From the fire at the end of August to our now sadly undecorated and still unfinished restoration that will not happen before Christmas (we’re living in two rooms and a kitchen), life has managed to be an adventure.
October found my husband and me visiting Washington D.C. Highlights included the Library of Congress, seeing the Gutenburg Bible, all the wonderful monuments, and meeting up with several dear high school friends I haven’t seen in over 40 years.
But the main reason for visiting was to attend a celebration at the Museum of the Bible honoring the release of the third edition of the Life Application Study Bible. (Read more about the event here.)
Thirty years ago, this group (pictured above) worked together on what would become the bestselling study Bible of all time (I discussed the process here.) We didn’t know then that God would use our prayerful labors to sell 20 million copies so far of the Life Application Study Bible. I am humbled to have worked with this group and appreciate the honors we received on the evening of October 16 as the pioneers on the project, now also celebrating those who completed work on the third edition of this Bible that has been updated for a new generation. We so enjoyed hearing from special speakers Ed Stetzer (director of the Billy Graham Center in Wheaton) and Dr. Barry Black (chaplain of the US Senate). It was a wonderful evening of celebration of the power of God’s Word.
Finally, in November, Tom and I drove to Nashville to attend the meeting of the Evangelical Christian Publishers Association. I recently became a member of this group, knowing that in my teaching about publishing, I need to stay on the cutting edge of the industry. Was fun to see a former student, Amy Green, publicist at Bethany House, who helped to plan the Christy awards celebration.
Now I’m prepping for final exams and papers and decidedly NOT decorating for Christmas. But we’ll get in the spirit. I’m looking forward to sharing how I’m working on that. Stay tuned!
How was fall for you? What are you doing to get into the holiday spirit?
As a Christian publishing professional, editor, writer, and now faculty member teaching Professional Writing, I have been considering my responsibility to my students about their responsibility as Christian writers.
The first concern, as noted in this post, is that my students stand firmly on the foundation of their faith. From the first day of the 101 class to the last day of capstone, I want to help them understand that they must stand on solid foundational truths that will undergird their writing (and, by extension, their lives).
Most of my students have a foundation of faith that drew them to Taylor University. Most are Christians but with a wide variety of perspectives on doctrines, social issues, and politics. There is room for all of those perspectives in my classroom, but I always want to draw them back to where we all agree: belief in Jesus Christ as Son of God and Savior. Scripture is pretty basic: “If you openly declare that Jesus is Lord and believe in your heart that God raised him from the dead, you will be saved” (Romans 10:9 NLT). We have our theologies and our beliefs and our opinions, but it really comes down to that.
So where do they land? Where is their faith, personally? Much of this exploration occurs outside of my classroom in other classes, at chapel, in their small groups in the dorms, and just in living lives as college students. I want them to wrestle with these questions so that as they take the classes across the Professional Writing curriculum, they stand on a foundation as they think critically about how their faith matters in their lives and how it affects their writing.
It matters because their faith matters first and foremost. They don’t know if their words will ever get published into the world, but they do have a responsibility to write where they are called to write. They must not make their reason for being or their standard of success tied to getting published—that should never be the “be all and end all” for any writer. Far more important is their obedience to God wherever He places them and whatever words He gives them. Their relationship with God trumps anything else in life—it trumps every success and every failure, for it is ultimately what matters most.
I encourage them to pay attention in the Biblical Literature classes, to explore Scripture in small group studies, to read the Bible all the way through, to listen to God in a quiet time (in whatever way that looks to them). I want them to understand how God’s Word is “alive and powerful. It is sharper than the sharpest two-edged sword, cutting between soul and spirit, between joint and marrow. It exposes our innermost thoughts and desires” (Hebrews 4:12 NLT) and how Scripture needs to be a daily “lamp unto my feet, and a light unto my path” (Psalm 119:105 KJV). I want them to love the Bible.
So then, what it means to be a Christian is to have foundational belief and, I would add, to seek in individual, faulty ways to live and act on those foundations through a daily personal walk with Jesus. It means staying in Scripture and prayer so as to always walk closely with the Father. This doesn’t mean that all Christians will believe the same, act the same, apply those foundations the same, or carry that faith into the world in the same way. We are each working out our own salvation with fear and trembling (Philippians 2:12-13). But still, the biblical faith foundation is vital.
Christian writers must be marinated in Scripture, in prayer, and in a daily walk with Jesus.
