Archive for category self-publishing
Literary fiction is much more about individual visions and the people who don’t fit. And if you’re publishing literary fiction as an indie, you’re usually a tribe of one, squeaking your tiny squeak in a roaring wind. I have friends in mainstream publishing who give me furious pep-talks about how I’m on a hiding to nothing, which, of course, is excellent for morale. Thanks, guys. (Here’s where I thanked them more extensively.)
That’s why I wanted to make sure you didn’t miss this – a campaign that aims to represent the work of literary writers, small presses, independent bookshops and anyone who struggles to be heard or find their audiences. It’s called the Main Street Writers Movement and it’s the brainchild of Laura Stanfill, of litfic publisher Forest Avenue Press.
Laura’s vision is for a number of hubs around the US with live events and networking, but if you’re not one of her geographical neighbours, don’t be put off. Wherever your desk is (I’m waving to you from London), we can blog, tweet, share, meet IRL (heavens!). And support each other to do what we must do.
It could be a lifeline for literary.
Of course, by its very nature, the term literary spans a vast range of writing. Not everyone likes all of it, or even agrees what it is. Laura faces this head on. She says Main Street Writers is for ‘Writers who are tired of writing fluffy reviews about books they don’t particularly like due to a sense of obligation. Let’s replace that instinct with better, more genuine ways to support each other.’
I like this immensely. This is about honesty; making meaningful connections. If enough of us get involved, we’re all more likely to find the people we really do click with. Writers, publishers, agents, bloggers, reviewers, events organisers – and readers.
There’s a pledge (which, alas, you can only sign if you have 5-digit zip code), but you can register separately for the blog and the newsletter. There’s also a hashtag #mainstreetwriters so we can all get – and stay – in touch.
I think it looks exciting.
It’s five years since I released My Memories of a Future Life. I actually hadn’t realised it was that long ago, but Facebook has an algorithm that nudges you to repost old updates. And recently it gave me this:
Still, I wasn’t feeling especially retrospective until I happened upon this post by Caroline Leavitt at Jane Friedman’s blog, which talked about a few realities of author life. And I thought: yes. Releasing that book marked a big change. A set of new and unforeseen challenges.
1 Lovely reactions – which will wildly delight you
My Memories of a Future Life wasn’t my first book. I’d ghosted lots of titles (more about that here), so I was used to seeing my work bound between covers. I’d also published the first Nail Your Novel book, and knew how nice it was to get feedback. But fiction sets up a different kind of relationship. I received long emails and reviews – as if the book had started a thoughtful and personal conversation. I didn’t know this happened.
2 Upsetting reactions – your author friends will see you through
In her piece, Caroline Leavitt talks about bad reviews. We all accept we’re not going to please everybody, so we shrug and move on. But sometimes, a bad reaction really knocks you. Especially if it’s soon after the release, when the book is finding its way.
I had two.
The first was from a pre-release reader. It all started well. He wrote me emails while reading, chapter by chapter, saying how much he was enjoying the book. Then the end threw him right out of whack. It wasn’t what he was expecting. He sent a long, wounded email.
I was prepared for disagreement, or even dislike. I’d had the book rubber-stamped by people who wouldn’t let me get away with bad work. But still, my confidence was battered. This reader was genuinely upset and I didn’t want that.
My fellow authors told me: ‘Never apologise for your book’. Even so, I wrote back – which I shouldn’t have done and probably wouldn’t now. He replied, calmer, admitting there were complicating personal factors. Quite horrendous ones, as it happened. Still, I sneaked back to my blurb and description and examined them carefully, in case any of it was misleading.
The other upsetting reaction was a thoroughly scathing review. A blogger eviscerated it viciously. Again, I wondered what to do. Again, other authors held me down: ‘It’s dripping with malice. Some people do that. Stop being so sensitive. You don’t have to do anything.’
This time I heeded their advice. But I worried about that streak of spite, sitting on a blog for all to see, a stain on my book’s reputation before it had had much of a chance in the world. And I also didn’t do anything about the person who voiced plenty of critical opinions about the book but managed to reveal she hadn’t read it.
Two lessons here. 1 – other authors are your rock. 2 – you have to hope that on balance, you reach enough of the right people.
3 Your book changes you – a deep work of fiction is a work of personal examination
You mine yourself to write a novel like that. Your central characters come from your understanding of the people around you, and of yourself. Spending time with people in deep crisis, even imaginary ones, can change you. As do your antagonists. In order to make them rounded, I had to empathise with their point of view.
