Don’t be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.
Gene Fowler
As an addendum to the lesson on critique groups, I decided to offer this primer on hiring a pro to edit your manuscript. There’s only so far you can go with critique partners, after all. At some point, you will likely consider the option of hiring an expert to edit your manuscript.
TOP TEN REASONS TO HIRE A PRO
After many years in this industry, I’ve discovered it’s tough to go it alone, particularly when you’ve got a manuscript that’s “nearly ready” to be shopped around. I’ve put together a list of reasons why it’s best to have a pro in the industry look over your project before sending it off to that editor or agent.
1. The industry is changing all the time. It’s good to hire a mentor or have someone who knows the changing trends.
Are you familiar with current trends?
Do you know which houses are taking what? Do you own the Writers Market Guide?
Do you need someone to show you the ropes?
2. The competition is so stiff right now, and you want your best possible shot. You don’t want a rejection based on grammatical errors or errors such as passive writing.
Is your writing clean?
Have you had someone look over your chapters for grammatical errors? Have you paid attention to the competition?
If you’re a fiction writer, have you done your homework? Are you familiar with fiction components such as POV, plotting, style and tone?
3. You want those first three chapters to shine.
Have you paid particular attention to your first three chapters? Is your hook the best it can be?
Have you been told that your opening scene needs work?
4. If you’ve never written a proposal that’s been accepted by a house before, you might want to hire someone to help you with the proposal process.
Are you familiar with the components of a great proposal?
Do you understand the logic behind the proposal?
Have you ever written a proposal?
If so, were you able to sell a book based on your proposal?
5. If you’re unsure of yourself and need someone to help you fine-tune/target your project and settle genre issues.
If you’ve written a novel, what genre have you chosen (specifically)? Do you know your intended audience?
Have you fine-tuned your project to target that particular audience?
6. You might be overlooking little things that you didn’t realize were issues. You might not know, for example, that adverbs are a problem. You might not know that was/were/is/are is a problem. You might not know that extensive narrative (telling, not showing) is a problem.
Do you know what’s “in” and what’s “out” (as far as style goes)?
Have you checked your chapters for passive verbs?
Is your manuscript heavy on adverbs?
Do you clearly understand “Show Don’t Tell?” (This is one of the biggest problems I see as I edit.)
Are you a POV pro?
7. Like taking your car in for a tune-up, you need a second set of eyes to look over your manuscript.
How could a “second set of eyes” work to your advantage? What might an editor catch that you did not?
8. The pro is going to be totally honest with you. Your spouse, parents, children, siblings, best friends, critique partners aren’t always completely honest because they are in relationship with you.
How have people responded to your manuscript thus far (favorably or unfavorably?)
Who has read it?
Have the readers been (in any way) biased?
9. You’re on a continual learning curve. Always be in a position where you’re growing. “I want my next project to be even better than this one.”
What’s the most exciting thing you have learned so far regarding writing? Are you on a learning curve?
What are your current weaknesses (specifically)?
10. It’s not good to walk alone in this industry. If a pro walks alongside you, you’ve got someone to question, bounce ideas off of, etc.
How do you feel about having someone walk alongside you?
