When a Book Is Not a Book

Coming off of a couple of days of reviewing unsolicited manuscripts, I am always inspired to say something. I don’t always know what to say, because the rate of good projects compared to the bad leaves me speechless. But I am hopeful nonetheless that this only reveals the path that even a rejected writer can take. I believe that if one door doesn’t open for me, I wasn’t supposed to go that way. This releases pressure off of me and gives me fewer choices to make. I like that about life. It’s not about the closed doors; it’s about exploring the ones that remain open.

I see this about writing and book publishing all the time. So many want it, but so few are actually supposed to get in.

Some of the pieces I review seem like they were drafted under much duress and struggle yet still never came to much. Almost like the writer forced it out. I have this one thought a lot, “You know, you really don’t have to write a book.” Yes, I understand things may have changed in the economy and that you may have been told your life story is amazing, but everyone is not meant to be an author or to have their story told. Economically speaking, a writer’s life can be pretty rough. So don’t let money be your motivation—at all. Writing is art. Art follows passion. And sometimes money and fame follow passion. But passion should be the driving force, not economics.

As hard as it is for our information-based society to face, everything does not have to be said, written, or reported. Sometimes a major life experience is just a major life experience. Sometimes, like Forrest Gump's famous line, that’s all there is to say about “that.”

Sometimes it really has all been said before. Month after month, I see the same kind of story retold. There’s no need to continue to fish for more to say on some topics. If you’re not coming up with a new and unique spin on an age-old topic, it really is like beating a dead horse. Let the dead horse lie. Walk away.

Then there are times when I wonder if what I see in front of me was just a necessary therapy for the writer himself to help heal past wounds. It’s OK if what you’ve written is just for you. You don’t have to make the first lengthy piece you write a book. Let it sit around for a minute. Live with it. Take it out for field trips or to a writer’s group for feedback. Don’t let it out of your sight until it matures. Then put it aside and write something else. More than anything, read books in the same genre you are aspiring to be published in. Compare and contrast what you’ve written with other works. Don’t write in a vacuum.

It’s Not a Book If…

1. All you’ve done is write down all the rantings and ravings you’ve ever wanted to tell someone who hurt you, who is in a place you used to be, or who you feel needs Jesus. 
2. Most of what’s written is quoted verbatim from other sources and between every two or three very lengthy quotes you insert your two cents.
3. You’ve only written thirteen MS Word pages. I think they call those pamphlets—or booklets, at the most.
4. All you have are blow-by-blow feelings you had at different times in your life and what you may or may not have learned. That’s a diary.
5. You have lots of short chapters with no unifying theme, no culminating path on which to lead your readers—just thoughts and ideas about various things. That might be material for a blog or a collection of magazine articles you could have sold.

What are some other things that can sometimes pose as books? Have fun with it. Almost like Jeff Foxworthy’s redneck jokes, yes?

Rules of Grammar Are Made to Be Broken--Sometimes

This post is inspired by a post by Jessica Faust on her BookEnds LLC blog. I remember laughing at the audacity of this English teacher questioning Jessica on how in the world she could have become a book editor if she had not done so well in her grammar class. I loved Jessica's response, because there is so much more than grammar to consider when editing a love story or a self-help book that has to continue to engage readers. Editing is not as simple as enforcing the rules of grammar you learned in high school or your college freshmen comp class. They do provide a foundation, yes, but rules are not meant to box you in.

I am grateful to have been copyeditor and now a developmental editor. It gives me an eye and argument for both sides of the literary aisle--grammar rules vs. flow, creativity, and voice. I wanted to repost my answer here to help reiterate or "revoice" the importance of a team effort in book editorial and the ever-so-delicate balance between technical merit and readability and impact. I remember being so fired up by the end of Jessica's blog, that I just wrote and wrote in her comments section. The whole time I was writing my response, I felt bad because my answer was long enough to be it's own blog post. So check it out.

I've found that even in copyediting one must be flexible with grammar and style based on the genre and audience. If you can't edit within that context, don't do it. Grammar is suppose to encourage and protect readability and relatability, not sterilize it and make it sound too different than the way the intended audience communicates. 

Grammar rules provide boundaries; yet, they are not concrete. An editor can ruin a beautiful narrative or dialogue trying to stick strictly to grammar rules.

I often leave notes in the manuscript for the copy editors to let them know when something should be left as is for effect, tone, or voice of the author. I don't want to make a manuscript suite my personal tastes and preferences. I want to make it standout as coming from this particular author.

And then, even the most stringent copy editor makes mistakes or misses something. So a little fluidity when applying and promoting grammar rules can enhance teamwork and reduce irritation (and judgmentalism) between editor and writer.

