Tag: nonfiction

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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

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

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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Punctuation Series: How to Edit Punctuation Marks

How to edit punctuation marks

Presentation is everything, especially when it comes to the publishing world. And your presentation of punctuation is crucial to your book’s success. But punctuation can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar altogether. You’d rather write, right? Right! So let’s continue our 2019 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. When writing, it’s super important to make sure our punctuation marks are in the right spots, as it’s like a golden ticket to success.

Where Are Poorly-placed Punctuation Marks Located?

  • Surrounding dialogue
  • In the middle of two conjoined sentences
  • At the end of sentences
  • And anywhere your fingers accidentally touch a key

Let’s Dive In!

Commas (Chicago Manual of Style 6.16 and following)

  1. Wrong: “I don’t think we’d better go there”, Robert said.
    (commas always go inside the closing quote mark with dialogue, especially with a dialogue tag.)
    Right: “I don’t think we’d better go there,” Robert said.
  2. Wrong: Julie left came back and left again.
    (this is treated like a series of items, and each one needs a comma in between.)
    Right: Julie left, came back, and left again.
  3. Wrong: After removing her shoes she hopped onto the couch.
    (commas are used with adverbial introductory phrases)
    Right: After removing her shoes, she hopped onto the couch.

Semicolons (Chicago Manual of Style 6.56 and following)

  1. Wrong: She spent much of her free time at the bookstore no flimsy bookbag would do.
    (a semicolon is needed because two subjects within the same idea is present.)
    Right: She spent much of her time at the bookstore; no flimsy bookbag would do.
  2. Wrong: The writer had a blister on his finger therefore, he put a Band-Aid on his finger and kept typing.
    (a semicolon is needed before the word therefore because it acts as an adverbial conjunction that joins two sentences of the same idea.)
    Right: The writer had a blister on his finger; therefore, he put a Band-Aid on his finger and kept typing.
  3. Wrong: Joe, Jamie, and Juanita, research editors Carlos, production editor and Larry, managing editor, offered support for the local magazine.
    (a semicolon is needed in several places to pare off the different categories.)
    Right: Joe, Jamie, and Juanita, research editors; Carlos, production editor; and Larry, managing editor, offered support for the local magazine.

Periods (Chicago Manual of Style 6.12 and following)

  1. Wrong: She set the groceries on the counter and put the milk in the fridge,
    (a period is needed at the end of the sentence, of course. Many times, we get in a hurry and our fingers fly wherever…)
    Right: She set the groceries on the counter and put the milk in the fridge.
  2. Wrong: We wanted to see Mount Ranier while one vacation. (We were told it was gorgeous).
    (periods go inside the sentence if enclosed in parenthesis as a complete thought.)
    Right: We wanted to see Mount Ranier while one vacation. (We were told it was gorgeous.)
  3. Wrong: The Bible says, “He must increase but I must decrease” (John 3:30.)
    (periods go outside of the sentence if the parenthesis is attached to the sentence as a complete thought.)
    Right: The Bible says, “He must increase but I must decrease” (John 3:3).

Using well-placed punctuation marks 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 punctuation in your manuscript, but for now. . . remember, please don’t call the semicolon a “semi comma” as an insurance agent I used to transcribe for called it. Every time he wanted to insert a semicolon, he’d say, “semi comm,” and it just cracked me up!

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

Which of these punctuation marks do you contend with or love?

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How to Edit Modifiers

self-editing, modifiers, tisha martin author editor, fiction, nonfiction

Punctuation Series: How to Edit Modifiers

Presentation is everything, especially when it comes to the publishing world. And your presentation of punctuation is crucial to your book’s success. But punctuation can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar altogether. You’d rather write, right? Right! So let’s continue our 2019 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.

How to Edit Modifiers

Wait a minute, you say. Dangling, misplaced, or simultaneous modifiers does not fall into the category of punctuation. Eh, you have a point. However, might I propose that a dangling modifier has everything to do with commas, and that does point to using the best sentence structure for good punctuation results. Hang on—and I’ll show you what I mean.

Whether you write fiction or nonfiction, take notice. Misplaced modifiers are like the creepy crud of winter, and certainly not meant to be misused in your manuscript.

Why We Even Use Modifiers in the First Place

A modifier use in the beginning of your sentences modifies (or supports) the subject of the sentence. If that’s out of place, your sentence causes a misreading, which is not nice.

