The surprising part for some admirers may have been that Julia Child’s masterpiece wasn’t entirely her own doing. Two French writers and chefs she met while living in Paris brought Julia Child on to help them complete their masterpiece.

At the advice of a good friend and American author, Simone Beck and Louisette Bertholle were told to: Get an American who is crazy about French cooking to collaborate with; somebody who both knows French food and can still see and explain things with an American viewpoint in mind.

Enter Julia Child.

After Julia Child signed on, it was nine years before Mastering the Art of French Cooking would hit stores. While the trio knew the entire process would be a major commitment, most writers think it’ll be a few years, tops. Tell them it would take almost a decade like it did Beck, Bertholle and Child, and they’d throw in the towel. However, a few publishing lessons from their journey may help reframe your own and give you the inspiration to push ahead.

It’s Not Personal, It’s Business

Beck’s and Bertholle’s cookbook was 600 pages when they invited Child to be their partner, and they were swimming in overwhelm. A freelance editor had been working with the two for a few years with the goal of releasing a series of recipe pamphlets to build excitement about their full collection. He published a small version of the project without their permission and quickly disappeared — along with their publisher.

With no signed contract, the duo was left to complete “The Book”, as they called it, on their own. Which is why they needed Child more than ever. 

Through an unlikely series of events stemming from a Harper’s column and a set of knives, Child sent their chapter on sauces to Avis De Voto, the wife of a Houghton Mifflin published author. When Beck and Bertholle’s original publisher came back, Child was firm that they owed him nothing and should move on without him.

Houghton Mifflin bought the cookbook, but ultimately decided it was too long to publish in the end. Child and company had previously agreed to condense their work, but the completed work was a staggering 750 pages. However, their champion Mrs. De Voto believed she could have luck sending the manuscript to another publishing house, Knopf. 

Besides that, Houghton Mifflin broke down the cost, and it didn’t make sense on paper. They believed what the three women had accomplished was extraordinary, but they couldn’t justify getting behind such a large project at the moment. 

As much as the publishers had to do what was best for them, Beck, Bertholle and Child also had to keep their interests in mind. They were open to new opportunities and finding the best possible home for “The Book”, which led to their success.

Publishing is All in the Timing

Not everyone is going to like your work, and even if they do, it might not be the right for them at the time. It was 6 years between the time the book was sold to Houghlin Mifflin and when they decided to end the agreement. At the time, Houghlin Mifflin cookbooks were kitschy themed ones, rather than “serious” books for home cooks.

It brought up some valid questions for Child:

• Was it too late for a book of their caliber?
• With simpler cookbooks on the market, would home cooks want to master intricate details?
• Did Americans even care about French cooking?

Some books are breakout hits because they enter the market at the right moment. While others may be brilliant, but not what the public or publishing houses are looking for.

However, at Knopf, they didn’t have any cookbooks slated for release. The manuscript landed on the desk of editor Judith Jones, who brought The Diary of Anne Frank back to life from the slush pile. Jones made a few of “The Book’s” recipes and was hooked. She also had lived in Paris after World War II, so she shared the group’s passion for the project. Another editor who was behind The Joy of Cooking hopped on board too. Finally, the pieces were fitting together.

Timing is a tricky beast. It’s hard to remember when you’re not getting the answers or movement on your project. Knowing what’s happened for other authors though can give you some hope as you’re figuring out the timing.

Be Your Own Publicist

When you imagine your work on bookstore shelves, your dream probably also includes a press tour. You can’t wait to get on your favorite podcasts or local networks to gab about your book and why folks should pick it up. The hosts will find you charming, and the listeners will love it and you. So, let’s get on with it already!

What you probably aren’t imagining is that you should be prepared to make all the above happen — on your own. Depending on the project and contract, publishers may be able to put a solid publicity plan in place for you. However, publishers also want to know that you plan on helping with the marketing for your book. 