I always like to create a team environment around the projects I edit: writer, editor, copy editor, and even production. We can go so much further with respecting each one's position and expertise. Even more, the editor is there to serve the writer and propel his/her message to the widest audience and in the way the best represents the author. Grammar is only one element in all this.

Now tell me, what have you experienced in writing or even editing that contradicts what you learned in your high school grammar or college composition class?

The Best Book I Ever Edited

Of course I’m not going to call out any names. That wouldn’t be fair. What I can say is that there are those few authors who just know what they are doing. They take their writing on professionally and take responsibility for the elements they want in their books, and they’ve thought about the reaction they want to get from their audience. I immediately fall in love with these people and become a raving fan. What kind of books do these authors send in?

1. The kind where complete sourcing is provided
2. The kind where the author understands the dilemma of using copyrighted material and has already sought permission and print licensing
3. The kind where the paragraph style is normal and the font is twelve-point New Times Roman throughout
4. The kind where all the stories involving real people are obscured or are composite sketches AND they have provided signed release forms for each person
5. The kind where edit time or costs are not an issue; I just keep reading and editing
6. The kind that shares practical, doable, and uncommon answers for common questions
7. The kind that change my life
8. The kind that make me want to edit well
9. The kind that I talk about outside of work
10. The kind that cause me to roll up my sleeves and call up some previously shelved talents—I like to get a little dirty (which can sometimes negate all of 1 through 9)

It may seem far-fetched but, yes, I have edited books with all these characteristics. I am not sure who makes authors who write books like these, but they are a joy and a refreshing treat. I love to read and learn from them. I love to edit for them. I love that I can have a hand in helping these books blossom. I love to see others love these books the way I do.

But the very best books to go through the editing process sometimes tank in the market. Mechanics, sourcing, and print licenses are the least of some buyers’ worries, and what characterizes a book as life-changing or conversation-starting is subjective.

However, one thing is undeniable: the author’s confidence in their message and their authenticity when reaching out to their intended audience. It just shows in every step of the process, and, even more importantly, it comes out in the manuscript.

I think we can all understand that not every book will hit the New York Times bestseller list and that every book can't fit into my "perfect" little list. What we can’t deal with deep inside is a writer who didn’t give their all or a writer who wrote for themselves and tries to pass it as a generous rendering of life.

Writing is not easy, and anticipating the needs of an editor seems absurd when the creative juices finally get to flowin’. But there are those times when that certain level of consideration is taken and both writer and editor are able to meet at a professional juncture that just catapults the relationship to another level. This increases both the editor's and writer's expectation for the next project. 

My Experience as a First-Time Writers’ Conference Faculty

The first week in March met me with a wonderful new opportunity as a first-time guest at the Florida Christian Writers’ Conference (FCWC). I am grateful to the conference director, Billie Wilson, who saw fit to accept my request to attend, and to my supervisors who saw it beneficial enough to count the three days as work time.

The conference was held at the Lake Yale Conference Center located by one of the many beautiful lakes Central Florida is spotted with.

Along with the thick wooded areas that intertwined themselves between the modest 1960s-style buildings, the setting would have been a perfect spot for inspiration had it not been so chilly. I couldn’t bring myself to enjoy the outdoors on this trip. Florida has been uncharacteristically cold this winter and spring, and anything below 70 is cold to me.

I wouldn’t have had much time for reflection anyway. My days were pleasantly filled with meeting with writers who had a passion for their craft and wanted to share their gifts with the world.

When I stepped in the door of the Raintree auditorium on that cool Wednesday afternoon (day one and faculty meet-and-greet day), Billie met me with a joyful, “Hello, Jevon. So glad you could come,” and four manuscripts that were awaiting my editorial critique. No time to be laid back and play the newbie card. But that wasn’t too bad; I could handle that much. They had to be read, marked up with comments and suggestions, and returned to the hospitality desk by Thursday before noon. (This is what I thought I heard, but later, after I had stayed up ’til midnight and rushed to have mine in “on time,” I found out that I didn’t actually have to have them in until Friday before 5:00 p.m. or something.) Although I was a novice writers’ conference attendee, being a half-way experienced book publishing professional somehow balanced out my newness to the whole scene. I am also not afraid to ask questions, and I did ask lots of them: “What time is it?” “Where am I supposed to be?” “Who do I turn this into?” “What is your name again?” “What was I just saying?”

The schedule was an exciting whirlwind of activities. I inched my way through the hallways and foyers to the many appointments as every few feet I was being stopped and introduced to a first-time conferee or one who had been bold enough to make the first move and meet me on their own. Idea after idea was hurled at me like a merciless dodge-ball game. This conference presented possible once-in-a-lifetime moments every smart writer knew they needed to seize, and I am sure every other faculty member was equally as in demand.

