re not inclined to; but if you’ll stick with me to the end, I’ll share five things authors can takeaway from submitting to contests . . .

Contests 101: Five Author Takeaways

  1. Submitting is easy.
  2. Submitting is protection.
  3. Submitting is discouraging.
  4. Submitting is empowering.
  5. Submitting is predictable.

I know, I know. Oxymoron, but we’re doing a switch on the “fear” words from the five facts about submitting to contests.

  • Easy. This might sound confusing or intriguing. When we dash the fear that submitting is hard, submitting then becomes easy. Not necessarily easy in the act of hitting that Submit button, but easy in knowing that whatever happens, it’s easy to let go and trust God and the powers that be.
  • Protection. Mmm, yes. Protection. Most contests have strong guidelines for their judges (or they should! If you’re unsure, then take the power plunge and query them for judges’ guidelines or qualifications). This creates a sense of protection for the entrants because the judge knows what they’re looking for and will have your story’s best interest at heart.
  • Discouraging. This is a heavy word, but it’s truth here. You may not get a good score when the results come in. That’s life. That’s reality. That’s discouraging. However, if the judge behaved objectively (as they should), then their comments will be comforting, encouraging, and empowering. You’ll know what to do next time! Isn’t that encouraging?
  • Empowering. And sometimes you’ll get a great score on one score sheet. Yay! Go you! Or maybe you’ll receive a personalize comment from a judge who discloses their name and email address, specifically telling you to contact them when you’ve made changes. Ooo! (Now, they’re generally not supposed to, but in the faith-based market, judges are also sometimes editors, so they know a good story when they see one; and often reach out to help authors who show promise—in the hopes that the author will one day impress and agent or publishing board.) How cool is that?
  • Predictable. Hmm, this one is interesting, because it’s kinda like gambling, isn’t it? I say submitting is predictable because if you have done your due diligence and gotten good solid feedback on your manuscript before submitting . . . meaning, you have had encouragement from a trusted source (published author, skilled editor), then chances are, you’ll have great results after hitting that Submit button.

And, who knows? You might even place in the contest, like one of my author-clients did!

Above all, each judge should view your manuscript through the eyes of grace. If they don’t, then please by all means, you’re free to chuck their advice. Grace given is a valuable and precious gift.

So, my writer-friend, don’t bemoan when submitting to contests. Exercise due diligence. Find out what your manuscript needs *before you submit. Most often, this includes reaching out to a trusted and experienced editor who knows what they’re looking for and who can give you the best overall critique advice for your story—in hopes of getting great feedback on that story submission.

If you’re worried about the cost, it’s usually not much. The cost of a critique is basically the same cost as a cup of coffee—-in general terms of experience. Both prices and experiences are just right.

So . . . are YOU submitting this season? Let me know in the comments!

We’re into the submission season. There are still open contests out there!

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How to Edit Like a Director

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Editing Like a Director

first appeared on Almost an Author September 22, 2018

Hello! How’s your editing been going for you? I hope you’re seeing great improvement, but if you’re at a loss for how to edit or even what it consists of, take heart.

Editing is as much an art form as writing, so the more you practice, the better your results will be. Last month, we looked at three ways to think like an editor. This month, we’ll switch gears and look at how to edit like a director. Rather, we’ll transform our story into the stage and our characters into actors. You enjoy a well-done performance, don’t you? Consider what makes up a stunning stage performance . . . and we’ll incorporate a few tips for how to edit like a director.

Three tips for how to edit like a director

  1. Captivating dialogue

I understand. Dialogue is hard to craft because as in life, there’s emotion, nuance, and subtext in our characters’ dialogue. When crafting my own dialogue between my characters, I must reflect on the general goal I want my hero and/or heroine to accomplish. And whatever that goal is the dialogue should mirror that goal. For instance, if my amateur detective heroine wants to get admission into the exhibit so she can scoop up clues from last night’s painting theft, but no one will let her in because that section of the museum has been closed off, she’s got to convince the ticket master that it’s important to let her in. What might that dialogue consist of?

Amateur detective: “Sir, I’m with the police. I’d like to be let inside the exhibit hall, so I may conduct my search.”

Ticket master: “I’m very sorry. Only the private investigators are allowed in there.”

Amateur detective: “But I am a private investigator.”

Ticket master: “Hardly, miss. Where are your credentials?”