That’s the foundation we must have.
Christian writer friends, how do you keep your faith fresh and alive?
It’s been an interesting challenge, this past school year, as I’ve taken on new classes (translate—learn what I need to teach and then figure out how to teach it) and gotten out of my comfort zone.
But it has forced me to do some deep thinking about what I’m doing, why I’m doing it, and what really matters.
Why do I teach writing and publishing?
What do I really want my students to know?
In the past few months, three things have become more clear to me. For the Christian writers who come through the Professional Writing major at Taylor University, I am committed to them graduating with the following understandings:
as Christians, I want them stand strong on the foundations of their faith, understanding that Scripture and their faith impacts every aspect of their lives; I want them to fall in love with God’s Word and see its power for the rest of their lives;
as writers, I want them to understand that their love for and ability with words is a calling and a gift from the Caller that they should and must continue to hone and improve;
as Christian writers, I want them to comprehend the power of those words and their responsibility to God for how they use their giftedness with words, especially as they seek to publish those words into the world.
How can my faith intersect my discipline as I teach the Professional Writing curriculum? How can I—a Christian publishing professional, editor, writer, and faculty member—bring these fundamental truths into our program? How can I bookend my students’ learning from their 101 introductory class to their final capstone class with these truths that matter?
It feels like a very heavy load.
But down deep in my soul, I sense that this is vital. This is more important than anything else I can do.
It is incumbent on Christian publishing professionals—whether authors or editors or publishers or marketers or bloggers or social media experts or agents—to deliver material that is well written, winsome, true, biblical, and honors Jesus Christ.
In a recent discussion, one of these Christian publishing professionals told me, “Too much of Christian writing is either preachy or saccharine. We need to bring wisdom, winsome words, and truth from our foundation into our writing.”
But what does that even mean anymore? The world is so deeply divided. Even among Christians there is so much division we sometimes act like a circular firing squad. I wonder how we can impact our world for good. How can we disagree about living out our faith (our politics, our work lives, our theological beliefs) but do so in a winsome and respectful way? How can we engage the questions so important in our culture, even as we disagree, while still being able to help others find what we have discovered in the foundations of our faith? In the end, that foundational piece is going to be all that matters to us anyway.
How do I guide my students to these understandings—even as we learn good writing and style tagging and editing and platform building and how to do a book proposal?
How do I guide them—even as we look for truth in Scripture and perhaps disagree on many other areas?
How do I help us all “work out our own salvation with fear and trembling” and work out our writing and publishing lives in the same way?
There’s a lot to unpack here, and I invite you to join me both as I prayerfully seek God’s guidance and express my thoughts in the blog. I invite you to comment with your own thoughts and ideas as I think this is a big conversation worth having.
I’ve been reading the essays of author Andre Dubus, considered a master of the short form. In his book, Meditations from a Movable Chair(New York: Vintage, 1999), Dubus writes an essay called “First Books” and offers this encouragement to writers:
An older writer knows what a younger one has not yet learned. What is demanding and fulfilling is writing a single word, trying to write le mot juste, as Flaubert said; writing several of them, which become a sentence. When a writer does that, day after day, working alone with little encouragement, often with discouragement flowing in the writer’s blood, and with an occasional rush of excitement that empties oneself, so that the self is for minutes longer in harmony with eternal astonishments and visions of truth, right there on the page on the desk, and when a writer does this work steadily enough to complete a manuscript long enough to be a book, the treasure is on the desk. If the manuscript itself, mailed out to the world, where other truths prevail, is never published, the writer will suffer bitterness, sorrow, anger, and more dangerously despair, convinced that the work is not worthy, so not worth those days at the desk. But the writer who endures and keeps working will finally know that writing the book was something hard and glorious, for at the desk a writer must try to be free of prejudice, meanness of spirit, pettiness, and hatred; strive to be a better human being than the writer normally is, and to do this through concentration on a single word, and then another, and another, and another. This is splendid work, as worthy and demanding as any, and the will and resilience to do it are good for the writer’s soul. If the work is not published, or is published for little money and less public attention, it remains a spiritual, mental, and physical achievement; and if, in public, it is the widow’s mite, it is also, like the widow, more blessed. (162-63)
Writers, we must endure. We must keep working knowing that the words we write are worth it . . . it being the process, the “splendid” work, the worthy and demanding work.
