Lisa Hill: The Editing Process

Visit the RNA Facebook group or browse on social media and one of the most talked about topics amongst writers is – editing! We all have our favourite ways to write and edit our work and it can be interesting to find other views and perhaps use a snippet or two to help with our own writing. Today on the RNA blog we welcome author, Lisa Hill. Here Lisa explains her experiences with the editing process. Welcome, Lisa.

For those of you who know me, you’ll know I’ve not long graduated from the NWS. I was a member

of the scheme from 2010 – 2016 and in that time benefited from some thorough reports full of useful advice. What they didn’t contain, however, is a hand to hold with my downfall; the editing process. Having undergone the process with a professional editor in the past year, I thought it would be helpful to give those, like me, who struggle with editing an insight into perfecting your manuscript:

1. Take yourself out of the manuscript

Your first draft is your creation. It’s where you get to have all the conversations you want your characters to have with each other, let them go off on their adventures, really let your imagination flow. Now it’s time to get a grip on reality and that inevitably means getting tough. You might have the funniest scene which you absolutely love but if it has no relevance to moving the story forward, do you really need it?

2. Start a Novel Log

For me, a novel log was a revelation and I actually started using one from the beginning in my latest novel. Using a log you can diarise what’s happening in your novel and it’s so useful to refer back to. I use a page for each of the following:

·      Main Characters, including mini-bios of their age, appearance, main motivation etc.

·      Cast of Characters, including every character which has a name. This is most useful to look back on, for example, if you have a waitress that gets an odd mention and you can’t remember what you’ve called her.

·      A list of house, restaurants, pubs, shops etc, fictional and actual places.

·      A list of geographical places, again both fictional and actually in existence.

·      A list of songs, films, books and trade names.

·      A time-line. Probably the most important of all in the editing process; if you keep a note of dates and what occurs during your novel on these days, not only will it help you in remaining consistent, it will also assist you in deciding if you need to add time (e.g. are your hero and heroine ‘getting it on’ too quickly?) or condense.

3. Don’t try to edit everything at once

Something I was very guilty of. It might seem like a laborious task, however, the more times you read through your novel, the more times you will pick up errors. I had a manuscript where I had revealed twice (very dramatically) to the anti-hero that one of my heroines was dying! I now break my edits down into the following revisions:

·      Rewriting: The first round of editing is to go through your manuscript and identify what you can do without, what needs adding in (to reinforce your characters’ motivations) or where the sequence of events needs moving around.

·      Editing: On the second round, focus on actual scenes; where you need to cut a conversation short and lose words or lengthen one to add words and create tension.

·      Grammar & Spelling:  Often known as line edits, your final round of edits should be to comb through for grammar and spelling mistakes and to properly polish.

One final tip is that I find uploading my manuscript to my kindle for a final read helps me to identify any left-over niggles. Although if you are like me (and it is probably the creative in all of us) I am usually still agonising over certain lines in crucial scenes.

I wish you luck in getting your manuscript to the next level of publication and please don’t hesitate to drop me a line if you have anything you’d like to ask about my blog post.

About Lisa:

Lisa grew up in the village of Bussage, in the Cotswolds until she returned to Cheltenham as a teen.  She is married to her very own hero, Matt, and has three sons, Hamish, Archie and Laurence.  Her first encounter of a romance author was chats over the garden wall between her father, Godfrey, and Mrs Cooper from the neighbouring village of Bisley.  It came as a surprise in later life to find that Mrs Cooper was in fact Jilly Cooper!  Lisa’s writing inspiration now comes from other Cotswolds authors including Jill Mansell and Katie Fforde.

Lisa writes contemporary romance with a light-hearted tone.  What interests her most is people, their interactions, emotions and relationships. Lisa is a graduate of the Romantic Novelists’ Association New Writers’ Scheme and attributes this supportive and informative scheme to her winning the Choc Lit Search for a Star competition 2016 with her debut novel Meet Me at Number Five.

Links:

Blog

Facebook

Twitter: @lisahillie

Amazon

Thank you Lisa and good luck with your book. 

If you would like to write for the RNA blog contract us on elaineeverest@aol.com

jay Dixon: Write the best novel you can!

We welcome jay Dixon to the RNA blog today. jay is one of those wonderful people who help authors make their novels shine.

I love my job – most days. To help an author write the best book possible is a privilege – though sometimes I have to admit it is rather exasperating! What is plain to me – for instance, if a character is being addressed, there is always a comma before their name/title, e.g. ‘I love you, Mother’ ­– is obviously not to many authors! And it is so tedious, keep having to insert commas!