The Writers

Adding together both my sit-down and walking appointments, I must have met with about forty writers from all over the world—some as far as Canada and South Africa. At every meal from Thursday afternoon to Saturday’s dinner, I hosted about five writers at my table at one time. It was incredible. I came away with stacks of queries, proposals, and full manuscripts. I was able to do this because I was one of the few faculty who was local. I didn’t have to worry about lugging anything onto a plane.

My experience was highlighted by the sheer talent and creativeness that the writers possessed. For me it was different than going through a slush pile. A few of the conferees, who had observed my marathon-like schedule, asked me, “How are you doing this with so much energy? You are listening so intently to all these different people and their ideas.”

I responded to them, yet more to myself, “How can I not? I am just amazed at all the life and creativeness these writers have. I mean, it takes a lot to write a book and leave yourself open for acceptance or rejection by some stranger. Even if there is nothing else I can do but listen and be excited about what they’re doing, I owe them that honor.”

There was a seriousness and higher level of talent and thoughtfulness that I saw at this writers’ conference compared to what I see when I review the unsolicited manuscripts that come in to our offices.

I have since received emails and gracious hand-written notes from the conferees who were encouraged by my listening ear and advice. I am thankful for them too for being brave enough to set out into such a fickle profession as writing, for bearing their heart and soul to people they may never meet but whose lives they may change, and for showing me that there is life, energy, and creativity still brewing in high concentrations all around the world.

The Faculty
I had a great time covertly comparing notes with the other faculty who attended. I was honored to sit on a nonfiction book panel with Christian publishing veterans Suzette Jordan, acquisitions editor at JourneyForth Books; Steven Lawson, senior editor at Regal Books, Jeff Braun of Bethany House, Craig Bubeck of Wesleyan Publishing, and Rick Steele of AMG Publishers. They each had impressive bios that I scoped out beforehand on the conference Web site.

The audience who questioned us held no punches. When the very popular question about author platform arose, I thought it was funny how we all played hot potato with the mic, took turns clearing our throats, and shifting our bodies in the seats. It’s not that there wasn’t an answer, but I think Craig Bubeck said it best, "It’s a little like trying to nail down Jell-O." I think that it is also something that, in the Christian book market, we have a hard time accepting and dealing with because Christians are often taught to be selfless and humble. And on the surface, it would seem that building an author platform is a lot like tooting your own horn. But it’s not. Building a solid author platform for your specific goals as a writer is simply using the tools available to let as many people you can know about the special niche, gift, or advice you have in order to enhance their life in a meaningful way. I think that’s service oriented, right?

The overall response to the panel was positive. Many of the participating publishers had a variety of outlets for almost all of the projects represented, and the writers seemed like they had their needs met.
My takeaways from that experience: become more knowledgeable about author platform, and the most difficult kind of book to place (all of us admitted) is the personal story a writer tells of his triumph over a tragic situation. I met with many authors who had that kind of story.

I got a chance between appointments to fire my own set of questions at Vicki Crumpton executive editor at Baker Books; Nancy Lorh, acquisitions editor at JourneyForth Books; Steve Lawson, who I mentioned earlier; and David Long, fiction editor at Bethany House. While talking with David, I discovered that Bethany's fiction imprint puts out about forty fiction books a year with a team of like twenty or so editors. I was shocked! How in the world is our team of two acquisition editors, one imprint editor, one developmental editor, and two copyeditors putting out sixty traditionally published books a year (fiction and nonfiction), some of which have been among our nine New York Times best sellers and countless CBA, ECPA, and Publishers Weekly bestsellers? No wonder we don’t go to writers’ conferences! I wonder if the other publishing houses are trumped that tight with editors.

I also enjoyed cutting up with my buddy Jeff Gerke, fiction editor and publisher for Marcher Lord Press, who helped us launch our fiction line, Realms. He is so cynical with a great sense of humor. I love it! I made new friends with author and template queen Cheri Cowell; Rebeca Seitz of Glass Roads PR, who helps us promote our new historical fiction line; and Meredith Smith of Creative Trust Literary, who will hopefully be sending us some good historical fiction stuff. I connected with Carol Wedeven and Angela Hunt who had both written some beautiful children books for our now-on-hold CharismaKids imprint.

The Workshops and Keynotes
For my own personal growth, I attended about four of the 101 classes that the conference offered: “Understanding Show vs. Tell and Point of View” by Jeff Gerke, “Beyond Words: Writing Great Prose” by author and speaker Jeanne Gowen Dennis, “Branding Yourself for Maximum Impact” by social networking specialist Laura Christianson of Blogging Bistro, and “Understanding and Negotiating Book Contracts” with legendary agent Les Stobbe.