In fact, when Mastering the Art of French Cooking was released, Knopf ran some ads, but the rest of the publicity fell to Child and Beck (Bertholle had taken a smaller role by that point). They were clueless as to how to create a promotional tour. So, they bootstrapped their efforts for multi-city pop-up cooking classes and signings with help from friends in said cities. The power of a good network!

Within a month of the book’s release, a second printing was ordered. Yes, timing plays a role in every release, but you also don’t know who could see or share your work. 

This is why an author platform is a key to getting your book sold. As much as you love the craft of your work, book writing is a business. Learn to love promoting your work. Know how to talk about it and pitch it. The worst thing that could happen is someone tells you ‘no’.

Publishing is ever-evolving and can seem hard to pin down. It requires specific amounts of passion and detachment, which become elusive in a long process. Knowing expectations and having a positive mindset can be the difference between success and “failure”.

As Julia Child said best: “…all I know is this—nothing you ever learn is really wasted, and will some time be used.”

Amanda Polick is a writer and book coach for food and entertainment professionals based in Nashville, Tennessee. Her work has been featured by Cooking Light, Food & Wine and Time, and she’s currently working on her first novel. To connect with Amanda or to get weekly writing and life inspiration, you can find her at https://amandapolick.com. 

The post Publishing Lessons from Julia Child’s My Life in France appeared first on DIY MFA.

Aside from whether to pursue the traditional publishing route or self-publish, the most frequently asked question I receive from those looking to publish is how much money my book made. The price of publishing comes in different forms – what was your cut, how many copies have you sold, has the book been doing well? Essentially, it all boils down to one simple query: was it worth it?

I always tell writers who ask these questions if their goal of publishing is to make money, then they definitely shouldn’t publish. Publishing a book will not make you rich. In fact, the royalties probably won’t be enough to make your student loan payment. When it comes to the price of publishing, so many are focused on the ROI, they forget “I” stands for investment. And you can’t get a return unless you invest.

Defining Success & Paths to Publication

Aside from evaluating why you want to publish, another important question writers need to ask themselves is “What does success mean to me?” Is success getting on the bestseller list? Is success selling a million copies? Or is success simply finishing something? Your idea of “success” has a drastic impact on your chosen path to publication, which then affects your investment.

Now, while I could probably talk all day about the different paths to publishing, we’re only going to take a little crash course here.  It’s important to understand how the paths to publication affect how much the writer will need to invest in making their book a “success”. 

The appeal of the traditional publishing route is the Big 5 publishing houses have spent decades cultivating connections within the literary community, which they use to promote their authors and their books, and usually have big budgets to back that promotion up. Independent publishers also have connections, but usually smaller budgets and less human power which puts some of the burden of making the book a “success” on the writer. Self-publishing, on the other hand, the writer is typically on their own from start to finish.

The Price of Publication

To give you a little background on where I’m coming from, I’m a first-time author whose book was published by an independent press. Here are some of the costs I encountered on my path from contract to bookshelf.

Website

These days, the thing you absolutely must have is a website. Fortunately, where are so many service providers such as WordPress, Squarespace, and Wix who make it easy to create a website, even if you’re not the most tech savvy person. However, the more fancy you get with it, the more costs can add up. Purchasing a domain name, monthly hosting fees, and design-related expenses can put you in the hundreds and go up to thousands of dollars.

Publicity

Whether you’re being published by one of the Big 5 or self-publishing, one thing is true everywhere: at the end of the day, getting your book out there is 100% on you. The costs no one tells you about are the time, effort, and energy it takes to get your book out there.

Even though I already worked full-time, promoting my book was the full-time job I worked after I clocked out of my 9-to-5. I spent countless hours carefully curating Instagram posts, sending messages to Instagrammers and bloggers, and planning a calendar of content designed to engage and pique the interest of readers.

