Tag: Kristen Corrects

More Straight Talk from Editor Kristen Hamilton

Last week, we started this interview with Kristen, owner of Kristen Corrects, Inc. in Idaho.

I asked Kristen if she had any especially disagreeable authors (other than me) and what she would do when an author argued with her about her suggested changes.

KRISTEN: I’ve had authors disagree with edits I’ve made to avoid a blatant error (usually with capitalization or grammar). In most cases, I’ll explain why the edit is necessary, and the author will agree. But sometimes, the author disagrees. These instances are harder to let go, because it reflects poorly on the author and on me, the editor. Still, the author’s in charge, and I’ll leave the error in if they request it.

Wow! I want to insert that this MIGHT not be true if your editor is with a periodical or publishing house. Most of the time, those editors have the final say on small things like this.

Kristen’s been an editor for many years. Nosy authors want to know: What’s the most difficult part of being a book editor?

KRISTEN: It’s tough to deliver bad news to authors, especially when I know they’ve already been through several rounds of self-editing and revisions. This usually occurs in the manuscript critique process, where I’m reading their manuscript and pointing out any big-picture issues in pacing, character development, or plot and story structure. There’s no secret formula to create a good book, but if the book simply isn’t engaging, something’s off. It’s not always easy for an author to see this, as they’re so close to their work. I always focus on the manuscript’s strengths and offer constructive criticism and suggestions for improvement in the areas that aren’t working, but it can still be difficult to deliver that news.

I’m always a little scared to open a manuscript from my editor. In my experience, you do a great job of offering balanced feedback. We’ll see if I feel the same way once you get a look at A LABORING HAND in September.

Now that the negative is out of the way, what do you find to be the most satisfying part of your job?

KRISTEN: Books have always just done it for me, you know what I mean?  (I’m nodding here because I DO know.) I’ve had a lifelong love affair with books. And to know that I’m personally improving every book I edit…well, that’s a powerful feeling. These books will exist forever, in some capacity. That’s a pretty big job. And that’s pretty satisfying.

Ah, books. It’s so satisfying to have a conversation with a person who loves them nearly as much as I do.

The publishing industry has undergone a huge transformation in the past few years, and it’s still changing. How has your experience as a freelance editor changed your view about self-publishing and traditional publishing?

KRISTEN: I’ve had the pleasure of reading, editing, and critiquing hundreds of books by unknown and unpublished authors. There are some incredible stories out there! Since self-publishing is a relatively new thing, it’s opening up an entirely new platform to give a voice to everyone—what an incredible thing. And trust me, as I mostly work with fiction novels and memoirs, both forms of creative writing, I can say with certainty that everyone has a story. So when some traditionalists scoff at the idea of self-publishing, saying it’s “not real publishing,” I just smile and move on. Traditional publishing is great for the masses, but if you want to hear real stories, self-publishing is where it’s at.

I’m a little floored by that answer. In fact, I’m going to use that last line in a quote graphic that I’ll be sharing on social media.

Real stories: find them at the indie bookstore not on shelves stocked by big presses.

Now that we’ve come to the end of our “chat,” I can’t say “thank you” loud enough and long enough to express my appreciation for Kristen. Thanks for taking time out of your busy schedule to answer questions for a bunch of authors who sometimes wonder if they’re writing in the dark.

I’m looking forward to watching Kristen’s expertise make my indie published series REFLECTIONS shine like a diamond among the millions of books available in this new publishing paradigm.

If you have a question about editing, comment below. I’ll make sure Kristen sees your questions so she can respond.

Straight Talk from Editor to Author

Editors do important work. In fact, my choice to pursue traditional publishing has as much to do with getting quality editing for my work as it does to the whole avoiding marketing ideal. (Sadly, there is NO way to avoid that irksome task regardless of an author’s path.)

I’ve worked with half a dozen editors. Three of them I chose myself and paid out of my pocket. The others were assigned to me by the publishing house. In my experience, some editors are fantastic and as relentless in their pursuit of a perfect manuscript as I am.

Others? They’re breezing through the manuscript and finding the obvious errors, but they aren’t passionate about polishing the story to the next level.

Recently, I hired Kristen Corrects, Inc for a three-manuscript independent project. She was one of the first editors I interviewed when the first manuscript in this series was an unborn dream. And although I didn’t hire her then, I have experienced her critique skills with a more recent project, MOMMY’S LITTLE MATCHMAKERS.

Welcome, Kristen. You’re an independent editor with a pretty full schedule and a broad range of editing projects, so I know you’ll have insight my fellow authors will want to hear.

What is something authors commonly forget to do before handing over their manuscript to the editor?

KRISTEN: Self-edit their work.

I cannot stress the importance and the difference in quality authors will see if they invest some time in improving their manuscript before sending it off to a professional editor. Unless authors have unlimited money to pay a freelance editor for many, many editing passes (spoiler alert: most don’t!), authors can really improve the quality of their final book simply by self-editing their work.