No one said it would be easy. No one said it would be a sure path to fame and fortune. But as writers, we must be true to ourselves, to our giftedness and our calling. We must reach and try and write and rewrite and reach again because it matters.
If we’re true to our giftedness, then we will continue to write — no matter whether published or not, read or not. It is the “widow’s mite” that we offer up, and we are blessed.
“Calling is the truth that God calls us to himself so decisively that everything we are, everything we do, and everything we have is invested with a special devotion, dynamism, and direction lived out as a response to his summons and service.”
–Os Guinness, The Call
In a previous post, I told you about how our Professional Writing capstone class was kicking off with my 17 seniors. That was Part 1.
For Part 2, my students worked on the Flower Diagram from What Color Is Your Parachute?(I used the 2017 version). If you don’t know, the Flower Diagram is a self-inventory that helps individuals work through their own personal preferences in working style, environment, coworkers, location, and even stretching to what each person wants to accomplish in life. The students overwhelmingly found this exercise (which took us two class days, so seven hours) to be helpful in capturing in one spot a lot of scattered information about themselves. (We even built a preliminary budget on Excel docs!)
For another class, we talked about how to network — which basically means learning how to be a good listener. I then had each student write a 30-second elevator pitch to answer the question, “So tell me about yourself” (much as an interviewer might). They then did a “speed dating” exercise where they moved from one person to the next, spending three minutes sharing their pitch, listening to the other person’s pitch, and then conversing before the bell rang and they moved on to the next person and did it again.
Having to say the pitch and hone it over eight times helped them be ready for . . .
. . . mock interviews.
I gave the students a list of the most-asked questions, and a link to a website that would help them understand what employers are looking for when they ask these questions. I required the students to use their journals to write answers to each question, or at least to take notes as to what they would need to do to prepare for those questions.
Six professionals gave of their time to interview six students each. The students went in groups of three; each was interviewed while one of the other two kept time and both observers wrote assessments. After each interview, they all had five minutes to talk together about the good and the areas that need improvement, and then the groups moved to another interviewer to try again and improve.
Sort of helped with the jitters and to make the interviewing process a tiny bit less intimidating.
I really wanted this to be a practical class so that they are ready — resume polished, LinkedIn profile and portfolios ready, answers to interview questions prepped, all with a feeling of certainty that they understand themselves and their goals just a bit better.
But lest you think it was all fun and forms, stay tuned for Part 3.
“Calling transforms life so that even the commonplace and menial are invested with the splendor of the ordinary.” (Os Guinness, The Call)
My seventeen Professional Writing seniors are closing in on the end of their careers at Taylor. I’m privileged to be teaching what our program calls the “capstone” class — three credit hours together to “cap” their time at Taylor U and their time in our major.
It’s a daunting class — and this was the first time I’ve taught it.
From the start, I knew the class needed to have a writing element, it needed some self-inventory, it needed some interview and job hunt practice and information, and it needed some “adulting” conversations. Three solid weeks, 3-1/2 hours per day. And I wanted all of it to feel practical and meaningful and purposeful.
And that’s what I’ve tried to do.
One day, we talked about our “callings,” considering the definition in Os Guinness’s classic book. How calling can be to many types of work, not just “Christian” work per se. How calling can be simply to finding splendor in the ordinary. How calling can change the world in small ways. How calling, with the acknowledgement of a Caller, gives meaning to life. That was the initial part of our self-inventory.
Then we did what one of my colleagues calls “the red thread.” Each student went through all of the classes taken at Taylor, noting what they liked and didn’t about each — trying to understand how they like to learn, how they learn best regarding type of class, type of instruction, type of content, etc. This traces a “thread” that serves to remind them of the many types of information and skills they’ve gained across these four years.
A highlight was a bus trip to Grand Rapids to visit Zondervan Publishing House, RBC (Our Daily Bread and Discovery House Publishers), and lunch with author Travis Thrasher. The students were encouraged that many of the folks in jobs they hope to have got there in convoluted ways while learning much about themselves along the way.
The Zondervan folks were incredibly welcoming, even offering us a panel discussion. They shared with my students about their pathways to their “dream job.”
In the lobby at Zondervan. The mission statement applies to my students as well.
Travis Thrasher has gone from being an employee at a publisher to being a full-time writer. We enjoyed hearing about his fiction writing and ghostwriting.
At RBC (Our Daily Bread and Discovery House), we learned about their incredible worldwide ministry, got to see their printing presses in action, and heard from two editors who told about their pathways to where they are today.