I was glad I could fit in the fiction and prose workshops because I mostly edit and “write” nonfiction, but what I love to read is fiction. What a dynamic couple nonfiction and fiction/prose-type writing make when they marry. So I am secretly working on that for my own repertoire. I also know that the skills these fascinating teachers taught me will help as I edit and develop nonfiction.

The branding and contracts workshops also served a dual purpose as I make strides to continue growing and expanding my career as well as advise my authors about how to build a platform, what leverage they need to negotiate contract terms, and how to present a credible personal brand to their readers.

The keynotes were impressive because they kept reinforcing a very critical asset every writer needs: authenticity. Cec Murphey, ghostwriter for Gifted Hands by Dr. Ben Carson (a book that changed my life FOREVER. I read it in middle school and literally was never the same) and coauthor of 90 Minutes in Heaven with Don Piper, spoke Thursday night, Friday morning, and Friday night. Jerry B. Jenkins of the famed Left Behind series, the Jesus Chronicles, and Riven spoke on Saturday night. Though both of these men are completely different characters, they brought to life the same emotion in me—hunger for well-written, honest, and engaging reads. They encouraged all of us to know and accept who we are and share that bit with even the one person who may read our work and be impacted. They took us all down from our lofty visions of huge worldwide notoriety to a place of intimacy and humanity with that one reader. They helped us to know that being significant isn’t about sales numbers but about putting out our best and truest work no matter how many actually get to read it. I liked that a lot.

I read a lot of stuff, and I can just say that a majority of the time a writer is copying the tone, topic, and style of another writer. There may not be anything new under the sun, but there is only one you who can say what you can say, the way you can say it. Find that thing--whatever it is--and perfect it. Don’t be afraid to commit to it. Go…all…the…way!

My first writers’ conference experience was fantabulous as you can see. Exhilarating even. I would totally do it again. My preparations did pay off, and the reception was warm among my peers and the conferees.

By the way, JOB is for "Jevon Oakman Bolden," not for the perfect man in the Bible who lost everything in the whirlwind only to gain back more the second time. Although...

How I Prep for My First Writers’ Conference

OK, I’ll admit that I don’t always like to show all my cards amongst my peers (and I am good at cards—well, Spades), but the truth is I’ve never been to a writers’ conference. I’ve spent the last six years in the books—editing, editing, editing. I think I’ve got it down enough to where it’s time for me to look up for a minute and check out the beautiful scenery around me. So I figured a writers’ conference was in order.

I found the Florida Christian Writers’ Conference through a colleague’s mention. I checked it out and saw that it was close and maybe I could afford a last-minute trip a few hours away. I didn’t know how accommodating they would be at my wanting to come at the last minute. (Like I said, I’ve never been to one.) Apparently book editors are well received at these shindigs, and I was asked to be one of the faculty who will review manuscripts and meet with authors/writers one-on-one. A few e-mails up the chain of command at the office, and my attendance is approved as work time out of the office. How awesome!

Since last week my mind has been going a thousand miles an hour trying to make sure all my ducks are in a row, so I won’t look or act like I’ve never actually been to one of these. In other words, credibility, professionalism, and confidence are paramount in my book. And I can’t have any of these without being prepared. Here’s what I’m doing to be on my A-game:

1. Connecting with the writers’ conference community
I found out that this particular conference has a Web site, blog, a Twitter page, and Facebook fan page. I jumped on all four by becoming a fan and follower to keep up with news. I read all the blogs and Twitter and Facebook posts to get a glimpse of who the faculty and other conference attendees are, their areas of expertise, their suggestions on how to get the best out of this conference experience, and why they're coming.

2. Checking out the list of faculty and sessions schedule
To see who’s coming and who I may want to meet (everybody, really), I made notes on the faculty—what classes they’d be teaching and a little about their work history. This way, I’ll be sure not to miss some of the key connections I hope to make. I also made a personal schedule of some of the classes that are about things I need more knowledge in, things that would enhance my own position as an editor, and things that will help me relate better to my authors. I am there not only to advise but also to learn. Since many of the tracks occur simultaneously, I figured this would be a way for me to not be overwhelmed with all the scheduling once I arrive.

3. Making a list of questions or observation of the industry I hope to have answered or discussed
This will help me hone in on some of the things that I wonder about during my daily activities. There is wisdom in a multitude of counselors, so some of the things I can’t answer within my sphere may be answered amongst a larger pool of professionals. I expect that once I get there, all the excitement and speed of this jam-packed weekend will cause me to forget many of the things I hoped to learn. So I make a list.