What IS a Modifier??

A modifier is a word usually ending in “ing” and is part of a word or phrase. A modifier describes the action or the subject. Feel better? I hope so!

What Are Poorly-placed Modifiers?

  • If the modifier does not describe the subject
  • If the modifier cannot be connected to the subject
  • If the modifier causes the reader any confusion about the subject and the verb’s purpose of the sentence
  • If the modifier happens at the same time the subject is doing the action

Dangling Modifier – does not connect to the subject of the sentence

Misplaced Modifier – is unclear about the action taking place

Simultaneous Modifier – creates confusion because two actions are happening at the same time

Let’s Dive In!

Dangling Modifiers

Sentence:

  • [Running down the street], the construction cones guided the cars

Problem:

  • Well, construction cones can’t run down the street, so this structure is unclear.
    Rewrite:
  • The cars drove in between the construction cones lining the street.
    Reason:
  • We made the cars the subject of the sentence, which it should be anyway, and this is a much clearer sentence.

Sentence:

  • [After offering a slice of bacon], the traveler was nourished to keep going.

Problem:

  • Okay, questions. . . Who offered the slice of bacon? And how can one piece of bacon nourish anyone?? I’d want a heaping pile! This sentence is uber unclear on so many levels!
    Rewrite:
  • After offering the weary traveler a plate of bacon, Rudy saw the man’s strength return.
    Reason:
  • We inserted a clear subject, completed the modifier so that it made sense, and gave the traveler more bacon!!

Misplaced Modifiers

Sentence:

  • The professor wrote a book about his experience in Prague on Saturday.

Problem:

  • Hmm, when did he write the book? Or when did he have the experiences? The action is totally unclear here.
    Rewrite:
  • On Saturday the professor wrote a book about his experience in Prague.
    Reason:
  • We placed the adverb at the beginning of the sentence, which establishes the professor’s action. Now we know what actually happened!

Sentence:

  • I met with my writer’s group where we talked about our characters’ actions on Tuesdays.

Problem:

  • So your characters only have actions on Tuesdays. What do they do on the other days? 
    Rewrite:
  • I met with my writer’s group on Tuesday where we talked about character action.
    Reason:
  • We moved the adverb to when the group actually meets, and we adjusted the subject being talked about so that it made better sense.

Simultaneous Modifiers

Note: I have to say that this one is my favorite because I’ve committed this offense myself, and chuckle now when I catch it. This one truly is a psychological trick, but if we think through each action, this is a super easy fix!

Sentence:

  • Taking her shoes off, she put the milk in the fridge.

Problem:

  • She cannot take her shoes off and put the milk away at the same time. Not even if she’s a main character from your latest sci-fi or fantasy tale—there are certain rules that cannot be broken.
    Rewrite:
  • After taking off her shoes, she put the milk in the fridge.
    Reason:
  • We made the first part past action, and made the second part present action.

Sentence:

  • Hugging her parents, she tore into the bag of goodies.

Problem:

  • Again, this is impossible to do both at once. (No…not even if your character has two sets of hands! It’s just wrong.) 
    Rewrite:
  • Grateful, she hugged her parents before tearing into the bag of goodies.
    Reason:
  • We set each action up as happening separately, with the most obvious order happening first. (Thanking and then opening.)

Using well-placed modifiers is important because presentation and sentence understanding makes a world of difference to an 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 punctuation in your manuscript, but for now. . .

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

What are some of your “pet” dangling modifiers?

Are there any of these sentences you would reword?

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How to Edit Your Character

how to edit your character

first appeared on Almost an Author DECEMBER 22, 2018

We’re into a New Year. Perhaps you finished a novel during Nanowrimo. Maybe you plotted a new story to begin writing in January. New Year, new goals, new story, right? I’d like to touch a little on how to edit your character. This might be something you tuck away and pull out after you’ve finished your discovery draft, or something you’re ready to use if you’ve completed your draft during the November writing frenzy.

I’d like to share a blurb from a well-loved classic to delve into the art of editing your character so that their inner/outer journey, actions, and dialogue is specific to the special person you’ve created. These elements will apply to both fiction and non-fiction.

Jane Eyre by Charlotte Bronte is a leading example of the depth of story through the power of its characters and how each character is important to the plot. We see all of the main elements in Jane’s character that really endear her to us: background, personality, appearance, and journey.