The takeaway? Be patient. Try on a lot of jobs. Learn what you can wherever you are. Network with people and let them know the kind of work you’re looking for.
And this was pretty much just week one. I’m excited to watch my students get excited about their possibilities for the future. They are well prepared to become publishing professionals.
Stay tuned for more adventures in Professional Writing capstone!
The first time I saw the Eiffel Tower, I stopped in my tracks, astounded. It’s so BIG! For some reason, in my mind, it stood much smaller over Paris. But walking toward it, seeing it close up, standing under it and looking up, the thing is massive. Thousands upon thousands of pieces of iron — each had been perfectly cut and angled, then riveted together in a lacy pattern. When it was completed in 1889, it was the tallest man-made structure in the world at the time. At 984 feet, it nearly doubled the up-until-then tallest structure, the 555-foot tall Washington Monument (which opened in 1888).
I’m currently reading a book titled Eiffel’s Tower(Jill Jonnes, Penguin, 2009) about the building of the tower, which went up iron piece by iron piece during 1887 through 1889 as the focal point for the Exposition Universelle, the World’s Fair in 1889.
But as it was ascending — the four legs at the base going up separately and slowly uniting at the first platform — Parisians were not too fond of it. They feared that it would draw lightning, change the weather, or fall over (indeed, without the intensive and minute calculations of Gustave Eiffel, it well may have). Many tried to stop it. A letter signed by several important Parisians said this (with a slight insult to America):
For the Eiffel Tower, which even commercial America would not have, is without a doubt the dishonor of Paris. Everyone feels it, everyone says it, everyone is profoundly saddened by it, and we are only a weak echo of public opinion so legitimately alarmed. When foreigners visit our Exposition, they will cry out in astonishment, “Is it this horror that the French have created to give us an idea of their vaunted taste?” . . . And for the next twenty years we will see cast over the entire city, still trembling with the genius of so many centuries, cast like a spot of ink, the odious shadow of the odious column of bolted metal. (27)
It was supposed to be temporary, the tower; then it was given a reprieve to stand for twenty years. And that was in 1889. Clearly, the tower has come to symbolize Paris itself and, if the plethora of Eiffel Towers on everything from lamps to stationery to jewelry is any indication, it has become a well-loved icon. (I have little Eiffel Towers everywhere. Ahem.)
The point is that Gustave Eiffel kept building. He believed in his structure; he saw the beauty when those watching its slow ascent across the Parisian skyline couldn’t see it.
Thinking of nay-sayers, I’m reminded of F. Scott Fitzgerald. When The Great Gatsby hit the shelves in April 1925, a review of the book in the St. Louis Dispatch said, “Altogether it seems to us this book is a minor performance. At the moment, its author seems a bit bored and tired and cynical. There is no ebullience here, nor is there any mellowness or profundity. For our part, The Great Gatsby might just as well be called Ten Nights on Long Island” (Reach).
In June of 1925, the author Edith Wharton weighed in, fancying herself a better editor than Maxwell Perkins: “To make Gatsby really Great, you ought to have given us his early career (not from the cradle—but from his visit to the yacht, if not before) instead of a short resume of it. That would have situated him & made his final tragedy a tragedy instead of a fait divers for the morning papers” (Reach).
By the time Fitzgerald died in 1940, he had made a little over thirteen dollars in royalties on the book.
But like the Eiffel Tower, The Great Gatsby has become an icon to later generations.
The point? Don’t give up on what you’re doing — your book, that poem, the painting, whatever creation is before you. Don’t worry about the nay-sayers. If you believe in it, if you’re doing what you perceive is your best work, then just keep on doing it.
You just never know what will happen.
Jonnes, Jill. (2009.) Eiffel’s Tower. New York: Penguin.
Reach, Kirsten. “Ten Nights on Long Island: The Great Gatsby’s Early Reviews,” 9 May 2013, mhpbooks.com/ten-nights-on-long-island-the-great-gatsbys-early-reviews/. Accessed 24 Jan. 2017.
The manuscript for Word by Word is nearing completion . . . but it hasn’t been easy sailing.
That first draft looked perfect! I felt an overabundance of self-confidence as I emailed those 49,000 hard-won words to the publisher.