4. Contacting attendees in my area or those I know from other networks and letting them know, “I’ll be there!”
Another thing to help me build my network and make new connections is to make it a point to meet my friends in social-network land face-to-face. It takes the relationship from abstract to concrete. Letting people know I will be there and them telling me they will be there, helps us to take time out to meet and greet each other despite all the huff and puff of the conference.

5. Doing a little research about what’s expected of someone in my position at a writers’ conference
I have a little book that I’ve been “eating on” for a few weeks now. It’s called Editors on Editing edited by Gerald Gross. Yes, I know, it’s old, but it is so resourceful. It tells everything about what an editor does. Each chapter is broken down in essays written by well-noted industry professionals. There are three essays I am working through specifically for this conference: (1) “What Editors Look for in a Query, Letter, Proposal, and Manuscript” by Jane von Mehren, (2) “The Editor and Author at the Writers’ Conference: Why They Go, What They Do” by Michael Seidman, and (3) “Editing for the Christian Marketplace” by Janet Hoover Thoma. In addition, I am reviewing blogs and articles by other editors and writers about their experiences at writers’ conferences. This will help me have a gauge of what people expect from me as an editor when they come up to meet me, what kinds of questions I may be asked, and what questions I should ask. I want to be fully engaged with everyone on all sides of the publishing paradigm.

6. Deliberately planning what I will wear
Regardless of what anybody says, I believe without a shadow of a doubt that looks (outside physical appearance) play a huge role in what people initially think of me. Some try to play that aspect down and say that it’s the inside that counts. Yeah, OK. No one gets to your inside until they get past your outside. You have to look the part (whatever your part is). I want to be approachable, welcoming, credible, professional, and teachable, so I am going to dress for that. Comfortable shoes, I hear, is a must at these things. I think I have some three-inch red pumps that are pretty comfortable. The dress is usually casual, some people wear jeans. I think I can ring up some freshly creased, wide-legged, cuffed slacks with a little bling-bling to accessorize the deal. Bottom line: I plan to dress for the reception I want from others. “Comfortable” is relative. Comfortable is confidence. Comfortable is being taken seriously. Comfortable is not being self-conscious. Comfortable is matching my outside with how I feel inside—and like James Brown, “I feel good! Dunna-dunna-dunna-duh.”

7. Remaining open and teachable
Yes, I am going to be a resource to aspiring authors and writers, but I am really going to learn new things and take part in the conversation. I am looking forward to the opportunity to expand beyond the books my company publishes, our publication and submission guidelines, and what goes on in our day-to-day. I know that I will gain so much from every interaction, the classes I attend, the other professionals and how they interact, different ways to do things, new ideas, and on and on. This is going to be a rich experience. I expect to see my perspective broadened and my understanding and relationship to the market increased.

How do you prepare for a writers’ conference? Is there something I should add to my list? Let me hear you!

Basic Word Processing Tips for Writers Submitting to Publishers

There are so many sad things I see when I receive manuscripts from acquired authors or those that come through our unsolicited manuscript pool. Many of these things I just think people know on a common everyday level, but apparently not. And you know what? That’s OK. There are so many things that I should just know, but I don’t. But since I do know a few things that may help writers with repeated word processing issues, I will share them. Hopefully they help not only the writer but also the poor editor that is stuck fixing or weeding through these common missteps.

Most of my advice will come from my experience with Microsoft Word (2003 and 2007), which is the standard format that most publishers, editors, and agents prefer to receive manuscripts. There will also be some that may be exclusive to style based on my experience with the Chicago Manual of Style (CMS) 15th edition. Again, another book publishing staple that writers should become familiar with. So check it out and leave any additional things I may have missed in the comments.

Put only one space after a period.
I know, you were taught to do two spaces in your high school typing/keyboarding class, but in word processing programs like Microsoft Word there’s a little flex space after period so there is no need to be redundant. However, I was informed on Twitter this afternoon by @EditorMark that the 6th edition of the Publication Manual of the American Psychological Association is going back to two spaces after a period, but since that only refers to psychological journals, textbooks, and such and has little to do with the mass media books, I just closed my ears and said, "La, la, la, la, la..." All I can think about is the search-and-replace nightmare that would be!

Do not use colors, huge fonts, or clip art to accentuate book or chapter titles.
We’re going to standardize it anyway when (or if) it comes in house. We have paragraph styles that we apply to a manuscript in Word, so that it can be easily typeset and placed in an Adobe InDesign template by the interior design team. The other thing is that editors read for content, not how cute or creative a manuscript looks. You can’t trick us with your pretty designs. Our judgment of beauty goes far beyond skin deep.