Carol’s end point made me examine some of my own life. Her psychological journey felt like my own rite of passage, a memoir in parallel, even though it was all invented.
Hence the need to be talked down, from time to time.
4 When the book comes out, that’s not the end
When I ghost-write, my contribution finishes when the book goes to press. But your own book needs constant shepherding and revisiting – and not just for promotion. I made an audiobook, which meant presenting it to voice actors, discussing the characters and approach – and finally, listening to the recordings chapter by chapter (which revealed how much of it I had completely forgotten). This year I was interviewed at the Clapham Literary Festival by Elizabeth Buchan, so had to brush up on it again.
Tip – keep a list of your old interviews so you know what you said about your book when it was fresh. Also read your good reviews so you can discuss the themes and bigger picture – I found my smartest reviewers identified these more readily than I could.
5 Your debut is a special time – enjoy it
‘Debut’ is a good word for releasing your first novel. ‘Inauguration’ would be a good word too. It’s more than just putting a book on public sale. It’s the beginning of a new order. Even though I’d written for years, been published under cover, taught and mentored, produced oodles of other books, nothing was like this. Releasing my own novel was like finally putting my feet down, having a voice in something I hadn’t been part of before.
Lately, Husband Dave had been dropping hints. Should My Memories of a Future Life have a new look, in tune with the style of Lifeform Three? I resisted long and hard. Getting a concept first time round was difficult enough. And if you’ve been round this blog for a while, you’ll remember that the cover of Lifeform Three was an epic undertaking.
But he was right and it’s now wearing its new jacket. I was going to sneak it out without much ado because, well, it’s just a jacket. But I didn’t anticipate how new it would feel, all over again.
Which is where we came in.
If you’ve released a novel, what took you by surprise? Is there anything you’d do differently? Any advice you’d pass on? And I think next time I owe you a writing craft post, so if there’s something you’d like me to tackle, leave it in the comments or drop me an email on RozMorrisWriter at gmail dotcom.
We’re in an age of new publishing models. And two of the emerging trends – crowdfunding and hybrid publishing – seem to meet in the organisation Unbound.
The principle of Unbound is simple. Raise enough money to publish the first print run. After that, the profits of any sales are split equally between the author and Unbound. Two editions of the books are made; a special, higher-spec edition for subscribers, and an edition for the trade.
When my friend Claire Scobie told me she was using Unbound to launch a UK edition of her novel The Pagoda Tree, I decided it was time to dig further. So as well as Claire (an Unbounder in progress), here are two fully graduated Unbounders – and clarifications from Unbound themselves.
Salena Godden @salenagodden is a long-established spoken word artist, poet and memoirist. She tops the bill at literary events nationally and internationally and has numerous credits as a guest and a writer for BBC Radio and Channel 4 arts programmes and documentaries.
Robert Llewellyn @bobbyllew is a writer, presenter and an actor in the cult BBC science fiction show Red Dwarf. He presented Scrapheap Challenge from 1998-2008 and now produces and presents Fully Charged, an online series about the future of energy and transport. He’s the author of 11 books, including non-fiction, humour, memoir and science fiction.
Publishing background and experience
None of my panel are first-time authors (but first-time authors aren’t excluded, so read on). Salena has run the full gamut from indie to traditional. She self-published her own chapbooks in the 1990s, published her Fishing In The Aftermath poetry collection with indie publisher Burning Eye Books. And she crowdfunded her memoir Springfield Road with Unbound.
Robert Llewellyn had 11 books published traditionally and has been with a literary agent since 1990. He said he became frustrated by the restrictions and financial deals in the traditional system, but didn’t want to go it alone entirely. ‘I was very keen to self publish. I knew I had a large enough potential audience to make this viable, but I also knew that I’m not very well organised and would find it a real challenge to do on my own.’
Claire has a literary agent and has been traditionally published. Last Seen in Lhasa was placed with Random House UK. She’s based in Sydney, so she sold publishing rights of The Pagoda Tree to Penguin in Australia and New Zealand in 2013, but is now seeking wider exposure in English-speaking territories.
UPDATE 1 July 2016 – Claire has now hit her funding target – so you can regard her advice as officially tested in battle!
How are books chosen for Unbound?
Here I’ll bring in Georgia Odd @whengoddcries), editorial and marketing assistant with Unbound.