  1. Strong character actions

Outside of dialogue, strong character actions is the most important element on the stage because it connects the audience with the actors and endears them to the entire story. Likewise, giving your story characters specific movements throughout each story scene will entice our readers to want to engage with the story. Let’s take the dialogue we crafted between the amateur detective and the ticket master and incorporate some strong character actions.

Lily Nash stepped inside the museum’s expansive lobby, searching for the ticket counter. Ah, there, near a huge marble column. “Sir, I’d like to be let inside the exhibit hall, so I may conduct a search from last night’s robbery.”

“I’m very sorry, but that’s closed to the public. Only private investigators are allowed in there.” The ticket master stamped a few papers and filed them.

Gripping her handbag, she said, “But I am a private investigator.”

The ticket master cast a scorning glance down at her over his thin metal spectacles. “Hardly, miss. Where are your credentials?”

Did you notice yourself envision the scene, what the characters might look like, and how their voices might sound, based from this scene? Does it seem like Lily isn’t as prepared as she should be, and the ticket master is a stern fellow? Do you hear the desperation in Lily’s voice and the disbelief in the ticket master’s? Can you see the lobby’s high ceiling and the large, stone columns? We have not included anything but character actions and dialogue, and perhaps you are connected with the scene already.

  1. Strong transitions between scenes

Incorporating strong transitions between your story’s scenes will help your readers connect the dots and stay on track with the story as it ebbs and flows, leading to the climax and the ending. Now, we’ll take the last scene, with dialogue and character action, and create transition scenes before and after.

Looking up at the front of the art museum, Lily Nash clutched her stomach. Her first assignment alone.

She stepped inside the museum’s expansive lobby, searching for the ticket counter. Ah, there, near a huge marble column. “Sir, I’d like to be let inside the exhibit hall, so I may conduct a search from last night’s robbery.”

“I’m very sorry, but that’s closed to the public. Only private investigators are allowed in there.” The ticket master stamped a few papers and filed them.

Gripping her handbag, she said, “But I am a private investigator.”

The ticket master cast a scorning glance down at her over his thin metal spectacles. “Hardly, miss. Where are your credentials?”

“I have them, sir.” Lily dug through her handbag. Fear gripped her throat. She’d had it at the station. Without another word to the ticket master, she turned and fled the building.

Transitions don’t have to extend to several sentences or even paragraphs. Just mention enough to get your characters from one place to the next so it will be clear to your readers how your characters are moving throughout the story as it progresses, hopefully, from good to bad to worse to a climactic ending with a satisfying end.

Just as each theatrical production has its own style, theme, and tone, your story has its own style, scene exchanges, dialogue, and tone so that the message truly reaches the reader’s heart. The bottom line is to make sure your writing shows an entire story being acted out as if it were a theatrical production. Now, take a small scene from your current WIP and see how you can transform it into a scene that fully engages readers in dialogue, character actions, and transitions.

Please join in the discussion! I’d love to hear from you!

Take a few minutes and ponder. What is one self-editing tip that’s helped you recently? 

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Punctuation Series: How to Edit Em Dashes

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Continuing from last month’s instalment on editing the dash. . .

In the world of grammar and punctuation, there are three types of dash (hyphen, en dash, and em dash). “So what?” you say. “Ah,” but I say, “presentation is everything, especially when it comes to the publishing world. And your presentation of such a small thing as a dash is crucial to your book’s success.”

Working with the dash can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar and punctuation altogether.

You’d rather write, right? Right! So let’s continue our focus on a simple, easy-to-understand punctuation series that I hope will be a help and encouragement to you—allowing you more time to write well.

If you feel like you’re back in grammar school, please take heart—and know that this isn’t going to be a boring, stuffy ‘nother grammar lesson.

It may seem like the dash is not important, but they are, especially if you use a lot of extra information in your prose or poetry. And that’s nearly every piece of writing, so I invite you to stay for this little journey. This is by no means an exhaustive list, but merely to give you a tool to use in your self-editing journey, should you choose to do so.

Why Paying Attention to the Dash Is Important

  • Appearance is everything, appearance is everything, appearance . . . yeah
  • The difference is subtle, like missing the road sign on the highway
  • Using the dash correctly shows you care about your story, your editor, and your readers

In this blog post, let’s look at one of the dashes, the em dash. And my text for today is The Chicago Manual of Style, chapter six.

Using the em dash instead of using commas, parenthesis, and colons (Chicago Manual of Style 6.85).

If you ever hear just the word “dash,” the speaker most likely will be referring to the standard em dash, so please don’t be confused. Em dashes can be used for abrupt insertions of information in a sentence, or important side elements that an author wants the reader to notice something.