Do not include photos, graphics, or non-Word tables in your manuscript file.
Attach them as separate files (.jpg, .gif, in high resolution). Just place a note in your file where a photo or graphic should be placed using the image's file name for reference. Keeping these embedded in the file can, at times, make the file too large to save and e-mail.

Remove hyperlinks.
This also adds to the bulk of a file, and really there’s nothing that it is useful for when you are not doing an e-book. Now, I don’t mean that you can’t include links to Web sites in your book, just don’t leave the hyperlink active (when it’s blue and underlined and when clicked takes you to the Web site indicated). Here’s how to deactivate it using Word 2003 (Word 2007 has a similar method, if I’m not mistaken):

Example: http://embracetheimpossible.blogspot.com/

1. Place your cursor in the midst of the text for the hyperlink.
2. Then right click with your mouse. A pop-up menu box will appear.
3. At the very bottom of the menu box is the selection “Hyperlink.” Roll your mouse over that and another drop-down menu will appear.
4. Click “Remove Hyperlink,” and the hyperlink will be deactivated.

Result: http://embracetheimpossible.blogspot.com/

Use the right kind of dash.

Word has keyboard shortcuts for making em dashes (CMS: 6.87–6.94) and en dashes (CMS 6.83–6.86). Then there are hyphens (CMS 7.82–7.90). I guess I should also make a distinction between the three so that you can know what I mean.

1. Em dashes—used many times in the same way commas, parenthesis, or a colon may be used. Often I see the double hyphen (--) used in the place of an em dash, which is cool (I know what you meant). But if you want to know how to get what you want, try holding down ALT + CTRL + the minus sign on the number keypad.* Works like a charm.
2. When typing numbers in series such as 256 to 345, en dashes can be used in place of the word to. An en dash is a bit longer than the hyphen and is used to connect numbers. To get an en dash, try holding down CTRL + the minus sign from the number keypad.* Result: 256–345.
3. Hyphens are used mostly in hyphenated compound words: “decision-making.” I’m sure you know how to type a hyphen. This is listed here because the hyphen is often used incorrectly in place of an em dash (-- vs. —) or an en dash (- vs. –).

*If you have a laptop without a number keypad, the "Symbols" function should have an em dash or en dash you can insert directly into the text. (I've done this mostly with Word 2007 on my laptop. It's not as easy as the keyborad shortcut, but it works.)

Avoid using bold, italics, underline, and sometimes all caps on one word or phrase.
We get the point (no, really, we do): you’re EMPHASIZING something. But just italics will do. The way you phrase something can also help to carry the weight of what you’re trying to say. Take time with the points you want to emphasize in your manuscript. Finding contextual and literary ways to increase the weight of what you’re saying may help it hit home with the reader more and give them something to take away from your work for a lifetime. Just like a mom trying to talk a four-year-old out of a tantrum, I say: "Use your words." (And I am a mom of a four-year-old, so...)

Use page breaks between chapters instead of hard returns.
Again this seems elementary, but maybe because of a lack of knowledge people still do this. Using hard returns to separate chapters makes it hard to keep the divisions between chapters and other elements constant. If you delete a line, all of a sudden the beginning of chapter 3 is on the same page as the end of chapter 2. This isn’t such a big deal as it is an unnecessary frustration for the writer (and editor, once it gets that far).

“Help” tutorials for Word should help direct you on how to do this. In Word 2003, I go to the top default toolbar and click on “Insert,” then “Break.” A menu will pop up, asking what kind of break you need “Page Break,” “Column Break,” or “Text Wrapping Break.” By default “Page Break” is already selected, so all I do is click “OK” and my page is broken to the new page. (You can also use keyboard shortcut CTRL + ENTER to get a page break.)

That’s what I have for right now. To many, this post may seem totally obvious, but just know that you are the exception to what I see every day. And for you who may not have known about the little things above, I hope they help and make your writing life easier. They sure will help me if you do them.

American History and the African American: Reflection for Black History Month

It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others….One ever feels his twoness—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.

—W. E. B. DuBois, author, intellectual, historian, sociologist
From The Souls of Black Folk

“We the people”—it is a very eloquent beginning. But when the Constitution of the United States was completed on the seventeenth of September in 1787, I was not included in that “We the people.” I felt for many years that somehow George Washington and Alexander Hamilton just left me out by mistake. But through the process of amendment, interpretation, and court decision, I have finally been included in “We the People.”

—Barbara C. Jordan

The first black woman to be elected to the Texas Senate

U.S. Congresswoman from 1972–1978

There is no Negro problem. The problem is whether the American people have loyalty enough, honor enough, patriotism enough, to live up to their own constitution.

—Frederick Douglass

American abolitionist, lecturer, author, and slave

My father was a slave and my people died to build this country, and I'm going to stay right here and have a part of it, just like you.