That’s not an option for everyone, though. Publicity and marketing consultants are more than happy and qualified to help you navigate social media, make meaningful connections, and get your book out there…for a price. However, you’ll be happy to know that no matter what your price range, there’s a pot for every lid.

Giveaways

My publisher gave me a single box of 44 author copies for free, the rest I purchased at the author rate, which was still pretty substantial. Shipping fees, packing materials, and ads for giveaways quickly put my bank account in the red.

Final Thoughts

In the beginning of this article, I told you all this boils down to one simple query: was it worth it? I guess it’s only fitting that I answer. At the end of the day, my book ended up costing me more than it made back in terms of straight dollars and sense. However, my social media promotions allowed me to build an audience of people anxious for my next book, my website gets a decent amount of traffic, and I managed to have an email exchange with one of my favorite authors. Was it worth it? Absolutely.

LAUREN J. SHARKEY is a writer, teacher, and transracial adoptee. After her birth in South Korea, she was adopted by Irish Catholic parents and raised on Long Island. Sharkey’s creative nonfiction has appeared in the Asian American Feminist Collective’s digital storytelling project, First Times, as well as several anthologies including I Am Strength! and Women under Scrutiny. Inconvenient Daughter is her debut novel, and loosely based on her experience as a Korean adoptee. You can follow her at ljsharks.com.

The post The Price of Publishing appeared first on DIY MFA.

Today I am so excited to have my good friend and mentor Jane Friedman on the show!

Jane has 20 years of experience in the publishing industry, with expertise in digital media strategy for authors and publishers. She is the co-founder of The Hot Sheet (my go-to resource about the industry), is a columnist for Publishers Weekly, and has been interviewed on many prestigious media outlets like NPR, PBS, and The Washington Post.

In addition to all these accomplishments, Jane has delivered keynotes and presentations on the digital era of authorship at major writing events and today she is here to share her expertise with an inside look at her new book The Business of Being a Writer.

Listen in as we chat about the topic Jane discusses in her book and the ins and outs of the business side of writing most creatives don’t often talk about but need to hear.

In this episode Jane and I discuss:

• Bridging the divide between art and business.
• Developing your own marketing strategy to make a living as a writer.
• Understanding the truth about how the publishing industry works.
• Tips for building your own business model.
• How to be entrepreneurial in your writing career without being an entrepreneur.

Plus, Jane’s #1 tip for writers.

About Jane Friedman

Jane Friedman has 20 years of experience in the publishing industry, with expertise in digital media strategy for authors and publishers. She’s the co-founder of The Hot Sheet, the essential publishing industry newsletter for authors, and has previously worked for F+W Media and the Virginia Quarterly Review. She has been interviewed and featured by NPR, PBS, CBS, The Washington Post, the National Press Club and many other outlets. Her speaking engagements have taken her around the world to Germany, Switzerland, Italy, Canada, Mexico, and the Caribbean.

In addition to being a columnist with Publishers Weekly and a professor with The Great Courses, Jane has delivered keynotes and presentations on the digital era of authorship at major writing events, such as the Writer’s Digest conference and The Muse & The Marketplace, as well as industry shows such as Frankfurt Book Fair, BookExpo America and Digital Book World. She’s also served on panels for the National Endowment for the Arts and the Creative Work Fund, and has held positions as a professor of writing, media, and publishing at the University of Cincinnati and University of Virginia.

Jane’s latest book The Business of Being a Writer is from by the University of Chicago Press and is available now.

To connect with Jane check out her website at janefriedman.com

The Business of Being a Writer

Writers talk about their work in many ways: as an art, as a calling, as a lifestyle. Too often missing from these conversations is the fact that writing is also a business. The reality is, those who want to make a full- or part-time job out of writing are going to have a more positive and productive career if they understand the basic business principles underlying the industry.

The Business of Being a Writer offers the business education writers need but so rarely receive. It is meant for early-career writers looking to develop a realistic set of expectations about making money from their work or for working writers who want a better understanding of the industry. Writers will gain a comprehensive picture of how the publishing world works—from queries and agents to blogging and advertising—and will learn how they can best position themselves for success over the long term.