Em dashes set off or amplify an element in a sentence, or function in place of parenthesis, comma, or a colon. Please notice examples one, two, and three below, respectively:

  • Parenthesis. Tim Shoemaker’s keynotes at the Write-to-Publish conference in June, 2019, centered on several biblical characters—Nehemiah, King David, and David’s mighty men—and encouraged writers to produce great content that fills readers with hope in a fresh and exciting way.
  • Comma. The encouragement of three people in my life who were an inspiration to me in different stages of my writing journey—a journey that, much to my surprise, spanned twenty years, include my mother, my grandfather, and my writing mentor.
  • Colon. Even though I had many people who inspired me to write, it was a novel written by a British author that set my pen on fire—pure bliss.

*Avoiding confusion. (Chicago 6.85.)

  • Don’t use two sets of em dashes in the same sentence because it causes confusion for your reader, not to mention makes the sentence really clunky. In this case, you would use parenthesis or commas instead.
    (I have bolded the parenthesis and commas, as they add extra, extra information. Notice where the em dash is placed in relation to the other punctuation as well.)
    A few examples:
  • The Write-to-Publish conference—which met for four days in June near Chicago (and is a perfect balance of emerging and skilled writers)—featured in-house publishing editors and excellent subsidy publishers for writers of all levels and genres.
  • The Write-to-Publish conference—which met for four days in June near Chicago, and is a perfect balance of emerging and skilled writers—featured in-house publishing editors and excellent subsidy publishers for writers of all levels and genres.

Use the em dash for sudden breaks or interruptions (Chicago Manual of Style 6.87).

You may use an em dash if your sentence decides to go on a jaunt or a jolt, or entertain an interruption in dialogue or thought. Hey, no worries—that’s okay! Just plug in the em dash and you’re all good.

Here are some examples:

  • My friend jiggled the car keys still in the ignition, the steering wheel, the H-emblemed car horn, the door locks, anything to silence the deafening screech. “I—I can’t seem to deactivate this—this alarm.”
  • A woodpecker rap made me jump. The man shot two fingers in my direction on the other side of the passenger window. “If you don’t stop messing around with that alarm,” he shouted over the blaring sound, “I’m gonna call the cops—I mean it! People are tryin’ to sleep!”

The em dash is used instead of quotation marks

(Chicago Manual of Style 6.80). *This is mainly for European manuscripts. If you have read any international works or are getting your books published with foreign rights, you might have seen the em dash.

Okay, so this is a fun one, and I might add, an interesting rule to keep in mind. I’ll make it as simple as possible for you. 😊 Don’t use any quotation marks or spaces after the em dash. Ask your agent or editor or publisher if this method is still used in today’s books, because. . .

I’ve seen the em dash used in older novels, but haven’t seen them in recent novels. Have you? I’d sure love to know! So—please leave a comment on the blog, telling me where you have seen this rule used.

For example,

  • —Oh Henry, isn’t this a lovely party?
  • —Yes, Louise, and it’s lovelier with you here.

How’s that for a very brief introductory into using the em dash that’s widely used but so often misused?

Pro Tip for Finding the Em Dash

  1. Make sure your cursor is at the place where you want the en dash to be placed.
  2. In Microsoft Word (version 2016), go to the Insert tab.
  3. At the very end of the icon list, you’ll see Symbols.
  4. Click the drop-down menu, and you’ll choose the Symbol option.
  5. Mouse over the symbols, until you find the Em dash.  
  6. Click, and insert into the place where your cursor is located.

Using the well-placed en dash is important because your overall presentation makes a world of difference to your editor, agent, publisher, and readers. That may seem counterintuitive because the writing is equally important, but it’s the presentation that tends to enhance your credibility as a writer. (Especially if you self-publish and are doing your own first-draft editing.)

Next month, we’ll look at the final way to edit the dash in your manuscript, but for now. . . just remember, There may be three types of dash, and one of them is not Dasher.

Please take a minute and join in the discussion! I’d love to hear from you!

Choose between the questions to engage in the conversation:

1. Why do you use em dashes?

2. Have you seen any em dashes in place of quotation marks in dialogue? Which title/author uses them?

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Punctuation Series: How to Edit En Dashes

 

Punctuation-Series-How-to-Edit-En-Dashes-tisha-martin-author-editor

In the world of grammar and punctuation, there are three types of dash (hyphen, en dash, and em dash). “So what?” you say. “Ah,” but I say, “presentation is everything, especially when it comes to the publishing world. And your presentation of such a small thing as a dash is crucial to your book’s success.”