‘We have a team of commissioning editors who both read submissions and scout for books and authors. The main things they are considering is the strength of the pitch – which might be the concept of a book, the writing or the author’s ability to crowdfund. The projects that work best have a great concept that can be easily explained in a line or two, and a clear audience who are already engaged with either the author or the topic.
‘We don’t always require a finished manuscript – particularly in cases where the author has a proven track record of strong writing – but with new authors we always ask for a substantial example of their writing.
‘We have a fairly even spread between fiction and non-fiction, and we accept any genres. If it’s a great book, we’ll take it on.’
Salena says she chose Unbound because: ‘We got on really well. You know the saying “Go where there love is”? There is a lot of love at Unbound.’
Robert says: ‘I loved the business model. I understood crowdfunding and I had enough of a following to launch the books. I don’t know how I got selected, it didn’t feel like being selected. It felt like we agreed to work together which was much nicer.’
Claire said she’d had her eye on Unbound for several years. ‘I like the philosophy of the company and the fact that it was founded by three authors who felt that readers were often left out of the equation. My agent pitched the book to them (although any author can submit directly). One of the co-founders loved it and my crowdfunding journey began.’ And Claire points out that Unbound offers a more equitable arrangement than most publishers. ‘Unbound splits a book’s net profit 50/50 (after costs/retail discounts) with the author. With traditional publishing, an author is lucky to earn 10% of the cover price.’
But can you bring your indie team?
It’s likely, of course, that authors who’ve already published their own work might want to bring their own editors or designers. Georgia from Unbound says: If an author does have an illustrator or editor they have in mind, we always have discussions about this, and the best route to take.
The campaign trail
Clearly, everything hinges on how much the author can raise awareness. And this effort shouldn’t be underestimated. I’ve been watching Claire on Facebook and she’s tirelessly producing interviews, posts and following up any lead that might create more exposure. ‘I’ve run a focused Facebook campaign on my author page, sent out a lot of emails to family, friends, friends of friends, written blogs on various sites such as FB historical fiction sites or indie publishing sites, made contact with my old school and university and contacted former work colleagues. As I am based in Australia, I’ve received a lot of support from students who’ve done my writing courses and writers I’ve worked with professionally. It’s been harder to tap into some of those networks in the UK.’
Salena says she was already well versed in selling and promoting her work. ‘I was in a band called SaltPeter for over a decade and we used to put out our own music, so I applied those cottage industry skills to the book, booking radio and gigs and promoting things.’ All the same, she says she remembers her funding campaign as full-on effort. ‘I worked my arse off. I hustled up hundreds of radio slots and gigs and events and festivals and talks and blog tours until I was sick of myself. When the book arrived I remember spending afternoons walking around book shops asking for it to be stocked; both indie shops and big chain stores too.’
Robert has managed to be more laid back, and says he mainly raised awareness through Twitter. ‘None of my Unbound books have had traditional reviews. They’ve not been featured in the traditional press in any way I’m aware of. I do a great deal of public speaking and sell books after these events.’ Reality check: he has 130,000 Twitter followers.
So it has to be asked: what proportion of projects fail to reach their funding target? Georgia says: ‘The success rate is 66%. There isn’t an obvious difference in the success rates between fiction and non-fiction; it depends on how active the author has been throughout their campaign, and how effective they are at communicating directly with their audience.’
With knobs on
One of the features of a crowdfunding campaign is the extra rewards for higher pledges. So what do authors offer? And when they have to fulfil them, are they worth the effort?
‘This was a steep learning curve. My assumption was that everyone would go for the cheapest option and no one would go for the most expensive. The most expensive options (tickets to exclusive events) were sold out within a couple of days. These involved complex and costly arrangements that were very stressful although we managed to fill 90% of our obligations to supporters. For instance, a picnic at William Morris’s house – there were so many takers we had to do it over two days. Since this experience we have wound down the top-level promises to events that are a little easier to set up.
Claire’s offering a range of goodies. ‘For readers I offer a double whammy of my first book and the novel for £75; for writers, I offer professional one-on-one mentoring sessions and a creative writing workshop in London; for general supporters, I offer the novel + a beautiful handmade Indian journal (which has been really popular.) I also offer ‘the story behind the book’ for £100 and some bigger pledges at £1000 for someone to be a patron. I think it’s important to have a range of pledges at different prices and for different sectors of your audience.’