If you decide to check out the book, we hope you’ll do so via this Amazon affiliate link, where if you choose to purchase via the link DIY MFA gets a referral fee at no cost to you. As always, thank you for supporting DIY MFA!

Link to Episode 194

(Right-click to download.)

If you liked this episode…

Head over to iTunes, Stitcher Radio or Google Play and subscribe so you’ll be first to know when new episodes are available.

Also, remember that sharing is caring so if you know anyone who might enjoy this podcast, please tell them about it or leave us a review so other listeners will want to check it out.

Until next week, keep writing and keep being awesome!

The post Episode 194: The Business of Writing — Interview with Jane Friedman appeared first on DIY MFA.

Today’s episode is especially awesome because I’m interviewing Joanna Penn, author and creative entrepreneur. She is the mastermind behind The Creative Penn, one of the top 10 sites for writers and has penned several nonfiction books helping writers build their platforms. She also writes thrillers under the pen name J.F. Penn and is a self-publishing superstar. I am so thrilled to have her on the show to speak about self-publishing and the business side of being a writer.

To hear me and Joanna geek out over writing, marketing and other bookish things, listen in here:

In this episode Joanna and I discuss:

• Deciding to self-publish and how to learn the ropes
• Defining what you consider success in your craft
• The business side of writing
• How marketing can be creative and collaborative
• Figuring out the target audience for your book

Plus, Joanna’s #1 tip for writers.

Link to Episode 106

(Right-click to download.)

Check out Joanna’s fabulous books on the business of writing.

Joanna’s books on marketing are among my go-to resources. My favorite is Business for Authors: How to Be an Author Entrepreneur, which breaks down the business aspects of writing into small, manageable chunks. While I recognize that not all authors want to be entrepreneurs per se, we all need to adopt an entrepreneurial mindset and treat our writing both as an art and as a business. Joanna’s books can show you how to do just that.

Her latest, The Successful Author Mindset, digs deep into the writer’s mindset and unpacks all those hurdles writers face to help you reach success . A writer after my own heart, Joanna is not one to waste time (or words) on fluff. Every book I’ve read by her is to the point and jam-packed with actionable advice.

As with most of the to books we recommend at DIY MFA, the above are Amazon affiliate links. This means if you choose to purchase one or more of Joanna’s books via those links (which you totally should, by the way) then DIY MFA will get a small commission at no cost to you. Thank you for supporting DIY MFA and our featured authors!

Unleash Your Storytelling Superpower!

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Get an in-depth look at 4 character archetypes.

• Learn about their strengths and their weaknesses.
• Find out how to develop stories that create the most dramatic conflict for these archetypes.
• Discover how to implement these ideas to create memorable stories that resonate with your readers.

Sign up for FREE at:

DIYMFA.com/STSPvideo

If you liked this episode…

Head over to iTunes, leave a review, and subscribe so you’ll be first to know when new episodes are available. Also, if you know anyone who might enjoy this podcast, please share!

Until next week, keep writing and keep being awesome.

The post Episode 106: How to Be an Author Entrepreneur – Interview with Joanna Penn appeared first on DIY MFA.

1) Think outside the box

A highly regarded  literary agent once told me that many well written manuscript submissions cross his desk but it’s those with a unique premise that really get his attention. Slush piles brim with tired themes  – serial killers for example are a dime a dozen. So that topic has had its day – right? Set the manhunt in the middle of the worst hurricane to hit the U.S. east coast in decades, as one new Canadian crime writer has recently done, and you’ve given readers a whole new look at the subject. It’s worth spending the time to craft an irresistible premise.

