REUTS Publications

Camp NaNoWriMo and the Final Outcome

KWhipkey 13 Comments

We have officially reached the final days of Camp NaNoWriMo and my last post in this series. Technically, it goes until the middle of next week, but I figured you guys were tired of hearing about it, and not much is likely to change between now and the actual close of the competition. So I’m gonna call it, throw in the towel, and give you my final verdict on the whole shebang a tiny bit early. Sound good? Good.

What is the final outcome? Did I manage to do the impossible and write the full 50,000 words? Well, that’s a resounding NO. But I’m not sure that’s really the point of Nano anyway. I mean, yes, that’s the goal, but I don’t think it’s the point. I think the point is to learn– learn about yourself, about writing, about stress and time management, about your previously undetected penchant for binge drinking. (No? Not the last one?) Sure, it’s nice if you “win.” But if you don’t manage to cross that 50k word finish line, do you really lose? Does not finishing mean you failed? I guess that depends on how you choose to look at it.

Success is an arbitrary term, defined by a subjective set of measurements. By the definition of the competition’s rules, no, I didn’t succeed. I failed miserably. But that’s just depressing, so I’m choosing to measure my Nano success not by the number of words I managed to write, but by the number of things I managed to learn during the process. Which, you’ll see, is quite a few.

Thanks to Nano, I now know the following:

1) I am not, and likely will never be, a morning person.

By “morning,” I mean early, butt-crack of the day, before the sun rises “morning.” My grand plans of getting up at the same time my husband goes to work, at the ungodly hour of 5 am, lasted for about two days before getting tossed out the window. Turns out, I’m just not functional before 7:30. The couple days I did manage to resist the siren’s call of the bed resulted in a complete lack of productivity and feeling like a zombie for the rest of the day. So I decided it wasn’t worth it and reverted to burrowing back under the covers for an extra hour and a half cat-nap. Lazy? Maybe. I prefer to think of it as self-aware. 😉

I can now say with 100% certainty that my optimal creative time is between the hours of 8 and 11:30 am. (Right smack when I have to be at work. Lucky me!) After that, I battle with Food Comas and the Afternoon Blahs and am really pretty useless until about 5 pm. (Mexico has it right with the whole siesta thing. Maybe I’ll move down there.) I think, if given a lifestyle that allowed it, I would probably find I’m a night owl like my mom. But for now, I’m stuck wishing I had a brain-cells optional job that conveniently needed me only in the afternoon.

2) Nano isn’t really intended for adults.

Let’s face it, being a grown-up is extremely over-rated. Why we spend our childhoods fervently wishing to grow up so we can be saddled with responsibility, burdened by debt and shackled to jobs we hate, I’ll never understand. But I’m just as guilty as everyone else for wishing it and not a day goes by that I wouldn’t give just about anything for a do-over, for a chance to be 16 again and have the boat-loads of time I wasted back.

But I’m getting off track.

I noticed that most of the successful people in our REUTS Publications team competition were young. Teenagers, actually. Which immediately turned my jaded 31 year old self into an emerald of jealousy. Of course they stomped on me! What else do they have to do in the middle of summer? Even if they are working, legally, their hours are limited to hobby status rather than the mind-numbing tedium of a full time job (or three, in my case.) So they have the time to dedicate to churning out insane amounts of words in a short period of time. Therefore, it’s my firm belief that Nano was formed with them in mind, because the rest of us will find it nearly impossible to carve out enough time between family, work, housekeeping/life maintenance, etc. to keep up with the word count requirements necessary to win. And yes, I am a little bitter about that.

3) Plotting works better than Pantsing.

I haven’t outlined in years. Well, aside from a loose blocking-in of scenes so I don’t wander completely off the reservation while writing. But in terms of a true outline? I think the last time I wrote one was in like 2006. So I’ve obviously considered myself a Pantser. (For those non-literary folks in the audience, a Pantser is someone who writes by the seat of their pants, as opposed to a Plotter, who maps everything out ahead of time.) But I knew going into Nano that I didn’t have a chance in hell of actually reaching the goal if I continued that way. So I opted to set aside the complexity of my current projects and work on something different. Something old.

That’s right, I dredged up that outline from 2006 for what could be considered a standard Fairy Tale and proceeded to have at it. Guess what I found? It’s easier to write when you know where you’re going with it! (Hello, Captain Obvious.) Because I knew this story’s plot inside and out, I didn’t have to waste time trying to figure out what came next and just focused on the characters. The result? 868 words in less than an hour. Maybe that doesn’t sound like a lot to most of you, but that’s a personal best for me. Normally, it would have taken about a week to get that much done on Unmoving. So I definitely recommend becoming a Plotter if you’re going to give Nano a try. I may even be jumping the fence to Plotter-ville permanently after seeing the difference it made in my productivity.