All the same, Georgia confirms that some authors can be uncomfortable with the amount of self-promotion. But she provides some figures to help make the job more manageable. ‘The average book needs about 300 supporters. Authors have to be able to confidently pitch their book to their networks, including friends, family and colleagues. Some find it daunting to ask people they know to pledge money, so that’s something they have to really think about, and overcome if they’re to have a strong campaign.
‘The most effective way of driving pledges is through personalised one-to-one communication, usually via email. This does take a lot of time and effort, so authors find it helpful to create a plan and schedule. They then have to stick to it. It’s all about engagement, rather than broadcasting. If authors aren’t engaged with their fans, then they are less likely to see those fans pledging.
‘The campaign process has to be led by the author, as they are the best advocate for the book, and it is their network that will support the book in the early stages. But we do have resources we offer to authors as guidance and support throughout their campaign.’
Have you considered – or even tried – crowdfunding? Any thoughts to add? Questions? The floor is yours.
And finally, here’s where to find our people again. Unbound is here and is on Twitter as @Unbounders. Robert Llewellyn is most at home on Twitter where he’s @bobbyllew . Salena Godden is @salenagodden and her website is www.salenagodden.com . And Claire Scobie is, at the time of writing, in full campaign swing. You can find her on Twitter at @clairescobie and her Unbound campaign is here https://unbound.co.uk/books/the-pagoda-tree/
I recently changed the covers of my Nail Your Novels … and got myself a nice long to-do list as a result. But as well as refreshing the look of the books, a redesign is also a chance to smarten up the covers’ marketing potential. Here’s how.
Don’t miss the opportunity to tweak your sales wording
I’ve already blogged about changing the cover design to target readers effectively (the last time I changed the cover of book 1, as it happens). But revising the book doesn’t have to stop at the visuals. Since you published the title, have you had any standout reviews? Work them into the redesign – on the front as a teaser or the back as part of the sales blurb.
Indeed, could you add punch to the back cover copy? Sometimes reviewers sum up our books much better than we can ourselves. A reader who really got the book might have written you a brilliant logline. Search your reviews in case.
What about your author photo? My Nail Your Novels had three different author photos according to the years they were published (and the hue of my hair), but with this reboot I decided to use a new image to make them look more current and uniform.
I also found I had room on the back for miniatures of the other books in the series – a good visual way to let readers know they’re part of a set.
Read all the copy!
Even if you change only the fonts, you should proof-read all the cover material anew. Any time a change has been made, even if it’s just cosmetic (fonts etc) there’s a possibility for a letter to be deleted or a copy-and-paste to go wrong. If the new font doesn’t behave like the old one, you might find the copy doesn’t fit – check that the final sentence of your blurb or author description hasn’t disappeared into a mysterious limbo.
Read the spine too. Mistakes can happen anywhere. Especially there.
If you’re upgrading an entire series, be alert for copy-and-paste mistakes between the books! A designer who is working on several covers at once might paste an element in from another cover as a placeholder or to copy the style, and forget to type the correct wording. Check each book has its correct title and description, and not a pasted bit from another book in the series.
Picture and artwork credits
If you’ve credited the designer on the cover, you might need to update this. And if you’ve used photo library artwork, the T&Cs might require you to credit the originator – either inside the book or in a convenient place on the artwork. Sometimes, font originators need a credit (if they do, it’ll be in the T&Cs when you acquire the font). Don’t forget to credit your author image photographer as well. So: remove outdated credits and add new ones as necessary.
I’ve already mentioned updating credits for the cover images and design. What about the design of the title page? My title pages continue the design from the cover font, so I updated those too.
If you have images of your books in the back matter, they’ll need updating.
In the ebooks
If you have image and design credits in the ebooks, don’t forget to update these. Or images of your other covers.
My books’ facelift also generated a number of other itty bits of admin
- Website headers
- Blog badges
- The books’ pages on my website(s) (why did I have so many sites?!)
- Excerpts on preview services (I use Bookbuzzr)
- Headers on Facebook, Twitter, my newsletter sign-up, G+ …. Everywhere, really. I don’t think I’ve found all mine yet. (If you spot one, let me know!)
- Business cards, bookmarks, postcards, posters for events
And if you smartened up the back cover copy or logline, don’t forget to update your sales descriptions on Amazon, Smashwords, Kobo, Ingram … everywhere. But you don’t have to worry about your Amazon author page or the Look Inside feature – those update automatically but you have to allow a week or so for the changes to filter through.