D.J. McIntosh, National Bestselling author of historical thrillers:The Witch of Babylon, The Book Of Stolen Tales, and The Angel Of Eden

2) Let it flow

The best advice I’ve received is to write a first draft as quickly as you can. I’ve found that my best storytelling happens not when I worry over every line and detail but when I allow story to erupt out of me—messy and unplanned. A first draft is not the finished product. It’s not a product at all. It’s an explosion of primal thought, and no explosion is neat.

Therese Walsh, award winning author of The Moon Sisters, The Last Will Of Moira Leahy, and creator of Writer Unboxed

3) Take Your Time

Don’t publish too soon. Too many new writers today are publishing because they can, and before they are ready. Take at least one good novel writing course. Learn about plot structure, viewpoint rules, the need for believable motivation and how to write dialogue. Take the time to learn your trade.  Just as a painter wouldn’t expect to sell his very first painting, a writer shouldn’t expect to sell his first work. Learn the craft.  And then – be fearless.

Melodie Campbell, author of the award-winning mob caper series, The Goddaughter

4) Know Thy Tools

Scrivener rocks. Yes, it looks complicated. Yes, you’ll probably need to take the two hour tutorial. But if you’re serious about writing novel length works, Scrivener is a godsend. Looking for a specific passage you wrote three months ago in a cornfield of fifty thousand words? Easy peasy. Want your outline visible and research and links a click away? No problem. Need to format your manuscript into a DOC file (or EPUB or MOBI or PDF or RTF) in two minutes flat? Done. Believe me, the benefits far outweigh the learning curve. ‘Nuff said.

Tanis Mallow, author of Murder At The Beach

5) Enjoy the Ride

Do it for yourself. Write for you, because you love it, because writing makes you happy, because there is no other way you’d like to spend your time. Life it too short to have it any other way. Oh, and read A LOT.

Dee Willson, author of A Keeper’s Truth, launching worldwide February 2016, and GOT (Gift of Travel)

Now that we’ve shared our best tips with you, pass them on! One of the greatest things a writer can do, is help another writer.

………………………………………………..

Dee Willson felt the writer’s call at fifteen, when she penned her first novel and received her first rejection to go with it. Over twenty years later, Dee Willson has published short stories, interviews, contributed to blogs, and wrote the novel A Keeper’s Truth, followed by GOT (Gift of Travel). She currently resides in Burlington, Ontario, with her husband and their two daughters. Visit her online at www.deewillson.com and on Twitter @denisewillson

The post #5OnFri: Five Tips of the Trade appeared first on DIY MFA.

BEA is the Big Kahuna of trade shows in the US. If you’re in the book business, this is where you want to be. This event is centered on BOOKS, but writers can get a lot out of the expo as well. Because there’s so much going on, though, it can be a little overwhelming. Fear not! This Book Expo survival guide episode will give you all the inside details on how to make the most of this event.

The best thing you can do before you go to BEA is define your goals and map out your strategy. At DIY MFA, my big goal is to connect with book publicists so I can set up more great podcast interviews with amazing authors. In addition, I keep my eyes open for overall book trends and themes to feature on our Five on Friday column (#5onFri). Plus, I’m always up for making new friends and meeting fellow book lovers.

BEA is a industry only event which means that as an unpublished author, you would have a hard time getting a badge. But, if you review books on your blog, you could get a blogger pass and go to BEA with the goal of discovering new books to review. For a book blogger, BEA is a great place to find content, whether that be about specific books or authors, about industry trends, or about other facets of publishing.

Even if you know what your goals are for BEA, these are a few survival tips you should keep in mind. Listen in to get all the details.

Book Expo America Survival Guide 2015

1) Focus on what you can offer.

It’s easy to go nuts over all the galleys and swag, but don’t get caught up in the “mine, mine, mine” mentality. Focus on offering value, not taking it. Remember not to offer what you can’t deliver. This means, if you say you’re going to review a book for someone, you’d better review it. If you only review books you liked (so you refrain from reviewing arcs you did not like) be up front about that.