4) Technology is your best friend.

If you, like me, don’t have the luxury of being a teenager or a full-time writer, then listen carefully to this next bit– Technology is your best friend. Seriously. I would never have been able to squeeze in as much as I did without the aid of cloud-computing, smart phones and an iPad. Thanks to Google Docs (which I highly recommend), I literally carried my manuscript in my pocket, so whenever I had even 30 seconds to jot down a couple of words while sitting in traffic, I could. (I don’t actually advocate that. Texting and driving is bad. Don’t do it.) Pretty much everything I wrote happened while waiting to pick up the hubby from work, during my lunch break, while I cooked dinner or just about any other moment I could steal away between tasks. Technology is a beautiful thing, people. Embrace it.

Those are just a few of the lessons I’m walking away from Nano with, along with things like:

  • Writing action in first person is ridiculously difficult.
  • I can actually spew out a rough draft that isn’t complete crap– just mostly crap.
  • Energy Drinks are toxic and will make you look like a tweaker. (I already knew that, but it was reiterated.)
  • Simple narratives are fun but will inevitably try to complicate themselves.
  • Nano is quite possibly the best and worst thing any writer can attempt.

All in all? I’m glad I was forced to give Nano a try. Even though I didn’t win, I feel like I learned some really valuable lessons, things I hope will work to my advantage now that I’m free to return to my normal sloth-like pace. So believe it or not, I actually recommend it. There’s another one coming up in November. Give it a shot and see what things you’ll learn about yourself in the process. And for those of you who’ve already done it, what lessons did you come away with? Did any of them stick?

The Difference Between Editing & Ghostwriting

KWhipkey 13 Comments

I’m sure the more astute of you already know that I moonlight as a freelance editor (there’s a handy little tab at the top of the page that will tell you about it if you missed it), as well as working on the editorial staff at REUTS Publications. But I’ve also been known to work as a ghostwriter (very infrequently; it’s not really my cup of tea). This week had me doing both. And it got me thinking about the differences between the two; how they can often be confused by those outside the literary world. So in the interest of clarity, I’m going to take a moment to break each of them down, starting with editing.

There are three types of editing a freelance editor (or an editorial staff) will perform:

  • Content Editing: This deals with the underlying structure of a piece, focusing on things like flow, POV, character consistency and plot. Sometimes called Substantive Editing, it’s usually the first part of the process, as there’s no point in fine-tuning a scene that will just get cut later on. Content Editors have a firm understanding of storytelling basics, and can rearrange a work like pieces in a puzzle, requiring dramatic changes that will ultimately make the story stronger. It’s the part that most feels like honing a diamond from a rough piece of rock and is my favorite style of editing.
  • Copy Editing: Also known as Line Editing, copy editing dissects individual sentences, working on tightening the prose and overall smoothing, as well as things like spelling and grammar. Similar to the layered approach of painting and sculpture, copy editing builds on the foundation content editing provides, focusing on the details rather than the work at large. This can be extremely painful for people that dislike dealing with minutiae, but it’s an important step in creating the final outcome.
  • Proofreading: Generally the last stage of the process, proofreading gives a manuscript a final pass, looking for any typos, misspelled words or wonky punctuation. There should be relatively few revisions made in this stage, and often, the proofreader will simply make the necessary changes without requiring the author to step in. Proofreaders are the last defense before a manuscript heads to the printer, so it’s a good idea to have them be a fresh set of eyes from the prior stages.

You’ll notice that none of those definitions included rewriting. That’s because it’s not the editor’s job to actually fix the problems. This is where the confusion kicks in. It’s a common misconception that editors help with the actual writing. But editing isn’t that kind of hands on, instant fix. In fact, most editors won’t even look at a piece that hasn’t already been completed and polished to a high standard.

An editor is like a personal trainer for words. And just like a personal trainer can’t lose weight for their client, an editor can’t rewrite a manuscript for their author. The author does all the heavy-lifting in the relationship, working out the kinks and fixing the rough spots under the editor’s guidance and moral support (even though it can feel like the complete opposite when you get your manuscript back covered in red delete suggestions). When they do their job well, the end result is like the movie star version of the original work, but it’s the author that actually gets it there.

So who, then, helps the people that can’t quite articulate their brilliant idea into words on a page?

Ghostwriters.

Ghostwriting and editing are two completely different things. Editors are passive observers, guiding the author with a hands-off approach, while ghostwriters are active, aggressively transforming the author’s thoughts into a commercial literary product. Unlike editors, a ghostwriter’s job is to actually write the manuscript. To take the vision, voice, and generalized, messy thoughts of the author and literally write in their stead. In short, ghostwriting is hard. Which is why I only do it on very rare occasions and why you won’t see it listed in the services I offer.