Is there anything I’ve missed? I’m sure there is. Tell me here!
Rachel Anderson asks: How did you get into editing? Did you start writing first and then take on editing as a natural second, or was it out of necessity since there are more opportunities for editors than writers?
Oof, talk about cutting to the quick. It’s certainly tricky to make a living as a full-time writer. So most writers also use their wordsmithing in some other way – teaching or working in the publishing trade.
But does that mean all writers could be editors? Not necessarily. There’s a lot of difference between tidying your own work and shaping someone else’s to professional standards.
And you need different skills for the various strains of editing.
Copy editing and proof reading These are the nitpicky, forensic phases. Fact-checking and querying. Reading for consistency, clarity, correctness, house style, possible libel. The copy editor and proof reader are a human error trap – they have to catch anything that might be inaccurate, or would spoil the reader’s experience or undermine the author’s command. They have to spot anything that could possibly go wrong such as characters’ names changing half-way through, repeated passages from copy/paste mistakes, and snafus that no other human has yet encountered.
Rachel: I’ve been reading articles and stuff about developmental editing…
Aha – the creative stuff! For developmental editing, you need a mind for detail and a solid grounding in the mechanics of fiction (or non-fiction or memoir if that’s where you want to specialise – they need developmental editors too). Developmental editing is part diagnosis, part teaching. You need sharp radar for what isn’t working, and you need to explain this to the writer in a way that helps them solve it. Equally, it might be your job to solve it.
The best developmental editors understand how writers work and think – and this is where it helps to be a writer yourself, although it’s not an essential. You need to appreciate what havoc your suggestions might cause – for instance, if you recommend a writer rejigs a plot thread or combines two characters.
You also have to be a mind-reader – the best editors can figure out what the writer was aiming to do and advise them on how to achieve it. Or how to steer them to a wise course with their material. Developmental editors also need to be steeped in the genres they’re working with – the advice you’d give a paranormal writer would be very different from the way you’d direct a literary one.
Rachel: Do I need to get certification or training before trying to get people to trust me? Should I try to land a traditional job with a press or publishing house instead of (or before) striking out on the freelance path?
You can get training in copy editing and proof reading – in the UK a good place to start is the Society for Editors and Proof Readers . It’s trickier to learn developmental editing as it’s a matter of experience and I don’t know of any vocational courses. Even if there were, it’s the kind of thing you have to develop a sense for.
Here’s what I’d advise – read all you can about how fiction works. Join a good critique group where some of the members are working authors. Most freelance developmental editors, though, earned their spurs in a publishing house – so yes, I think this is the best path and it’s the surest way to prove to writers that you’re bona fide. And you’ll usually find yourself doing the copy editing and proof reading as well. Even if that doesn’t light your fire, it’s a useful string to your bow.
If you want to know more about the world of editing, you might like this recent roundtable from Indie Fringe 2016.
Are there any editors out there? What would you add? Aspiring editors, what would you like to ask? And has anyone had bad experiences with an inexperienced editor?
Editing seminar snapshots: How much should you budget for editing your book? And how should you choose an editor?
This very good question came up when I spoke at the Writers & Artists selfpublishing summit a few months ago. And my answer… deserves a post.
First, there seem to be two modes for charging: by the hour and by the wordcount or page. With the wordcount, writers can be quoted a fixed price, so everyone knows where they stand. With an hourly rate, it’s much more difficult for the writer to know how much they’ll be spending.
The convention seems to be that developmental editing is quoted by the wordcount or page, and other phases are priced by hour. Here’s a post that describes the different editing processes and the order to use them in.
Second, editors set their own fees. Does a low price indicate good value? It might if the editor is starting out and doesn’t yet have a reputation. But might they also be lacking in experience? Indeed, might they be a complete amateur?
Conversely, if an editor’s charges are high, does that mean they’re good?
I think everyone can see it’s a buyer beware situation.
How do you tell? Here’s how to navigate the maze and spend your ££$$ wisely.
Establish that the editor is right for you.
For developmental edits, you need a specialist in your field. I would be useless to a fantasy author because I don’t read fantasy. But I can edit its close cousin, magic realism. I can’t edit genre romance of the Mills and Boon variety, but I can edit any number of stories that feature a romantic relationship. So find out what if their tastes are in tune with yours.