After several weeks, I received a loooooooooong email with the editor’s comments — some positive, some negative, lots of suggestions. I cried a bit and fell into a funk for about five days. Then I thought about how I would want my author to react if I, as editor, had sent such a letter (and I have sent a few in my day). Finally, when I got into the right frame of mind, I printed off the editor’s letter and dove in. Among other things, she wrote:
There are a number of issues in this manuscript that need focus and clarity. As I read your table of contents, my first thought was that you had nailed the content that needs to be in the project. But then I discovered that the actual content doesn’t quite deliver in some cases.
I had my work cut out for me. The biggest issue my editor pointed out was that my audience wasn’t clear. As I reread the manuscript, I discovered that she was right. Sometimes I was writing the book as a textbook for my students; sometimes I was writing to the person who already has a manuscript at a publishing house and is working with an editor; sometimes I was writing to people who are critiquing others’ manuscripts; sometimes I was writing to people who want to become editors. Only sometimes was I writing to the true audience of this book. I realized I had done more of an information dump about everything I know than staying true to my audience.
Other issues included some random items that made me think, I know better! Why didn’t I see that?
But then this:
Thank you for your hard work on this project. You are obviously knowledgeable and have a broad background of experience to enable you to write this book. . . .
I trust you will take the critiques as constructive and that you will be challenged to take it up with renewed enthusiasm. . . . You are a wealth of knowledge, Linda, and your voice is needed in this arena. I really really want this book from you.
Yes, indeed. And I really really want it published! So yes, I can and will do this.
My editor listed a number of fixes.
1) Identify a clear picture of the audience.
2) Set definite goals about the type of material you want to write.
3) Prepare an outline (extensive) of each chapter and what will be covered in that chapter, as well as the primary target audience for that chapter.
4) Rewrite the manuscript using these tools and suggestions.
I pictured my audience and knew what I wanted to write. My target audience is that pajama-clad and coffee-fueled author who has just pressed the key for the period at the end of the stunning final sentence on the first draft of his manuscript. He’s finished! But in the back of his mind he knows he isn’t really finished. He knows that no first draft is perfect; he knows he needs to edit.
But he doesn’t know how to do that or where to begin.
My goal is to help that writer understand both the publishing process and the steps and keys to self-editing.
Probably most helpful was my editor’s suggestion to create a revised extensive outline. Internally, I balked a little. Why do I need an outline at this point? But forcing each section of my manuscript to prove why it was there, where it fit best, and how it helped my target audience caused me to be very focused and brutal. Doing the big-picture editing with a revised outline proved invaluable.
I set to work with scissors, tape, and a red pen. Cutting, moving sections, taping pieces together — following my new outline. After a complete restructure on hard copy, I made the necessary changes on the electronic document. I let it sit for about two weeks. Then, I printed it out again. . . .
. . . and read word by word.
That’s where I am now. Reading and marking with my red pen. Suffice it to say that my manuscript is very red.
It will be better for it.
I am doing what I said everyone should do — in my book. The lesson is, of course, that no matter how much you go over your own manuscript, no matter how many critique readers you have, editors will still make marks and offer suggestions. They come at the manuscript completely objective. While an author sometimes can’t see the forest for the trees, the editor comes in like a surveyor and see the trees and how to create a clearing.
I’m thankful to have been on this side of the desk with an excellent editor who saw exactly what my book needs.
What about you? If you’ve worked with a professional editor, what has been the best advice he or she gave you in feedback on your work?
You can spot a book lover. I mean, a real book lover. In a world where everywhere we look people are scrolling through backlighted pages on their phones, real book lovers are sitting on the bus, or in the waiting rooms of doctors’ offices, or in the corner of the office lunch room engrossed in the pages of an actual book.
And book lovers, by definition, are often bookstore lovers as well. This is what is celebrated in Lewis Buzbee’s little book, The Yellow-Lighted Bookshop: A Memoir, A History. The book celebrates the wonder and beauty held in your local bookstore.
When a bookstore opens its doors, the rest of the world enters, too, the day’s weather and the day’s news, the streams of customers, and of course the boxes of books and the many other worlds they contain—books of facts and truths, books newly written and those first read centuries before, books of great relevance and of absolute banality. Standing in the middle of this confluence, I can’t help but feel the possibility of the universe unfolding a little, once upon a time. (3)
Those of us who love bookstores—the smell of paper, the colors of covers beckoning us, the intense desire that we could just, somehow, read it all. (Except for the banalities, of course.)
