Obtaining Your Own ISBNs

For those who are self publishing, if you are using portals such as Draft2Digital or Amazon KDP, it is highly attractive to use the free ISBNs available through those publishing portals. For some writers, the cost of the ISBNs is something that is not in the budgets. But those free ISBNs are not registered to you. They're not something that you can take with you when using another publishing portal. And if you were to run an ISBN search, you would not be listed as the publisher.

In today's post, we are going to talk about the importance of sourcing your own ISBN numbers if you are self-publishing your books.

Finding the Right Editor

Within my various writing groups (mainly online), it's not surprising that I encounter a variety of interactions about finding an editor. While some know that I'm an editor too and not just a writer, when I take part in these conversations, it is only to pass on my knowledge and experience about the things that writers should ask when seeking to hire a freelance editor.

The questions below are general. You might not need to ask every question, but getting the answers before you work with an editor will help to go a long way in forging a healthy working relationship with your editor.

In fact, these questions can apply to any freelancer that you might hire to be part of your team, be they a cover designer, book formatter, publicist, and, to a lesser extent, an agent. (Yes, an agent is technically a freelancer too.)

Within this post, when possible, I have also included my answers (as the editor).

Your Roles in Your Writing Business

No matter how you look at it, if you are heading down the road towards publication, then you are running a writing business. Most of us don't start out thinking of it that way. We just want to write. But with publication comes money, taxes, marketing, and sometimes hiring others.

I have written on this topic before, highlighting how this whole running-a-business thing tends to just creep up on us. But for today's post, instead of focusing on how we are all little business owners, I want to delve into the different hats that we all need to wear.

Editing Costs and Expectations: Insider’s View of My Editing Process

It would appear that yet again I have found myself in a situation where a client might have had different expectations regarding the cost of editing. It was actually a disconnect between what I was contracted to do (and my editing process) vs what they thought I should be doing. However, regardless how you look at it, everything comes down to the cost and value of the editor's time.

I see it time and time again. There is this expectation for the editor to do more work than they have time allotted for and to be paid the same amount of money for that "more" work. This results in a devaluing of the editor's time. Believe it or not, this is the Number 1 gripe among editors.

We want to be of value to our clients, but we also have to make a wage that will actually pay the bills. So, many editors will develop practices that assist them to get through the workload faster.

Today, I want to discuss what my editorial process is like—how I do things.

My process is based on over five years of experience of working as a developmental editor. It is about ensuring that I provide the best value for money while at the same time keeping the number of hours required to do the job to a minimum.

Please note that every editor is different, so my process is not necessarily the same process as another editor.

Sample edits are at the editor’s discretion

A few months back, I was approached by a writer to do a developmental edit, which isn't anything out of the ordinary. I am a developmental editor, after all. But there was something in that initial communication that really didn't sit well with me.

I've written about this before, how those initial communications with a writer will tell me what type of client you're likely to be. And this one…

The email dripped with entitlement and superiority, making me question whether this particular writer was even ready to hear criticism about their writing.

It was a random email that seemed to have come out of nowhere with a file attached (an OpenOffice file, no less). There was zero information about the manuscript—no genre, no word counts, no synopsis, no summary. Just negative commentary, saying that they were unable to find my prices on my website for developmental editing (which is odd, because I know for certain that they are there—and in an easy-to-find location too). But there were also the following lines in the email.

"After I receive my sample back, I will wait for a week until I'll let you know if I'm interested or not.

Thank you for your time, and I wish you best of luck!"

So… Zero information about the project and this underlining demand for a sample edit. To top it off, there's the attitude that suggested a person who thinks editors are just waiting around for clients to give them the privilege to edit the writer's work.

Did I mention how those initial communications can tell an editor about the type of client you're likely to be?

Had this particular writer approached things just a little differently, they would have likely gotten more than just my boiler-plate quote and the comment that I don't offer free sample edits.

There are soooo many things wrong with this particular opening communication, the most important of which is the assumption that all editors will provide a free sample edit when a client demands such.

But sample edits are at the editor's discretion. And of those editors who do offer free sample edits, not all of them will edit any old sample you send them.

It's time to get down to the realities of sample edits.

Editing software can never replace an editor

Editing software will never replace the trained eye of an editor.

