When I decided to self publish I knew I would need an editor. As much as I love writing and creating stories, English language was never my best subject at school.
I wasn’t the worst but I wasn’t top of the class either. Even if I’d been good at English I’d still need an editor, because people miss their own mistakes.
Once ready for an editor, I was over whelmed by how many different types of editors there are. For Ocean Heart, I used many rounds of Beta Readers, and two rounds of professional edits, and used a professional formatter.
I chose to use Avery McDougall as my copy editor.
Developmental Editor
Avery McDougall was my Developmental Editor. I wrote a blog post about my experience and included her comments in my Behind the Character series.
Why You Need A Developmental Editor
What is copy/line editing?
The two terms are often used interchangeably as they are similar and it’s important to check what your editor means so you can ensure what you are paying for is what you expect.
Copy Edit: Unsually involves checking SPAG, readability, and clarity. They may highlight where it’s not flowing right.
Line Edit: Usually focuses on the content and use of language. They highlight inconsistent style, where pacing is too fast/slow, if you’ve overused a word (or repeating yourself).
If you can afford both, do it. Traditionally published books will have a copy edit, then a line edit. If you can’t afford both, don’t skip the copy edit. Your spellchecker is not enough.
How I chose my Copy Editor
Avery was at the top of my list as I’d already had such a good experience with her, but I did consider letting another pair of eyes run over my manuscript.
Budget: This was a big deciding factor. I had a limited budget and had to operate within my means.
Recommendation: Connecting with other indie authors gave me a good source of recommendations, many are listed in the World Indie Warriors brochure.
Expertise: All of them had experience as an editor. One was new, but had already built a portfolio and I’d attended a workshop she did which helped build trust. But, Avery was the only one that specialised in YA.
I went with Avery as she ticked all my boxes and was already familiar with my book. As she does writing workshops with teens, she also has a close relationship with my target audience.
My experience
I paid Avery for a copy edit. But, it definitely over lapped into a line edit. For example, she highlighted a scene where the emotional impact needed work, and another scene where my character came off rude towards her friend.
Through Avery’s comments I learnt a lot about my writing. Once I’d actioned her feedback, my novel was definitely better.
Unofficial Proofreader
I wish I could have afforded a line edit but my budget was maxed out. Avery didn’t get to see it again, as I went ahead with my next step – formatting. Once formatted, I sent it off to my ARC readers.
One of my ARC readers was author Cassidy Reyne. She did an unofficial proofread for me. I didn’t ask her to do it, she’s just sweet like that.
As I’d already paid Ingram to publish Ocean Heart (it was on preorder) there was a fee to amend the files. I paid it because I wanted my book to be as perfect as possible. I’m so thankful to Cassidy for letting me know.
For my next book, I will seek out Cassidy’s eagle eyes – if she has time. If not, I will consider getting a professional proofreader.
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[kofi]
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The last Behind the Book interview for 2020 was part of R. J. Blaine’s Blog Tour for her book’s release. It was organised by Xpresso Tours and they created the blog banner.