—Paul Robeson

Athlete, singer, actor, and advocate for the civil rights of people around the world

This week on Twitter, I had the pleasure—no, the honor—to tweet thoughtful quotes by contemporary and historical African American authors and writers. The initial idea popped into my head without me really consciously understanding the impact reading and posting these quotes would have on me.

But the analytical person inside me started to pull out the sociological significance of what some of these people were saying. This gave me pause as I began to replay some of my own feelings related to being an African American. Do I personally feel the duality that surfaced in many of their sayings or writings? I’d have to say yes.

W. E. B. Dubois is one of my favorite thinkers. I just love the way he worded things. So elegant. So respectful. Yet powerful and direct. Those who want to speak the truth in love may want to take some lessons from the writings of this man. His quote that I posted at the top of this post is just so true. In my everyday life, I find myself consistently trying to balance the “two souls, two thoughts, two unreconciled strivings; two warring ideals.” It can be tiring, let me tell you.

I often hear it said that we need to go back to the foundations of our great country. Has anyone thought about what going back sounds like to an African American? For many of us, going back to any roots may have us reliving Roots (the bestselling 1970s book and movie by Alex Haley). We don’t want that. When people mention going back to the founding fathers, it is hard for an African American not to think of those men as slave owners or the framers of the Constitution as exclusively referring to white people. Can I get a “holla!” that the Constitution gave room for growth within its lines? That had to have been divine intervention, or we would have been screwed.

African Americans have a very different historical perspective than white Americans—and I would think that could go without saying. Many of us want to move forward together, yes. But to go back to anything? Not so much. I would have to be fair and say that every culture has very different historical perspectives. So why not look for ways for all of us to move forward into something more positive for our country?

I can tell you that there is no other place in the world I would want to be (except Tuscany, but that’s another blog) other than America. I love being an American. I love being in America, but I feel that America has a very sordid past that really should be grounds to learn from and move past, not to return to.

Another thing that I hear is when people mention going back to the Father Knows Best and Leave It to Beaver days. Again, what was that time like for African Americans? Yeah…, so let’s not talk about going back.

My motivation for writing this is to encourage us all to be culturally sensitive. We have come such a long way together, and almost like marriage, it ain’t been easy.

Just understanding this little bit is so expansive to me—freeing even. It helps me to put a finger on what is that uncomfortable feeling I get when people start talking about going back to the foundation of our country or going back to the simple, traditional family values of the 1950s and 1960s. I understand that even without the cultural complexity there, the past is not something to return to. It is something to learn from, something to help us position ourselves for the best present and future we can hope for. I am excited because, I know that we all, as a country, will continue to find ways to move together into a future that has so much promise.

Disclaimer: I am one black person, and I cannot possibly speak for all black people. Just a little note to consider. Thanks for reading!

The Ethical Editor: Can We Disagree Yet Be Agreeable?

Some things have happened lately in my tiny editor world that have caused me to question my own sphere of editorial tolerance. In my day-to-day editing activities, I am mostly engrossed in Christian topics that include anything from health, economics, and politics to family life, personal growth, social issues, spiritual matters, and eschatology. But my own personal reading appetite extends past this to African American topics, secular and religious fiction (not necessarily Christian), career, and personal finance.

Now I admit that I wouldn’t edit books on how to beat your wife, twenty ways to worship the devil, or where to find the best pornography, but I’d like to think I have a strong ability to objectively and effectively edit books that differ somewhat from my own personal beliefs. For instance, editing a book that is very conservative politically while I myself am more independent. Or, editing books that prove and push the traditional family model (man works outside the home, woman doesn’t work, stays home, and cares for children) as the right way for a family to be organized, while what I believe and live differs from that paradigm. I feel that I have been able to understand and effectively edit their point of view.

There is an editor friend of mine who will not edit religious and inspirational titles. Why? I don’t really know the details but I am sure this editor has discovered where their tolerance ends. I guess, in so many ways, and if I really think about it, I have too.

I am appreciating more and more what this little bit of networking I’ve begun to do outside of my company has brought me. Branching out like this is causing me to really think, to be introspective about what I do every day. I expect that this will only strengthen me as an editor, right? I mean, once you know what your strengths are, where you stand, and what you’ll tolerate, your craft is even more honed and focused, right?

I've always taken the position of being the gatekeeper of what my company endorses and stands for and not my own personal beliefs. I am proud to do that, 'cause really editing is not about the editor in the first place. For the most part, I try to put my feet in the author's shoes. Then once I've done that, I consider what the whole team (sales, marketing, and acquisitions) wants from the book. And even further, if I were a reader with the same or differing beliefs, how would the author's position affect me? Would my expectations be met? Did the author fulfill his or her promise? This is how I've always approached a new project, and I know that in some degree my beliefs affect the whole process, but lately I've been wondering if they should be more at play.