Keep in mind that as an author, you’re not there to foist your wares. BEA exhibitors are selling their books to buyers and librarians. Chances are you’ll be interacting with marketing and publicity people (editors and agents are more likely to float around the show or be in private meeting rooms). This means the people you run into on the show floor aren’t the ones who could make a decision about buying your book, anyhow. Be professional and be courteous.

Most importantly, have a real conversation with the people you meet. Make friends. Book Expo is how I’ve met a number of wonderful authors and industry professionals whom I’ve had the pleasure staying friends with over the years. These connections are worth more than any marketing pitch.

2) Develop your PITA (Pain In The @$$) radar.

Make sure that you aren’t being a PITA! Think about the needs of the person you are talking to and respect others’ time. One way that I make sure not to be a PITA is by using the 3 minute rule. After 3 minutes of conversation, I thank the person for their time and ask if I can follow-up via email. At this point they either hand me a business card, or say “it’s OK, I can keep talking.” Either way, it’s a win.

If you’re shy like me, here are a few other networking tips:

1. Say something nice.
   Never underestimate the power of a kind word. When in doubt, a compliment is a great ice-breaker. But remember to be authentic. Don’t say something just to say it. Make sure you actually mean it.
2. Act professional.
   It’s easy to get caught up in the Literary Super-Dazzle (LSD as I like to call it). Galleys, book signings and celebrity authors… it’s enough to make even the best of us lose our cool. Just make sure to respect the rules and the people around you. Don’t lose your head and start snatching up books, cutting people in line, and causing a scene. Honestly, that just makes you look like an amateur. As long as you keep your wits about you and behave like a grown-up you’ll be just fine.

3) Plan in advance.

I spend about a week before Book Expo just planning out my itinerary and scheduling meetings. This is a big event and it goes by fast so make sure you plan in advance. Follow #BEA15 on Twitter to see who else is going, find out schedule updates, and plan what you don’t want to miss. Also, check out the following links for updates on can’t-miss galleys and events.

• Publisher’s Weekly: Children’s Galleys
• Publisher’s Weekly: Adult Galleys
• Kirkus BEA 2015 Guide
• School Library Journal Guide to ARCs and Signings

4) There’s more to BEA than what is on the show floor.

Check out panels and other talks going on in the basement of the Javits Center. Also check out the BEA Bloggers Conference, uPublishU, and several other conferences going on at the same time. (Some of these require an additional ticket.) I’ve attended the blogging conference in the past, and definitely found it valuable when I was starting DIY MFA. In addition, if you’re an author looking to connect with bloggers, the Blogger Directory for that conference is an invaluable resource!

I myself am always excited to check out the book buzz panels (where editors talk about the book on their list with the most buzz). This year the tech-geek in me can’t wait to check out some of the talks on multimedia, too.

5) Bonus logistical tips.

The Javits Center is basically in no-man’s land on the West Side. There will eventually be a subway stop there (who knows when that will ever happen) but for now, you might as well be in Siberia, you’re so dang far from the rest of the city. Whether you attend BEA for one day or for the entire conference, make sure to keep these basic things in mind:

• Be prepared to eat your meals at the food court, because there aren’t any restaurants nearby. If you decide to grab lunch, go before or after peak lunchtime.
• Bring a water bottle and a snack. Food at the Javits is expensive, plus it’s a mob scene. If you can survive on snacks for a day or two, go for it.
• Wear comfortable shoes. Seriously the Javits is HUGE and you’ll be doing laps from one end to the other. Comfy shoes are a must.
• Rolling suitcases are not allowed on the show floor. To avoid hauling around a heavy pile of swag and books, you can check a rolling case in coat/bag check, and then drop off some of the stuff you acquire at regular intervals. Keep in mind that you’ll need to bring cash for the coat/bag check.
• If you can, make arrangements for a ride after the event because it’s nearly impossible to get a cab after the show floor closes. (Did I mention it was crazy far from everything?)

