This article is reprinted by permission of the author.
Award-winning novelist Randy Ingermanson, "the Snowflake
Guy," publishes the free monthly Advanced Fiction Writing E-zine, with
more than 9,000 readers. If you want to learn the craft and marketing of
fiction, AND make your writing more valuable to editors, AND have FUN doing it,
visit www.AdvancedFictionWriting.com.
Organization: You Don't Know What You Don't Know
Whether you’re an indie author or you’re pursuing the
traditional publishing path, you have to make some key decisions about how much
help you need.
One of those decisions is the question of whether to use a
proofreader.
This decision is a little different, depending on which road you
take to publication. So let’s look at your two major options:
Traditional Publishing
If you’re submitting your work to traditional publishers, then
whatever you submit needs to be as good as you can make it. That means no
spelling errors. No grammatical errors. No punctuation errors.
Some writers think that a publisher ought to make allowances for
a few typos, because after all, they have proofreaders, right?
Yes, they do, but it just looks lame if you submit a proposal or
manuscript riddled with a zillion typos. It cuts your odds of getting accepted,
and your odds were already long.
Proofreading is not your agent’s job. Your agent will probably
help you polish the content of your proposal and will probably point out craft
issues with your sample chapters. But it’s just not your agent’s job to
proofread your work. It’s your job.
Either you’re good at proofreading or you’re not. If you are,
then do it yourself and make it perfect. If you’re not, then you should hire
somebody.
What if you’re not sure?
In that case, I’d strongly suggest you hire somebody.
The reason is because you don’t know what you don’t know. And
you can’t see what you can’t see.
You might think that the phrase you want is “one in the same,”
when it’s actually “one and the same.” You might think the word you want is
spelled “discrete” when the word you mean is actually spelled “discreet.” You
might know that the possessive of “it” is “its” but even so, your fingers might
type “it’s”—and once you’ve done that, your eyes may skim right past it because
it looks so right.
And spell check won’t catch any of these errors.
Indie Publishing
If you’re an indie author, this becomes doubly true, because now
you’re the publisher. A traditional publisher would hire at least one
proofreader, probably more, to review your manuscript after typesetting. They
would also send it to you for review.
When you’re the publisher, it’s your job to make sure the
proofreading gets done.
I know many indie authors who say this isn’t necessary. They use
beta readers. Or they do all the proofreading themselves.
It’s a rare beta reader who’s qualified to do a professional
level of proofreading. It’s a fairly rare author who’s qualified.
I’m very good at spelling and I’m fairly good at grammar and
punctuation. So it’s a real temptation for me to do this myself.
But I don’t, for a couple of reasons.
First, I’m a perfectionist. I want my books to be as good as
possible. Even one typo is unacceptable to me.
Second, my eyes just aren’t good enough anymore. The retina in
my right eye has a small bubble under it, which means that everything that eye
sees is slightly out of focus. My left eye is fine, but my brain has to put together
the very different images from my two eyes and make sense of it. And sometimes,
it just doesn’t see what’s there. This is very frustrating, but it’s my
reality.
I’ve been working on a new indie book on the Snowflake method,
which I’ll be releasing soon. I edited it as well as I could.
Then I hired an experienced freelance editor to give me a
high-level revision letter. She gave me several suggestions that were
“obvious,” but which I had somehow missed.
Then I worked the manuscript over another couple of times. Then
I proofread it one last time, until it was absolutely perfect in my eyes.
Then I hired an experienced proofreader, who caught an
embarrassing number of mistakes.
You don’t know what you don’t know. You can’t see what you can’t
see.
I know an indie author who uses beta readers to do his
proofreading. When he released one of his books, I bought it on launch day and
read it right away. Good thing I did.
Midway into the book, I discovered one of those embarrassing
spelling errors that you hope never to make in public.
I emailed the author right away and he fixed it. But it could
have caused a bit of backlash from his readers.
I know other authors, both traditional and indie, who believe
they are much better at proofreading than they actually are. But even my eyes,
fallible as they are, can see problems in their work. And if I can see lots of
problems, then there are probably many more.
I’ll say it again, because it’s worth repeating.
Ewe donut no watt ewe donut no. Yew cant sea wot yew cant sea.
The above paragraph passes spell check. But every word is a
typo.
My opinion is that hiring a proofreader is just a standard cost
of doing business as a writer.
Craft: You Are What You Read?
Years ago I was talking to a fellow novelist whom I’d just met
and I asked him what his Top Five favorite novels were.
This is a question I ask writers a lot. I’m always looking for
great books, and one place to find them is on the Top Five list of another
writer.
This guy’s answer just about knocked me over. He said, “I don’t
read fiction.”
I couldn’t believe it. I asked him if he meant he didn’t read
much fiction.
No, he didn’t read any. He was a nonfiction kind of a guy.
He wrote fiction, but he didn’t read it.
That was years ago, and I haven’t seen anything from him
recently.
To put it bluntly, I don’t see that as a recipe for success. If
you’re a novelist, you need to be reading fiction.
There’s a saying that “you are what you read,” and I think this
is partially true.
If you read great fiction, you’ll absorb some of it, and you’ll
become a better writer. You’ll learn what’s possible to do in writing, and it
can’t help but expand you as a writer.
But I think it goes beyond that. I recommend reading widely,
even if it isn’t great fiction. Because the fact is that you are MORE than what
you read. What you read is fuel for your mind—it’s necessary, but it’s not
sufficient.