Buzbee has spent a lifetime around books—working in small independent bookstores, visiting small stores as a sales rep, and, of course, as a reader. His love for bookstores is unabashed. Where else, he asks, can you go in and sample the merchandise in the way you can with books—sitting over your latté reading the first half of that novel before you decide to purchase? Where else can you purchase for a minimal price the wisdom of the ages (or, if you so desire, the wisdom of a Kardashian or two)? Where else can you be so alone as a shopper and yet so connected to the others in the store—simply because of your love for books? Where else is there absolutely something for everyone and someone for everything? Where else can you purchase something that doesn’t need any upkeep but promises hours of entertainment—and then willingly sits on a shelf for as long as you choose to keep it, easily accessible, ready with the same words in the same spot with, perhaps, the same effect as they had on you the first time?
Buzbee describes bookstores’ evolution—the stalls where a hawker sold his wares, the semi-permanent store, and the itinerant bookseller going from town to town with his wares on his back. Before the invention of the printing press, books were copied by hand, often by the bookseller himself. Sometimes booksellers acted as publishers, entering into contracts with authors.
It wasn’t until the expansion of the universities across Europe that books came to be more required and thus needed to be made more cheaply. A new class of copyists and the introduction of paper into Europe transformed the face of books and publishing. Then, of course, Gutenberg’s printing press was the game changer. “A printer could create in one day what it might take a single monk six months to accomplish. It’s estimated that before the printing press, there were 50,000 books in all of Europe; fifty years after Gutenberg’s first Bible, there were more than 20 million” (102).
Along came copyright laws and the rise of brick and mortar stores. One bit of information I found fascinating was that in early stores, books sat horizontally on shelves, just the pages bound in signatures (sets of pages), no covers. A customer would purchase the book, then choose the color and cost of the binding. (So that’s why all those books in the big old mansion libraries are all the same color!)
Those who get to frequent (or work in) today’s bookstores have a distinct advantage—the ability to work around things we love.
I can say we because, for a few summers after my college years, I was happily employed in my parents’ small Christian bookstore. I dusted shelves and shelved books. I watched my dad meet with the salesmen in the office in the back, my mom making a fresh pot of coffee, considering the books our clientele in the little rural town of Corry, Pennsylvania, would buy. I loved to see my mom putting together tasteful book displays in the front window. I loved to see my dad behind the counter with several Bibles laid out on the glass-top case, explaining the various features of each to an intent-looking customer. I loved that my parents would sell a Bible to a person who couldn’t afford it right away, but would allow them to take it, knowing that the person would be coming in with maybe only a dollar or two each week to pay off the purchase.
Ye Olde Book Shoppe had been an institution in town for decades. The previous owner had it in a room of her home; when my parents purchased it, they moved it to a storefront on Center Street. The bookstore was always such a peaceful place – soft music humming through the speakers, sunlight through the windows, the smell of fresh books, and the opportunity to sit at the counter ready to wait on customers. When I wasn’t busy dusting, I could pick up the latest book off a shelf to read at the front counter or purchase it (at a discount!).
So as a reader and writer and publishing professional and former bookstore employee, I found the history in Buzbee’s little book fascinating. His description of the Paris bookshop, Shakespeare & Co., opened in 1919 by Sylvia Beach is itself worth the read. Not only was the bookshop the haunt of expatriate writers like Fitzgerald and Hemingway and Pound, Beach also acted as publisher for Joyce’s Ulysses. Then the story of how she hid the entire contents of the store from the Nazis—well, that makes her a bookseller’s hero.
You reader friends will agree—there’s just something about a bookstore. Tell me your favorite bookstore story. What do you love about bookstores?
Buzbee, Lewis. The Yellow-Lighted Bookshop: A Memoir, A History. Saint Paul, MN: Graywolf Press, 2006.
This past summer at the Write-to-Publish Conference, I pitched a book to a publishing company called Bold Vision Books. For several years I’ve wanted to write a book about editing–a book that combines much of my work for the past three decades along with the research I’ve been doing about the great editors (some of which I’ve been sharing here on my blog) and turning it into a book I can use in my future editing classes at Taylor University.
And I hope it’s a book many writers and aspiring editors will want to read.
And the publisher accepted it! So now, in addition to writing my thesis (about editing), I’m also writing a book (about editing).
Needless to say, this is exciting and exhausting. There are several great books about editing already out there (as I discussed in this post), so I feel both humbled and honored as I take on this task.