I'm an editor, so of course I'm going to say that. But I'm not saying it because I want to keep my job. Sure, there is a desire to always have money coming in, but it's more than that. I make this statement because I honestly believe it—as a writer.

When talking about editing software, I'm talking about the different apps like Grammarly, ProWritingAid, Hemingway, AutoCrit, and one I recently discovered, Fictionary.

I will be the first to admit that these programs have their uses. For a writer who is floundering in the dark, they might add a little direction. But for the writer who really doesn't know their craft, these programs can do more harm than good.

For any writer wanting to learn their craft and take their writing to the next level, nothing will replace the eye of another human being.

It's time to talk about all those automated programs that are floating around and point out the flaws—and why they can't replace a human editor.

Editors talk to one another.

In my most recent blog post, I wrote about how initial communications with editors are important in forging those editor/writer relationships. From those initial emails, we get a sense of what type of client you'll be.

But there was an aspect to those initial communications that I had alluded to but didn't say. The truth of the matter: editors talk to one another.

We have support networks of our own, and we will lean on each other for support. And we talk to one another about our clients—both the good and the bad.

A good editor would never give out identifying information without the client's permission, but if we encounter a problematic client, we will seek advice from the collective brain trust on what to do. And if we encounter a client who is the client from hell, the red flags are sent throughout the editing community.

I have seen many of these red-flag posts over the years.

But there is a flip side to this too. For those clients who are lovely to work with, we'll bend over backwards to help in whatever way we can. If we're unable to fit them into our schedules, or if we don't work with their genres, we'll help them find another editor. And when our clients have books that are coming out, we will help spread the word.

If you're reading this post, I'm hoping that you want to be classified as a client we editors bend over backwards for. Well, here's how to get onto that list.

BE NICE.

PAY YOUR BILL.

It's that simple.

Initial communications say more than you know

Don't delude yourself: first impressions matter. We judge people by those first few seconds and it is incredibly difficult to change someone's opinion after that judgment has already been made.

"Don't judge a book by its cover." Yet, we do it ALL THE TIME.

There are countless examples where first impressions matter. But the one arena that people tend to forget about is digital communications (email and social media). It has become way too easy to send off emails, treating it like a text message with a friend rather than a business or formal method of communication.

While I can rant until I'm blue in the face about social media interactions, I've already taken the time to look at how one's messages could be a turnoff without even knowing it. Please read that post from last year, because for social media, you need to focus on your target audience and ignore everyone else.

Today, I want to focus on email communications and the hidden messages that exist in those lines of email.

I will be taking examples from some of my communications with prospective clients, paraphrasing and hiding identity of those email writers, but I want to give you some insight into the subtext I garnished from those emails.

When Do You Become An Author?

The debate about whether a person is an author or a writer seems to come up frequently. There are those who insist that there is a distinctive difference between the two, something that I have discussed before on my personal blog.

For those who can't be bothered to delve into the depths of my personal blog, according to the Merriam-Webster Collegiate Dictionary, a writer is one that writes (I still want to change that to one who writes, but we move on). Whereas, an author is one that originates or creates or is the writer of a literary work (as a book).

Based on these definitions, I'm stand strong by my belief that a writer is a person who writes. I despise the term aspiring writer, because there is no aspiring about it. You either write or you don't. It's that simple.

However, the transition to the author title is not as clear cut.

Exactly when does a writer become an author?

Writing is a Business

There comes a point in every writer's career when they need to start making decisions about what their writing means to them. They need to examine their goals and strategize on how to get there.

For many writers, there is a shift in mindset, where writing moves from being a hobby to being a business.

Before I go much further, I do need to stress that there is nothing wrong with writing as a hobby. I know of a few hobby writers, and they are extremely knowledgeable about the craft. However, if you are looking at publication with the intent to sell your books (and I do mean books plural), then you have migrated past being a hobbyist and into the realm of running a writing business. Exactly how that business looks will depend entirely on your goals and ambitions.

This decision about making writing into a business can come very early within a writer's career, and it should. It doesn't mean that it has to suck all the fun out of writing your stories, but it will help you focus your activities, hopefully becoming more productive and working towards your goals.

So, let's take a look at what writing as a business really means.