Background

Jane in Jane Eyre came from a horrible background. She thinks she will be nothing more than a servant because that’s what she’s been told as a young girl. However, she desires to be more, and applies at Thornfield Hall as the new governess. And throughout this new experience, we see Jane struggle with feelings of being good enough for her new position, but how she chooses to react to those past situations in light of her interactions with Mr. Rochester eventually allows her to influence Mr. Rochester’s life.

What about your characters? Whether you’re writing fiction or non-fiction, you have many different characters who all play a part in your story. Your main character drives the story, and the other characters enhance what your main character does. What brought your characters to the beginning of your story?

Personality

When Jane first meets Mr. Rochester, she thinks he’s an angry person, but he does not scare her. What does that tell you of her personality? Her background of being treated unkindly and unfairly is characterized in her personality. She is not afraid of Mr. Rochester because she has learned how to respond to less-than-desirable actions from others. Jane’s gentle, firm, and idealistic personality is consistent throughout the novel, which creates a compelling character in Jane, and one that readers admire and love.

What about your story? What motivates your character to do the things they do, say what they say, or react and respond to different events within the story? In a non-fiction manuscript, your character’s personality will enhance the illustrations for each point you’re trying to

make and the content will really come alive for your readers. Developing these elements will ensure your character has a depth of personality that will affect your readers.

Appearance

Jane thinks she is plain, but in the end Mr. Rochester thinks she is the most beautiful person he’s ever seen, even though he has lost his sight due to the fire. Why is this? Jane’s inner character shines through to her outward appearance in her tone, mannerisms, and attitude.

What about your characters? Your readers will gauge your characters’ general appearance (hair color, eye color, skin tone, height), but it’s the inner appearance we create that will give readers a deeper understanding and appreciation for your characters. For example, a reader may find a character’s smile to be endearing, while the character themselves may think that their smile makes them look awkward because they have a crooked smile. When we describe the characters in our manuscript, we may be compelled to give a list of all of our character’s features. However, this type of character description bogs down the story. The trick is to describe characters in a way that is natural, and that is through your character’s actions in each scene.

Character’s journey

There are two kinds of journeys for your character. The inner journey and the outer journey. Each journey motivates the character throughout the story and engages the reader in your character’s life. What is the inner journey and the outer journey supposed to look like? The outer journey is what the character wants, and the inner journey is the inner struggle of that desire.

Jane wants to be treated not as a servant but as an equal. She wants independence, but she also wants someone to love her. The story shows how she displays that independence by standing up to Mr. Rochester’s indifferent attitude toward her. But with her inner journey, her struggle, she fears that she is not his equal because of their class differences, and she also fears that she might lose her independence, even though she desires to marry Mr. Rochester.

What about your characters? What does your character want? What is your character struggling with? What are they afraid of? What do they have to lose? Your characters will go through a series of emotional arcs. Michael Hague describes a character arc as a journey from living in fear to living courageously. Whether fiction or nonfiction, you decide what your character or reader wants. Then you structure the different events that your character goes through with the inner journey of how they are internalizing the events around them based on their outer journey, what they want.

Wrap-Up

The key here is to create a trail of breadcrumbs that leads your readers from Point A to Point B, keeps them guessing at how the character is going to get what they want, and what might get in their way and prevent them from getting what they want. And these four elements of your character’s background, personality, appearance, and journey set the stage for an engaging reading experience that whisks your readers away to a world of characters—and story—your readers will never forget.

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

What’s your favorite character from a novel you’ve read, and what makes that character special to you? How can you enhance your own characters by the characters you read about in other books?

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PENCON 2018: Grand Rapids, Michigan

2018 Conference Review_ for editors by editors

Going from a writer’s conference the end of March to an editors’ conference the beginning of May was drastic. But you know what? I enjoyed both! Call me weird. I accept that descriptor. Gladly.

Gearing up for an editors’ conference is much like gearing up for a writers’ conference. You plan your sessions, choose the editors you’ll make appointments with, and you continue to grow in the craft—yes, craft—of editing, proofreading, formatting, or whatever form of editing you’re known for.

I’ll admit, the atmosphere is not like a writers’ conference. While the atmosphere at a writers’ conference is all about excited dialogue with others about your story, the atmosphere at an editors’ conference is all about excited dialogue about . . . um, well, grammar. And the rules of what makes good editing that shapes a really good book. Think it’s boring? Well, perhaps you might. But I thoroughly enjoyed being with my #grammar nerds and Chicago Manual of Style lovers.