Working with the dash can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar and punctuation altogether.

You’d rather write, right? Right! So let’s continue our focus on a simple, easy-to-understand punctuation series that I hope will be a help and encouragement to you—allowing you more time to write well.

If you feel like you’re back in grammar school, please take heart—and know that this isn’t going to be a boring, stuffy ‘nother grammar lesson.

It may seem like the dash is not important, but they are, especially if you use a lot of numbers and dates and prose. And that’s nearly every piece of writing, so I invite you to stay for this little journey. This is by no means an exhaustive list, but merely to give you a tool to use in your self-editing journey, should you choose to do so.

Why Paying Attention to the Dash Is Important

  • Appearance is everything, appearance is everything, appearance . . . yeah
  • The difference is subtle, like missing the road sign on the highway
  • Using the dash correctly shows you care about your story, your editor, and your readers

In this blog post, let’s look at one of the dashes, the en dash. And my text for today is The Chicago Manual of Style, chapter six.

Using the dash to mean “to.” (Chicago Manual of Style 6.78)

Many times the dash is a stand-in for “to,” just like “to be” is an understood for a sentence like “We elected Jane [to be] president.” Nonfiction and Bible study / devotional writers, take a look here, as this will apply to you because you use a lot of Scripture verses.

“To” simply means “up through” or “including up through.” And to write all that is really truly wordy. So we use the en dash to simplify. The point? The en dash connects numbers together (words, not as much).

Here are a few examples:

  • Scripture reference. In John 3:15–17 we learn about God’s love for us.
  • Chapters. Let’s continue our study of Lessons from To Kill a Mockingbird. See chapters 3–4.
  • With scores and directions. Congress voted 100–1 on the new bill.

*Two exceptions. As always, there are exceptions.

  • If your sentence uses from before the number or date element, then do not use the en dash. You would say, “from July to November.”
  • If your sentence uses between, do not use an en dash. For example, “The baby sleeps between 1 a.m. and 5 a.m.”

Use the en dash with unfinished number ranges (Chicago Manual of Style 6.79)

If the number range in your sentence is ongoing, then an en dash is appropriate. This would include things like serial publications or the birth date of a living person. No spaces required.

Here are some examples:

  • Scriptmag (especially 2019–) is an excellent magazine for anyone wanting to dig into writing screenplays.
  • Jude’s grandfather (1927–) served in the Korean Conflict.

Use the en dash with compound adjectives (Chicago Manual of Style 6.80)

Okay, so this is a fun one, and I might add, a very important rule to keep in mind. I’ll make it as simple as possible for you. 😊

When the compound adjective has one element that is an open compound or when both elements are hyphenated, then use an en dash in its place.

It might be more helpful if explained this way as an example:

A regular hyphen joins two words (smoke-filled room), but an en dash joins a collection of hyphenated (a multi-published–multi-genre author); see the en dash between “published and multi”).

(Examples to follow so you are not confused.)

  • I write mostly about WWII and the post–WWII era.
    (The distinction here is a proper compound.)
  • We are headed toward Nashville, the music–influenced city of the US.
    (This distinction here is, The city influenced by music.)
  • The singer had an Elvis Presley–style voice.
    (The distinction here is a proper compound.)

How’s that for a very brief introductory into using the en dash?

Pro Tip for Finding the En Dash

  1. Make sure your cursor is at the place where you want the en dash to be placed.
  2. In Microsoft Word (version 2016), go to the Insert tab.
  3. At the very end of the icon list, you’ll see Symbols.
  4. Click the drop-down menu, and you’ll choose the Symbol option.
  5. Mouse over the symbols, until you find the En dash.
  6. Click, and insert into the place where your cursor is located.

Using the well-placed en dash is important because your overall presentation makes a world of difference to your editor, agent, publisher, and readers. That may seem counterintuitive because the writing is equally important, but it’s the presentation that tends to enhance your credibility as a writer. (Especially if you self-publish and are doing your own first-draft editing.)

Next month, we’ll look at some more ways to edit the dash in your manuscript, but for now. . . just remember, There may be three types of dash, and one of them is not Dasher.

appearance cred: first appears as part of a series on Almostanauthor.com, June 22, 2019;
photo cred: canva

Please take a minute and join in the discussion! I’d love to hear from you!

Do you use en dashes? If you haven’t before now, what do you think about using them?