There is so much cool stuff happening in and around BEA. I want to make sure you don’t miss a thing! Also, I love meeting my fellow Word Nerds face-to-face. If you’re going to be at BEA, tweet or email me, so we can connect.

Follow me on Twitter and Instagram for updates and pics during the show.

Link to Episode 43

(Right-click to download.)

If you liked this episode…

Head over to iTunes, leave a review, and subscribe so you’ll be first to know when new episodes are available. Also, if you know anyone who might enjoy this podcast, please share!

Until next week, keep writing and keep being awesome.

The post Episode 43: Book Expo America Survival Guide 2015 appeared first on DIY MFA.

Now what?

You could start querying publishers or agents. You could skip the query phase and go straight on to self-publishing. Or you could hire a freelance editor. Why? You’ve worked so hard and for so long. Surely someone will see the potential in your masterpiece. What do you need to hire an editor for?

You’re Not Objective

As a freelance editor and former intern for both an agent and a publishing company, let me tell you something that I hope you already know. You’ve got to put your best, most polished draft out there in order to get picked out of the slush pile. How can you be sure you’re putting your best work forward if you haven’t shown it to anyone yet?

Maybe you’ve shown your manuscript (your shape-shifting demon romance novel, your non-fiction treatise on the mating habits of freshwater clams) to your boyfriend, or best friend, or to your sister who reads a lot. Maybe they loved it! That’s great. Showing your work to people you care about is a great first step. But you need to have someone who’s not invested in you emotionally, and who knows a thing or two about structure and style, look at your manuscript before you decide it’s ready for the unforgiving public.

Many authors seek out critique partners, other writers who are also in the throes of manuscript creation, to get some more focused and objective feedback. These crit groups are awesome for honing drafts zero through eight of your masterpiece. You get solid feedback and you get a chance to give it as well. So now your manuscript is perfect, right?

Even your fabulous critique partners are too close to be entirely objective. After all, they’ve read the manuscript a thousand times and seen it go through so many changes. Spotting any remaining issues requires a professional set of fresh eyes and perspective.

The Publishing Industry is Glutted

Trust me. I’ve seen the slush pile. It was because of my experience with the slush pile that I decided to become a freelance editor. As an intern, I sent more than a few of those rejection e-mails myself.  Egregious spelling errors, grammar-confused sentences, lack of organization, an unintentionally compressed timeline, plot holes a mile wide… More often than not, I thought that if only this author had shown their manuscript to someone—to anyone—I wouldn’t be here sending this e-mail, dying a little inside at the thought of crushing a fellow author’s dreams of being published. Whenever allowed, I made sure to add in that little bit of feedback.

A Freelance Editor Can Help

A freelance editor can give you insights into your writing that you may not have realized you needed. You’ve been working on this manuscript for too long. You’re too close to it to see where it still needs work.

Professional editing is about more than making sure that all your i’s are dotted and all your t’s are crossed. In the next post we’ll go into more detail about the different types of work a freelance editor can do for you based on your manuscript’s needs.

We freelance editors have only one vested interest: our clients. We’re not looking to break the next 50 Shades of Grey or Harry Potter. We’re not considering the percentage of royalties we get from a book on The New York Times Best Seller list. We’re in this business because we love reading. We want you, the author, to find your best, most authentic voice and share it with the world.

There are a glut (a superfluity, an excess, a plethora) of narratives out there today vying for the attention of the masses. Hiring a freelance editor can give yours an extra boost.

………………………………………..

Elisabeth Kauffman is a freelance editor in California. Her favorite genres are YA fantasy, sci-fi, and romance. She regularly obsesses over board games, Doctor Who, and Harry Potter. Come share your ideas with her on Facebook and Twitter–@WritingRefinery–and on the web at www.writingrefinery.com

The post Why Hire a Freelance Editor? appeared first on DIY MFA.