Even if you know nothing about editing rules, there is still a lot you can do to make an editor’s job easier. The first rule is ‘be consistent’. For instance, if you start with using single quote marks, keep to single, except when quoting something within the single quotes, when you use double (and vice versa) – e.g.:

‘It’s as Dorothy L. Sayers said, “I love you – I am at rest with you – I have come home.” That’s how I have felt since you came into my life.’

These days you don’t have two spaces after a full stop (or question mark or exclamation mark). Oh, yes, and if a character asks a question, please use a question mark!

Some writers have a problem with timelines. Personally, I’ve never understood this, but all authors I’ve spoken to assure me it is difficult. I once edited a book where the heroine had an 11-month pregnancy! And the reason I knew this was because I had written down in each set of chapter notes how many days/weeks/months had passed since the events in the previous chapter. So my timelines look something like this:

Chapter 1

Eve and Adam in garden

p.10 Ch 2 + 2 days

Eve meets Kaa

p.20 Ch 3 + 1 week

Eve has garden party (with apples!)

p.30 + 1 day

Leave garden – after 10 days [ms has 2 weeks]

Of course, if you are using flashbacks, or a story with multiple viewpoints, or set in multiple periods, it is not quite that simple, and you may need another timeline for each POV/period. But the principle remains the same.

And please ensure that characters keep the same name! One M&B I read had the heroine’s name in the title – unfortunately the then editor hadn’t spotted that her name changed halfway through! And don’t duplicate names. Indeed, if it can be avoided (which is not always possible, especially in historical fiction) don’t use names beginning with the same letter for major characters – readers will get them muddled up.

Make sure you follow through on things – if you mention that something is going to happen, even if the character only thinks it, ensure that it does, or give a reason why it doesn’t. This can also be noted on the timeline by writing a number in red by a future event and the time when it is going to take place, and then the same number in blue when it happens – this way you can immediately see if you have missed anything out in the writing.

I am not suggesting that you keep stopping when you are in full flow to check the presentation is correct. But when you go through the ms once you have finished it, do bear the editing rules in mind.

These are examples of what has to be done. There are other things an editor does which are only suggestions. To my mind no editor should rewrite the author’s prose – unless it is grammatically incorrect. Make a suggestion and the reason for the change – clarity, for instance – yes, but not rewrite. And any rewriting should be done using track changes so the author can see what has been done.

I have said I love my job, and I do, but some mss make my heart sink. There have been mss which have been so boring I could only manage to concentrate on them for an hour at a time – and the particular ms I am thinking of was not written by an RNA member, so don’t think it was by you! I find RNA members generally have a good idea of how to structure an ms, to give it tension, and write believable characters. This one didn’t. The author had told me that it didn’t need a line edit because all the research had been done. The author was wrong. If you possibly can pay for both a line edit and a copy edit do so – friends may have read it, even other authors, but an editor is reading with a different cap on, and it is amazing what she will discover no one else has picked up. Oh, and a hard and fast rule is that you can’t edit your own work. You know what you have written and that is what you see on the page. When I was working for a legal firm, I once asked a solicitor what he had written, because it didn’t make sense. He read out to me what he had intended to write!

There are lots of other editing rules but, in the end, it is the editor who has to know them, not the author. Just write the best novel you can, and let the editor worry about the rest!

Biography:

I have been an editor for 40 years. I started in academic publishing, moved to general and eventually become head of editorial at Mills & Boon. Since leaving M&B to write a feminist analysis of M&B romances, which was published in 1999, I have freelanced for private clients and publishers, most recently, M&B, Choc Lit and Accent Press.

I'd love to talk to you about your manuscript and any problems you may have, so do come and say hello!
Contact me at: jaysd@f2s.com

“Thorough, excellent, in tune with her clients needs, jay is a highly recommended and experienced editor.”
Carol McGrath, bestselling author of The Handfasted Wife

‘I feel very fortunate that I discovered jay, who has edited several of my manuscripts. The fact that I returned to jay on more than one occasion testifies to her perceptiveness and to the thoroughness of her editing, both substantive and copy-editing, and I’m very grateful to her for helping my novels along the road to publication.”
Liz Harris, bestselling author of The Road Back 

Thank you for your interesting words, jay. 

If you would like to write for the RNA blog please contact us on elaineeverest@aol.com

RNA CONFERENCE: Meet the Publishers

With the RNA Conference fast approaching the RNA blog today welcomes Industry Professionals who are offering 121s to delegates. We have asked all IPs a series of questions so that members can get to know them prior to interviews.

A warm welcome to Rosie de Courcy (RdeC) Head of Zeus; Julia Williams (JW) Mills & Boon; Pia Fenton (PF) ChocLit; Natasha Harding (NH) Bookouture; Emily Yau (EY) Ebury and Laurie Johnson (LJ) Mills & Boon.

What would you not like to see in a submission?