For you writers, you may ask: What do editors talk about?

And to that an editor says, We talk about words, standard editing rules, our authors (it’s all good! We love helping our authors excel and we always find better ways to help them grow as writers), books that meet the expectations of great writing, and we talk about the style books. The manuals. Kinda boring, you might think, especially if you aren’t a word nerd, but not so because we attend editing conferences to help our authors exceed.

It’s a huge circle, this publishing industry. Each piece has an important part. The marketer helps the author, the publisher helps the reader, the editor helps the agent, the author helps the editor . . . do you see? We all support each other. And we all work very hard to produce good quality reading material and get it into the hands of hungry readers.

So . . . what did editors do at PENCON?

We drank gallons and gallons of coffee.

And we listened to and learned from Robert Hudson, author of The Christian Writer’s Manual of Style, deliver poignant lessons on how to be listening editors for our authors and beyond.

We toured Our Daily Bread, a ministry that’s been around since the 1930s. If you’ve never been, you should visit!

Just like writers attend writing sessions, we attended editing sessions. We learned new ways to organize our comments when editing our authors’ manuscripts and learned the importance of copyediting and what it really means to fight for each word or not at all. We explored how a book is made and what that means for the publishing industry. We laughed about editing mistakes and how to handle those hard feedback comments with grace. We learned the ins and outs of The Chicago Manual of Style, 17th edition.

Yes. There was an entire session devoted to a style manual. Not just any style manual, but THE editors’ Bible across the Christian publishing industry. (Other types of publishing have their own “Bible” and may not refer to CMS as their top resource.)

We drank more coffee and had delicious snacks. We recommended books to each other—fiction, nonfiction, style guides and manuals, writing craft books, and editing craft books and online courses and editing networks to join.

We asked questions of and listened to a publishing industry panel share their thoughts about the direction of the industry, what their houses publish, and how publishers can work with freelancers (editors) in a more cooperative and encouraging manner.

We learned how to help our authors market their books better. Yes, Indie Authors, we’ve got your back whenever you have any random marketing question! And some freelance editors are also book marketers or social media consultants.

Overall, I had a wonderful time, reconnecting with friends and meeting new friends. And like writers meeting writers, editors meeting editors seek to make friendships for a lifetime. You never know how you may help someone you met at a writers’ conference, and vice versa.

And to top it off, as the assistant director of PENCON, it was super rewarding to work with Director Jenne Acevedo and to  see all our hard work pay off. To see everyone enjoying themselves, learning, networking, talking about words—brought such a smile to my face. PENCON 2018 was the fifth year for a conference for professional editors. And to see it grow is so much like watering a seed and watching it grow into a rosebush.

That’s why editors attend an editors’ conference. We want to learn more about the craft of editing so we can see words and writers grow, as well as see readers grow. And learn. And love. And laugh. And encourage.

Yes. That’s our wonderful publishing industry.

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Author Interview: Sheri D. Parmelee

suddenly-single-tulip

Hello! Thanks for taking the time to read this blog post. We’re interviewing the wonderful Sheri D. Parmelee, who takes the world by storm — in the classroom and in her practical tips for daily living. I met Sheri at the 2016 ACFW conference, and we hit it off immediately. It was our first ACFW conference, and she was so encouraging to me every time we ran into each other.

Although she’s still seeking representation for her recent unpublished nonfiction book, Suddenly Single, I thought it’d be great to introduce what she’s doing. I hope you find it fascinating as much as I did.

Why did you write Suddenly Single: A Practical Guide to Maintaining Your Household When Your Spouse is NLA?

I wrote this book because my father had lost his wife of 67 years two years previously after a six- week illness and my Sunday school teacher’s wife of 46 years was in the process of dying; neither man had the slightest idea of how to take care of their houses. I still travel from Maryland to Florida once a month in order to clean my father’s condo. At 89, he is not likely to learn how to do it himself. My teacher’s daughters make trips from Pennsylvania and Illinois every two weeks, to cook two weeks’ worth of food and clean his home. I finished the manuscript the day after my teacher’s wife died; her illness was six months long.

While doing research for the book, I learned that many widows are in similar situations but on the opposite side of the discussion. They have no idea how to complete basic maintenance on their homes because their husbands “always did that.” Additional study showed me that both sides of the domestic equation need basic financial planning information and the book was born!