So this is where my poll comes in, and I would like professional honesty from those who choose to comment. I believe that there is wisdom in a multitude of counselors, and I expect that what you have learned in your career will help me in mine.

1. When choosing or accepting a project is your decision based on your belief system, literary strengths, or work experience? Or is it a combination of all three?
2. Is it possible to effectively edit a book with concepts or ideology you don’t necessarily agree with?
3. Should you edit books that differ from your personal beliefs and moral compass? How different is different?
4. What role does your editorial director or publisher play in what projects are assigned to you? How much should they know about your personal beliefs? Should you speak up when you are editing something that you don't agree with?
5. Here’s an experience question: If you only have experience within a certain genre, topic, or belief system and you want to expand that or even change it, how do you navigate your skills into that new area?
6. Where do you draw the line when deciding which projects you will accept?

Even Editors Need to Be Edited

Now, writers, don’t get all self-righteous. When a good editor is editing you, it’s for your own good and the good of your audience. But there are those few-and-far-between times when an editor needs to be edited. Hmm… I am thinking hard… Got it! It’s when an editor turns writer.

Writing takes a different set of skills and creativity than editing. Please don’t mistake what I am saying here. Editing at its best is almost like brain surgery. It takes a careful hand to make cuts and changes yet still leave the message and voice of the author intact. But when the shoe is on the other foot, the scalpel in another hand, even a good editor must come to terms with being edited.

Writing is a very intimate process. When writing, we can be so subjective and close to our work that many times we unconsciously overlook our own flaws. It’s like true love. We love our own work for what it is on the inside—its substance, its intention, and its potential. Even the most objective and skillful editor faces this when they are writing.

Have you ever read over something you wrote eleven times, backward and forward, up and down, and still someone else found typos, grammar issues, or nonsensical ramblings when they read it? It happens to me all the time.

When I was in college, I was a news writer for the student newspaper. I really enjoyed the chase of the story and all the information gathering. The thrill of finally finding my flow to write the articles was addicting. Then the whole process was maddening when I couldn’t find it. The first time I submitted a piece, I was horrified at how it had been “changed.” Some of you would probably choose the word edited, but at the time I didn’t see it that way at all. All I knew was it was not what I had written! I was offended that the news editor did not know that I was a writer who knew how to write and needed very little help with putting a good story together. So I took upon my arrogant self to tell them not to ever edit my pieces. “Leave my stories as is,” I told them. (I am getting sick of my own self, recounting this story.) The sad part about this whole thing is they actually listened to me and granted my insane request.

Then, after accumulating several stories (I don’t even know how they kept me on staff), I took my clippings and samples to a friend who wrote an editorial for the city Times paper. I asked him to read through my stories and tell me what he thought. He told me that my writing was stilted and did not follow the conventions of news writing (who, what, where, when, why, right out the gate; setting and other stuff later). My writing, he said, was more of a feature style, which was not what I was writing for. He was very careful and kind, but at the time I added him to the list of people who didn’t understand what a good writer I was. I was in my twenties and just knew I knew what I was doing. He actually preferred the story that had been edited.

Years later after becoming an editor myself, I realized that I needed that editor to edit me. Yes, I gathered all the information and told the story, but the news editor had her hand on the pulse of what her readers expected from her section of the newspaper. I am sure she had been coached and mentored by past editors and faculty about how the newspaper should be formatted, the house style, the type of articles it needed to include, and how to make what comes in from writers fit those parameters. What did I know just coming in on that scene?

As an editor now who dabbles in writing from time to time, I am so grateful that someone has had the patience to read through my work and make it better and its appeal broader to fit the needs and expectations of the intended audience. Now I just die to my writing and submit it up as an offering to whatever publication to be sacrificed in the most sufficient way. I just trust now that the way it ends up is the way it was supposed to reach the reader. (Of course, I also have trust in the editor too. I don’t want to leave that out.) I appreciate the fact that I need to be edited when I am not the editor but the writer.

Another thing I’ve come to realize is that I like editing much better than writing. Writers are incredible. The risks they take, the criticism they endure, the ideas they come up with, the creativity with which they communicate… When I became an editor, I found my true fit. I love helping writers say what they want to say in the best way possible to the largest audience available. I believe that my experiences in writing help me be a more empathetic and careful editor. Isn't it great how things in life line up to bring you to your destiny?

Have you ever found yourself in this place where you thought a little too highly of something you crafted only to realize later that you should have respected the very delicate editor-writer dynamic? Do tell.