RdeC   Anything paranoral

JW      We are looking for fresh original voices in the line, who can bring a new twist and dimension to a classic love story.  We don’t want stories where there is no emotional depth or where the characters don’t grow. And we do want to see stories that target our series effectively and give our readers the HEA they’re looking for.

 

Pia Fenton

PF      I don’t want to see stories with unhappy endings (it should at least be a positive one), or stories with weak heroes, TSTL heroines and too much ‘telling’ instead of ‘showing’.  And no YA, children’s books, non-fiction or poetry please.

NH      I’m looking for complete novels to discuss not partially written books.

EY      One of my most frequent complaints is that a story is passive – when a novel is made up of a series of unfortunate events (pardon the pun), which our protagonist must overcome. I like to know the main concept of a novel from the first few chapters, with the primary dramatic tension being introduced in one (or a few) events early on. A character driving their own narrative is much more interesting to me and helps to make them more engaging and likable.

LJ       Clichéd and untargeted storylines with two-dimensional characters and unfounded set-ups. The common misconception is that it’s easy to write a Mills & Boon book, that it’s romance-by-numbers—let me assure you, it’s not! Our authors work hard to create their stories, build their characters and develop their plotlines.

What is it you hope to achieve on your own behalf?

RdeC   To find a new star for Head of Zeus

JW      As an editor I am always looking for fresh original voices that can tell an old story in a new way. I am always keen to nurture new talent and look forward to meeting writers at the start of their career.

PF       I’m not there to achieve anything for myself personally – in my role as commissioning editor for Choc Lit I’m looking for great stories that will suit their style/brand and authors who will be an asset to the Choc Lit team.

 

Natasha Harding

NH    I’m actively acquiring in my role at Bookouture so I'd love to find new commercial fiction authors to work with. I’m particularly looking for a world war two saga, a laugh out loud romantic comedy and a novel that perfect for mums.

EY    I’m always on the lookout for new talent so am really looking forward to meeting lots of authors from the RNA community. I always welcome the opportunity to talk to writers – after all, I love talking about books! – and even if it doesn’t come to anything I find that it really helps to spark ideas on both sides.

LJ       I would like to acquire fresh, new authors! It’s exhilarating to read raw voices brimming with potential and be the one to help take their book from concept to published manuscript.

What is your company looking for at the present time?

RdeC   Classy storytellers

JW      Mills & Boon is looking for strong themes and key selling hooks told from fresh new angles. We want strong, targeted, marketable editorial that fits the romance promise for the series we acquire in the UK—Mills & Boon Modern, Medical, Historical and Cherish. 

PF     Quality adult fiction with romance at the heart (unless the author is aiming for the Death by Choc Lit imprint ie crime), preferably featuring the hero’s point of view and with a male hero. 60-100,000 word completed manuscripts previously unpublished and not currently accepted by an agent or other publisher.  Sub-genres:  contemporary, historical, thrillers, mystery, romantic suspense, fantasy, time slip.

NH     Commercial fiction, primarily women’s fiction and crime, from authors who are able to write two or more books a year.

 

Emily Yau

EY      Ebury fiction is interested in new and exciting voices in women’s fiction, whether that’s big-idea issue-led novels that will have readers reaching for the box of tissues, or lovely, charming reads that you want to curl up with and that have a slightly different angle to those that have already been published.

LJ       Mills & Boon is looking for strong themes and key selling hooks told from fresh new angles. We want strong, targeted, marketable editorial that fits the romance promise for the series we acquire in the UK—Mills & Boon Modern, Medical, Historical and Cherish.

Will you be joining any of our panels or workshops over the 

conference weekend?

Rosie de Courcy

RdeC   Yes, both

JW    We will be running a workshop called Make a Date with Mills & Boon. Where we will be discussing the secrets to writing successfully for series romance and looking at what makes a perfect hero and heroine. We can also give you some insights into what Mills& Boon can do for you as an author.

           

PF       Yes, but not on Choc Lit’s behalf – I’ll be my ‘author self’.  As Christina Courtenay I will be doing a workshop together with Anna Belfrage on time slip vs time travel in romantic fiction, and as Pia Fenton I’ll take part in a panel/workshop with the Paisley Piranha author collective about romance, relationships and realism in YA.

NH      No

EY      Yes – The State of the Industry, chaired by Nicola Cornick at 4.30-5.30pm, Friday 14th July 2017.

 

Laurie Johnson

LJ       Yes, we will be running a workshop called Make a Date with Mills & Boon. Drop by and discover the secrets to writing series romance, looking at the perfect hero and heroines; learn what Harlequin Mills & Boon can do for you as an author; and meet the editors you’ll be submitting to.

If you had one piece of advice to give to a writer, what would it
be?