Novelists need to be reading fiction. A lot of fiction. Not just
the bestsellers. Obscure stuff. Good fiction. Great fiction. Horrible fiction
(not too much of this—if you do manuscript reviews at a writing conference,
you’ll see more than you need).
When you read other people’s fiction, you learn things that you
couldn’t learn any other way. Because when it comes to the craft of writing,
you don’t know what you don’t know. The only way to learn what you don’t know
is by reading other people’s work.
For starters, you should read widely in your category. You need
to know the rules of your genre—which ones are ironclad and which ones can be
bent.
But that’s not enough.
Read widely outside your genre. Read outside your demographic.
Read outside your worldview.
Read romance fiction. Most novels have a romance thread in them,
no matter what their category. If you can improve that thread, your story will
improve.
Read suspense fiction. Most novels have some element of fear in
them. Learn how to do that better and your novel will be better.
Read fantasy. Even if you, personally, would never want to read
a vampire or werewolf story, it’s quite possible that one of your characters
would. If you understand that character better, then you’ll do a better job
writing that character.
Read mysteries. Even if you hate mysteries. Most novels have an
element of mystery to them—some secret that needs to be uncovered. If you know
how to unwrap that secret, one layer at a time, then your story can only get
better.
Read a spy novel. One of your characters is reading a spy novel
right now. Do you know what he likes about it?
Read a historical novel. The better you understand history, the
better you understand the present.
Read science fiction. You might learn a bit of science, if it’s
a hard science fiction novel. But for sure, you’ll expand your universe a bit.
Never hurts.
Read YA fiction. It’ll give you insights into your younger
characters. It might give you some insights into a few young adults in your
life.
Read women’s fiction. If you’re a guy, you’ll understand women
better, which is good all by itself. If you’re a guy writing fiction, you’ll
understand your readers better, because the odds are that the majority of your
readers are women.
Read fiction that features characters with wildly different beliefs
than yours. I understand hyper-capitalists better after reading Ayn Rand. I
understand Jews better after reading Chaim Potok. I understand Wiccans better
after reading S.M. Stirling’s apocalyptic series that begins with Dies the
Fire. I understand Muslims better after reading Khaled Hosseini’s book The Kite
Runner. I understand fundamentalists better after reading the first book in the
Left Behind series.
The better you understand your characters, the better your novel
will be.
Read bad fiction. Yes, really. If you find a particularly bad
piece of writing, read it all the way to the end. Figure out why it’s so awful.
Resolve never to do the things that the author is doing.
I confess that I have a favorite bad novel, written by a
high-school kid who graduated a couple of years behind me. This thing is
fearsomely, wonderfully, amazingly awful. It’s bad on every possible level.
No, I won’t tell you the title. Find your own dreck. I’m keeping
mine a secret. My family knows which book I’m talking about, and they’ve all
read it. We sometimes quote particularly horrible lines at the dinner table.
There are a billion ways to write great fiction, but only about
a dozen ways to write truly horrible fiction. Good writing starts by learning
to avoid that dirty dozen of Desperately Horrible Writing Follies.
If you’ve read some really awful fiction, I guarantee it’ll
improve your writing. But there’s such a thing as too much of a bad thing, so
stop when you’re had enough. A little goes a long way.
Read a little bad fiction and a ton of good fiction.
Reading fiction is the foundation of writing fiction. Make your
foundation broad and strong.
Marketing: Every Writer Needs a Mastermind
The more I see of how successful authors work, the more I think
that it’s imperative to be part of a community of writers.
You might think that once you get published, all the other
authors out there are your competition, and you ought to do your best to avoid
giving them one speck of help.
But that’s not what seems to work. Over and over, I see
successful authors banding together into small and large groups to help each
other figure things out.
Small groups of five to ten people are often called Mastermind
groups, but in my opinion, even a large community of a few hundred can function
as a Mastermind, if it’s run well.
You can think of it as “you scratch my back and I’ll scratch
yours” if you want to. That’s kind of a self-centered approach to life, and I
think it misses the point. It’s fun to help others. It’s fun to hang out with
similar people. And it’s way cool that doing good leads to doing well.
Based on what I’ve seen, I’d say that you’re much more likely to
do well in marketing your work if you spend some time and effort helping other
authors.
I belong to several small and medium size groups of writers on
Facebook. Last month when I was trying to get my novel TRANSGRESSION permafree
on Amazon, I ran into several glitches. I posted some questions on a couple of
these groups and got help within minutes.
One of my small Facebook groups has been terrific in helping me
evaluate cover designs. I’m not great at understanding what makes a good cover,
but I can post several concepts that my graphic designer gives me and get
feedback on what works, what doesn’t, and which direction to go next. This is
huge for me.
Of course, in turn, I give a lot of techie advice on formatting
and marketing to my Facebook groups. I have expertise in those areas.
In marketing, 1 + 1 = 10. So if you help a friend, and they help
you, then you both wind up massively ahead.
If you’re trying to market your work and you’re not making much
progress, then the very first thing I’d recommend is to join forces with other
writers similar to you.
There’s power in numbers. There’s wisdom in a group.
And yes, you need to be wary of those annoying people who think
that tearing down others is the quickest way up the ladder. You also have to be
wary of the people who believe they know more than they actually do.
But I’d say the benefits of a group far outweigh the hazards.
Successful authors hang out with other successful authors. Success breeds
success. It just does.
The key thing is to find authors similar to you. Similar in
category. Similar in outlook. Similar in level of success. They can’t all be
identical to you, but general similarity with a bit of diversity seems to be
the best.
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