The publisher has asked that my book help writers with self-editing, so my audience is writers who are trying to make their manuscripts the best they can be before sending them off to agents or acquisitions editors or before self-publishing on Kindle or CreateSpace.
If you’re interested, here’s what it looks like so far:
Introduction—Take This Quiz! A Bird’s Eye View of the Publishing World This is a publishing quiz that pulls from numbers in the publishing world (number of books published in a year, number of returns, general number of each title sold, etc.). Multiple choice.
Chapter 1—Let’s Start at the Very Beginning Takes you through all of the steps in the publishing process—from manuscript idea to bound book. Helps the reader understand how many people touch the book, how many decisions must be made along the way.
Chapter 2—A Passion for Words What editing is all about, what makes a good editor, why everyone needs to self-edit and have others edit their work. I explore the stories of two great editors—Tay Hohoff and Maxwell Perkins—and their work with Harper Lee and F. Scott Fitzgerald respectively.
Chapter 3—First Impressions The supreme importance of a manuscript’s first pages. Explanation of how agents and acquisitions editors only have a few moments at a conference or busy schedules at their offices and if the writer doesn’t grab them in the first few pages, they won’t read any further. How can you edit those first pages to make them intriguing?
Chapter 4—Content Editing (The 10,000-foot View) This chapter focuses on what content (or developmental) editing is and how it takes a different mind-set from both writing and copyediting. It explores ways to content edit yourself and others, and the questions to ask as you’re editing (separating fiction and nonfiction).
Chapter 5—Copyediting (The 1,000-foot View) This chapter has several functions just as a copy editor also has several jobs in addition to just reading the manuscript. I will help those who are putting together their manuscripts to understand how to build the front matter and back matter for their books (such as what they should go ahead and put on their copyright page and TOC), how to use templates and create style tags (which will make the editor at the publishing house want to kiss them)—in short, how to deliver a clean and consistent manuscript.
From there, we’ll cover some basic grammar and punctuation rules and guidelines—keying in on the errors I tend to see all the time (hello! No double spacing between sentences!) and how to fix them. I will advise on some of the Microsoft Word tools that will be most useful (not everything in all detail, but the key tools).
We’ll also learn about the bible—The Chicago Manual of Style—along with style guides and style sheets. They will have exercises to do to try to find various items in CMS and with a style sheet from a fake publisher. I will include some exercises for them to practice grammar and punctuation, along with some very funny dangling modifiers to fix (“We saw a dead deer driving down the road.”).
Chapter 6—Proofreading (The 10-foot View) We talk about proofreading in a couple of ways. First, we can proofread a manuscript on hard copy—and this is where we’ll learn about proofreader marks. I will show the readers what these are and provide some practice pages to work with proofreader marks.
Second, we’ll talk about proofreading on pdfs of typeset pages and how to use the markup tools in Adobe. In this phase, there’s more than just proofreading the text; proofreaders have to check the layout of pages, page numbers for the TOC, placement of elements on pages, etc. I will provide a checklist of items to look for in this proofreading phase along with a practice page.
Chapter 7—Working with Bible Text Even though this is not necessarily a Christian publishing book, that has been the major part of my experience so I will include advice on working with Bible text. This will also include practice exercises. As much as we Christians love and use the Bible, it’s amazing how authors so often are not careful when they quote from it or refer to its stories in their writing. In this chapter, I give some personal experiences with thirty years of Bible publishing and several tips on working with the Bible text.
Chapter 8—If You Want to Try to Self-Publish . . . We’ll talk about the world of vanity publishing—pros, cons, and things to look out for. For example, if they decide to build a book for Kindle or use CreateSpace, what do they need to know, and how they should format and price their books. However, I would always advice all of those editorial steps above.
Chapter 9—Child’s Play: The Special World of Children’s Editing Editing children’s books is a very different skill. In this chapter, I discuss the kind of mind-set needed to edit children’s books, with a discussion of Ursula Nordstrom, editor of such books as Charlotte’s Web, Stuart Little, Where the Wild Things Are, and Harriet the Spy. I also will interview some children’s editors for further insights into this special world.
Chapter 10—If You Want to Try an Editing Career . . . Here I talk about how to prepare for an editing career, how to build a portfolio of work and where to find that work, how to practice, what to charge if you freelance.
Thoughts? Am I missing anything? You writers out there, what would you want to read in a book about self-editing? Let me know in the comments below! And thanks in advance for your help.