What do you love best about Suddenly Single?

What I love most about the book is that it can help someone answer the question “What do I do now?” It takes a very helping-hands approach to getting the individual organized and on track.

What was the most work for you during the process?

The most work for me was learning what my husband does to maintain our home. I had no idea about the steps in unclogging a rain gutter or mowing the lawn or keeping rodents at bay.

What did you learn from the process?

I learned from the process that there are many things that we each take for granted that our spouse does without comment.  I had previously written (and just had published) my dissertation on indirect communication and House, M.D., so I knew how to write but this self-help book was a different type of writing than the academic writing I was used to doing.

How long did it take for you to complete Suddenly Single?

It took me 6 months to complete my manuscript for Suddenly Single. I know you aren’t supposed to say that “it wrote itself,” but it really did come to me pretty easily, once my research was complete. It was a joy to write because I could picture the recently-bereaved individual picking up the book and finding answers to the most basic questions. Yes, someone could look things up online but many times we don’t know what we don’t know. This book tells that person what he or she needs to know about and then how to do it!

You’ve chosen a catchy topic. What inspired you toward the topic?

I was inspired to use the title Suddenly Single when I was talking to a friend about the book. I hadn’t come up with a title at that point in time, but I looked at her and asked, “What would you do if you were suddenly single?” That was the title that fit!

What kept you going?

The thing that really kept me going during the research and writing process was the feeling that I had information that could be shared with someone after he or she had emerged from the darkest days of his or her life. It was a very practical way to help someone I had never met and it totally motivated me to continue the writing process. It was truly a labor of love to help those who I got to know through the numerous interviews I did while researching the topic.

What has been the hardest thing about the process so far?

The hardest thing about the process has definitely been the search for the right literary agent. At a recent conference, three out of the four agents I pitched the book to wanted to read the manuscript, but I am still waiting to hear back from them.  The agent/writer relationship is like a marriage, so it is vital that the right agent and I are matched.

An influential person who inspired you to write or helped you along the way.

The person who inspired me the most during this writing process has been my sister-in-law Nancy Dean. She has read the manuscript from the very first draft and offered priceless advice about the writing and my approach to the various topics in the book. She also arranged several interviews with folks she knew would offer professional insights into things such as lawn maintenance and rodent removal.

What was your research path?

My research path began with “what do I know that I wish men knew about cleaning the house, the clothes cleaned, and the family fed?” It went from there to “what financial plans does everyone need to have in place?” It finished with “what do I need to know to maintain the house if something happens to my hubby?”

What is inspiring to you?

I am inspired by people like Emily Barnes, who wrote about home organization many years ago.   The late Erma Brombeck is also a hero of mine; I approach the topics in Suddenly Single with some of the humor that I hope emulates her style of writing.

Any encouraging word?

My book offers guidance on organizing and maintaining one’s home and argues that someone with no background in these types of chore can learn how to do these tasks efficiently and effectively. As a result of lessons learned herein, readers can become more confident in their ability to get their lives and homes under control. The panic that they initially felt should subside, being replaced with the calm self-assurance that their lives are now more organized than they previously thought possible.

Suddenly Single is for Baby Boomers who become unexpectedly unmarried. The Census Bureau states that as of 2013, there were 44.7 million Boomers aged 65+. Of these, 24.7% were widowed and 16.7% were divorced or never married. This equates to more than 18 million people! They usually played specific roles in their families; many of them are clueless about household management. My amusing book beats searching websites to learn how to clean, control finances, or shop for groceries.

Thanks for sharing with us about your book that’s in search of a home , Sheri! I’m excited to see what will happen in the future.

About Sheri D. Parmelee, Ph.D.

Sheri has undergraduate degrees in English and Communication from the University of Maryland College Park. She has an MBA with an emphasis in leadership from Liberty University and a Ph.D. in Communication Studies from Regent University. Since 2006, sheri-parmelee-bio-photoSheri has been adjunct faculty member for three different colleges. When’s she’s not teaching, she’s caring for her father who became suddenly single, speaking at academic conferences. She shares many of her own experiences on her blog through humorous tales of driving with bald tires and a clicking engine; these days, she drives with a bald man and clicking joints.

You may learn more about her and download a free chapter of Suddenly Single from her website www.Suddenlysingletips.com and glean many practical tips available on her blog at www.practicalmakesperfect.com.

Photo Credit: Unsplash.com

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