That’s not to say that there aren’t some small similarities between the two, though. For instance, both require the ability to see past a rough exterior to the heart of the story, to be able to understand the final vision for the piece and the best way to present that to the world. They both require a firm grasp of language and storytelling (although ghostwriting mostly happens in the non-fiction world), as well as a keen understanding of voice, so that the final product sounds like the original author, not the ghostwriter/editor.

They both have their place, but editing is more akin to reading with annotations, while ghostwriting involves the more rigorous creative process of actually putting words on paper, complete with stipulations and expectations attached. They both require someone well-versed in the craft of writing, but rarely will you find someone who likes to do both. Just like writers have preferences when it comes to style and genre, those on the book-doctoring side of the fence have preferences on the types of surgery they like to perform. So before you ask for help, make sure you’re asking the right person. If your manuscript is finished and you just need polishing, you’re looking for an editor. But if you need help constructing your idea from the ground up, you might actually be better off looking for a ghostwriter to collaborate with. Knowing the difference will save you a lot of headaches.

**Just a quick reminder; this is the last weekend to enter the Two Steps Closer Giveaway over at REUTS Publications. One of the prizes is a free, full-scale editorial critique by me and the other is a custom, print-ready cover design by Ashley Ruggirello. It’s a pretty sweet deal– professional services with no strings attached. If you haven’t entered already, what are you waiting for? Go do it before you run out of time! The giveaway ends Monday, 3/25/13 at midnight. Don’t miss out!**

Two Steps Closer Giveaway

KWhipkey Leave a comment

If you’ve ever considered self-publishing, then you know the two most expensive things you should invest in, (according to all the self-publishing gurus out there), are editing and cover design. But what if you don’t have the funds?

Or maybe you’re thinking of pursuing traditional publication, and would like to have an editor’s opinion on whether or not your manuscript’s ready. Do you really want to pay a freelance editor’s wage for that?

Maybe you’ve already had your book torn apart and pieced back together by a professional and you’re just missing the cover to complete the package.

Whatever your circumstance, listen up.

The folks over at REUTS Publications are generously donating their time to two lucky winners. One will win a full-scale editorial critique from Editor Kisa Whipkey. (Hey look! It’s me! :P) The other will win a custom, print-ready cover design by Creative Director Ashley Ruggirello. And the best part is, there are no strings attached. You get professional-grade services without the contract.

All you need to enter is a Facebook account and a finished manuscript. Sounds like a fantastic opportunity, no? For more information on how to enter, click here.

The giveaway runs until midnight on March 25th, 2013. Don’t miss out! Let the REUTS team help you get “Two Steps Closer” to publication.

Designed by REUTS Creative Director Ashley Ruggirello, 2013

Designed by REUTS Creative Director Ashley Ruggirello, 2013

Introducing REUTS Publications

KWhipkey 2 Comments

I’m very excited to announce that I have joined the Editorial Staff at REUTS Publications. And I felt it was only right to celebrate with a shameless plug for my new employer. 😉

REUTS Publications is an independent Publishing Agency created by authors for authors. Our goal is to redefine the author/publisher relationship by shifting the balance of power to the author. In essence, when you join our family, we work for you, helping to realize the vision you see for your work. Which is why we offer higher than industry-standard royalty rates, and why we only get paid when you do. We’re not a vanity press; you never pay up front for our services. Rather, we’re like your support staff, people who are equally invested in the success of your project and can help shoulder the burden of publishing.

Our staff is experienced in a wide range of services, from editorial, to design and marketing, and most importantly, publishing. All of our staff members are authors themselves, and are well acquainted with what it takes to succeed in this ever-changing world of publishing. We’ve been through the agonizing process of querying, waiting and waiting for responses that never came, or letters that only contained rejection. We’ve experienced the joy and frustration of finally landing a book contract, only to realize we’d no longer have control over our work if we signed it. And we think there should be a better way. We believe that authors should direct the show. It’s your work; you slaved for hours and hours, months and years over it. You should reap the benefits.

We offer one-on-one feedback from one of our editors, (like me!), author-driven design elements, including cover design, interior layout and an author website hosted on REUTS.com, and marketing assistance to authors who don’t want to travel the daunting road to publication alone. Whether you’re tired of trying to catch the attention of a traditional publisher, or are interested in self-publishing but have limited funds, we can help.

For more information on who we are and what we do, including our submission guidelines, (we can’t accept everything unfortunately), check out our website, our Facebook page, or our Pinboard on Pinterest. And in honor of our launch, we’re giving away a Vintage Book Safe to one lucky recipient on Dec. 10, 2012. Click here for details.

This is an exciting time in publishing with many avenues to success. Help us redefine what it means to be an author.