Find out where they got their experience.
There are a lot of people setting themselves up as editors. Are they just someone on the internet who’s been to a few critique groups and thinks they can edit? Are they writers whose only experience is helping out their friends? They might be great – everyone has to start somewhere – but they might not at all.
The best editors will have done the job for publishing houses or literary consultancies. Even if they mainly work with indie authors or authors who haven’t yet published, they’ll have that background.
Fiction, non-fiction, memoir, narrative non-fiction?
This may seem obvious, but make sure your editor has developmentally edited your kind of book. If they’ve chiefly worked with non-fiction, or even scientific and technical books, they might be too pedantic to allow for the artistry in a more narrative manuscript.
The fussy quotient: will the editor’s approach suit you?
Do you want an editor who’ll be good at explaining how to fix problems? This is where an edit from an experienced professional is far more useful than a critique group. Your beta readers might say ‘the characters are thin’. A good editor will identify why and offer suggestions for fixing it. They’ll spot other potentials in your book too – which you may be surprised about.
Why do charges vary so much?
There are various industry recommended rates (see Writer’s Market, as quoted by Writer’s Digest here), but developmental editors have to set their fees according to how long a project takes them. I spot a lot in a manuscript, so the work takes me more time than it takes a less pernickety editor – because I find there are a lot of points I need to raise. Some authors are eager for this, and some aren’t. Do you want an editor who will approach your work in that depth? You might not. But you’ll pay according to the depth of the work.
Should you ask for a test edit of a small portion of your book?
Opinion is divided. Personally, I’ve never had to do a test edit. All my clients have hired me after an email conversation. But they’re not acting on blind faith because I can demonstrate my approach and degree of thoroughness from the posts on this blog, my books and my video interviews. Some editors might offer a test edit, or they might have a pre-prepared sample that illustrates the kind of comments they make. Be worried, though, if they send a report they wrote about someone else’s book; that should stay confidential.
Copy editing and proof reading
These are less specialised, and tend to be charged for by the hour. How long will it take to edit or proof your book? It depends what shape the manuscript is in. The copy editor has to take charge of consistency and clarity. So if your use of language is imprecise, the copy editor will have more to do. If your plot is complex, and especially has a lot of time shifts or locations, they’ll have more checking to do. If you’ve been woolly about any of these details, you’ll multiply their workload.
Should you ask for a sample copy edit or proof read?
Unfortunately, a sample is no gauge of how long it will take to do the work because the second half of your book might fall apart, and the copy editor will have to hammer it together. I recently copy-edited one 50,000-word book that took 50 hours, and one that took more than twice that time. What I tend to do is to charge in blocks of 20 hours, then keep the author informed of progress so they at least have a warning of the cost.
So… how much?
But I still haven’t answered that question: how much will editorial services cost you? For a 50,000-word novel, budget GBP£1000-2500 for the developmental edit, the same for the copy-edit and the same for the proof-read. Minimum probably £2000 if your manuscript is really clean. Maximum (depending on the quality of the editor and the manuscript) £7500.
Phew, that looks like a lot, doesn’t it? If you were traditionally published, you wouldn’t see these costs, but this is part of the publisher’s investment in your manuscript. And yes, there are people who manage to produce good books on a much smaller budget (I have tips here on low-cost options for getting good help ). The sums can be a bit of a shock when the rest of our writing activity seems so cheap and free, unlike, say, skiing or learning to fly. But I hope this post has helped you to see how to get good value.
POSTSCRIPT I’ve had a few emails since I published this post, so a clarification might be helpful.
One reader remarked that copy editing and proofreading don’t usually cost as much as developmental editing. Generally, that’s right. The costs all hinge on how much time the editor has to spend, and that’s related to how much has been done to the manuscript after each stage. But in real life, if a developmental edit leads to a lot of rewriting, that might leave a lot of tidying for the copy editor. Once we get to proof-reading, it should be a fast and final read with minimal changes … but again if a lot has been altered this will slow things down. I’ve had manuscripts where so much had changed after the copy edit, that the proof read was in fact another copy edit. Which is why I made the point that everything hinges on the cleanness of the manuscript.
Thanks for the money pic, Pixabay and soccerlime for the scrumpled page
Any questions? Fire away!
BTW, my Nail Your Novel books are distilled from the issues I most commonly find in manuscripts. Much much cheaper than getting me in person!