RdeC   Study and analyse the structure of suspenseful storytelling.   
            It’s a craft to be learned

JW      Develop a thick skin and listen to advice and learn from it, and if it’s your dream, never ever give up.

PF       Find yourself a writing/critique buddy, they are invaluable!

           

NH     Find two authors who have a similar style and/or subject to you writing and use these as comparisons for your work. This will be really useful information when submitting to agents and publishers as well as for beta readers.

EY     Do your research – it really helps when an author knows their genre and their audience: which books and authors write in a similar market to you and – more importantly – why is yours different, or *gasp* even better? And of course, research is hugely important for other areas, such as plotting out a novel, constructing a striking cover letter and deciding which agents to send your submission to. These things take time to perfect, so don’t rush it.

LJ       Think about who your audience is, who you are writing this story for, what readers you want to reach. Target your story for them and then choose a publishing imprint that fits the story you’re selling.

Thank you all for answering our questions today and we hope you will enjoy the 2017

RNA Conference.

Compiled by Natalie Kleinman

If you would like to write for the blog please contact us on elaineeverest@aol.com

Joan Hessayon Contenders 2017: Morton S. Gray

Today we welcome another of our contenders for the Joan Hessayon award.

Welcome to the RNS blog, Morton, and many congratulations on being one of the contenders for this year’s award.

How long have you been writing - Is this your first published piece?

In my early teens, I would hide away in the little attic room behind the chimney at home, writing

poems and stories. I had a box of pictures and items that inspired my writing. I still have this fascinating time capsule that also contains the pages of my first novel. It was typed on an electronic typewriter on A5 pages and I gave it to a school friend to read aged fourteen.

Then … life happened. I didn’t write much apart from academic assignments, work reports and training materials for years.

In 2006, I won a short story competition that I’d entered on a whim. I was looking for a new direction, feeling a little lost at the time, so I enrolled on a creative writing course to see if I could write. The academic course I studied introduced me to plays, flash fiction, short stories, poems and memoirs. I quickly realized that I wanted to write novels. I began to attend a weekly writing group run by RNA member, Sue Johnson and she suggested I join the NWS. The yearly critiques have helped to mould my writing. I would move heaven and earth to make sure I submitted a manuscript each year.

I’ve shortlisted in a few first chapter competitions, but ‘The Girl on the Beach’ is my first published novel.

How many years were you a member of the NWS and did you submit a manuscript each year?

I joined the NWS in 2012 and submitted a manuscript for each year that I was a member. I used my time on the scheme to experiment with writing contemporary romance, time-slip and historical novels.

What came first, agent or publisher?

Publisher

How did you find your publisher?

I submitted my 2015 NWS, then entitled ‘Who is Harry Dixon?’ to Choc Lit Publishing’s Search for a Star competition and won. Very exciting, because they were the publisher I’d always dreamed of being published by.

Do you have a contract for one book or more?

The contract is for one book with a clause to look at my next work of romantic fiction.

When was your book published?

My book, renamed ‘The Girl on the Beach’, was published on 24 January 2017. A date that will forever be etched on my memory.

Tell us something about your book

The novel ‘The Girl on the Beach’ is based around the question – Who is Harry Dixon? It is a contemporary romantic suspense novel set in a fictional seaside town.

When Ellie Golden, an artist, meets Harry, her son’s new headmaster, she thinks she recognizes him. However, the man she remembers wasn’t called Harry Dixon and Ellie believed him to be dead.

Harry doesn’t recognize Ellie. His presence in the seaside town of Borteen, where she moved with her son to escape her past is unsettling, but maybe Harry isn’t the person Ellie should be worried about, because there’s a far more dangerous figure from her past lurking just outside of the new life she has built for herself and her son, biding his time, just waiting to strike…

What are you currently working on?

My publisher, Choc Lit, have asked me to base more books in my fictional seaside town of Borteen. I am currently working on three novels in this location, but there is the potential for many more. I can now walk down the streets of the town in my head, as it and my characters based there have become so real to me. It truly is a fictional town, born of visits to many different seaside locations over the years.

What piece of advice would you give current members of the NWS?

Make sure you use your yearly critique by planning to submit a manuscript each year. Use your time on NWS to experiment with different styles of writing, to discover your own voice.

Keep going, keep writing and get your work out to competitions, publishers and agents. Writing is a constant learning process and success is about persistence. You need an imaginative spark, yes, but you also need to be willing to check your work over time and again to make it the best it can be. What is the point of a manuscript in a drawer?

Also, take advantage of the RNA conference and the local chapter meetings. Writing can be a solitary business, but there is a whole support network out there waiting for you.

Links:

Facebook

Blog

Twitter: @MortonSGray

Thank you, Morton. Congratulations again on graduating the New Writers’ Scheme and I hope you enjoy the Summer Party.