Me: That’s great advice, but I’m sure some readers are wondering what that entails. What does self-editing mean to you?

KRISTEN: This means recruiting beta readers and implementing their suggestions, and reading your manuscript several times to catch as many errors (continuity, grammar, spelling) as possible. I’ve been a freelance editor since 2012, and one thing I know to be true: the most successful self-publishing authors are those who self-edit their work. Simply handing your raw first draft manuscript to your editor and hoping they’ll make it into gold after one or two editing passes just isn’t realistic.

Me: I can’t even imagine sending my raw first draft to anyone. I even revise and give it a quick edit before I send it to my beta readers.

Let’s face it, there are a TON of editors out there. Not only that, there are several types of editing. How is an author supposed to find a reputable editor?

KRISTEN: Do your homework. Make sure the editor has a contract. Check out their portfolio and look up those books on Amazon (if there are a lot of negative reviews mentioning a story that doesn’t make sense or typos, move on). Read testimonials of the editor’s previous clients.

Most editors will offer a sample edit free of charge, so take advantage of this to see if you like how the edited passage of your book. There are a lot of editors out there, so do your research!

Me: I know that when I first interviewed you, I was hoping to find someone who had experience editing in my genre (historical fiction). In fact (along with price), this is the reason I went with someone else for that first project. Do editors prefer to work in certain genres?

KRISTEN: I’m a fiction book editor, but I haven’t “niched down” yet to a specialty (romance, fantasy, etc.). There’s a robust world in fiction writing, and I enjoy all of it—the variety makes my job so interesting. There’s a big difference between fiction and nonfiction writing, though, which is why I rarely accept the nonfiction project.

Me: At the end of the day, authors don’t have to take your recommendations. Every editor I’ve worked with has reiterated this to me (yes, even the ones with publishing houses). How do you manage issues when the author disagrees with your advice/recommendations?

KRISTEN: The majority of my clients are self-publishing authors, which means after I’m done editing their manuscript, they upload the books to Amazon Kindle or other self-publishing platforms. The book is their baby—it has their name on it, their ideas, and their story. And as such, I always tell my author clients: “You’re the author, so you’re in the driver’s seat!” (It’s kind of become a mantra.)

I’m here as their editor to make the book the best it can be—but if the author disagrees with my recommendations, I’m totally fine with that. That’s the beauty of self-publishing—it’s the author’s story, nobody else’s.

Me: Come back next week and find out if Kristen deals with a client who disagrees with changes she suggested.

For my part, I’ve worked with several editors, and I’ve never had any arguments. There were times I disagreed with my editor and cited the Chicago Manual of Style to them as to WHY I didn’t accept their changes. Amazingly, they thanked me for pointing those errors out to them.

Next week, I’ll open up the comments at the bottom of the post and ask Kristen to check in and answer any questions you have for her. In the meantime, why not check out her blog and see if she answers them there.

Professional in Need of Feedback

I’m a professional author. That means I write a story and send it off to my publisher. Right?

Wrong.

In most cases, most professional authors write a manuscript and return to it to rewrite, revise (not the same as rewriting), edit (not the same as revising) and polish (a cat of an entirely different color) as many as TEN times before sending it off to anyone. And often, their first readers are NOT their editors but a group of alpha readers, many of whom are writers in a similar genre.

Now that I’ve been a published author for four years, my manuscripts should be pretty close to perfect at the end of two or three drafts.

I wish.

My Process

Sadly, I don’t write a first draft that’s ready for public consumption. Not even by my Aunt Betty who dearly adores everything I write (because she loves me). Manuscripts I write have generally survived three passes from me before they go to my early readers.

  1. FAST DRAFT: Just as it sounds. I sit down with my character sketches, the major plot point beat sheets and write the story.
  2. REWRITES: A few weeks after I finish the first draft, I read through the manuscript and mark it with symbols. I mark where more detail is needed, where there is a plot hole, where I’m bored and where things don’t make sense. A week later, I sit down with that manuscript and rewrite all the troublesome areas. Usually, I will increase the word count by about ten percent.
  3. REVISIONS: Shortly after I finish the rewrites, I turn to page one and begin revisions. I start by making a scene chart. At the beginning of each scene, I ask what the goal of the scene is and whether it’s accomplished. If there is no goal, the scene is scrapped or rewritten to reflect a goal. I go sentence by sentence through the revised scene and cull needless words.

Now my manuscript is ready for beta readers. Generally, I send them a list asking them to look at specific aspects of the story, but I always invite them to comment about anything they like or dislike as they’re reading.


Once all the comments come back, my manuscripts get three more passes.

  1. MORE REVISIONS: First, I read-through the comments and make changes on a scene level as I see fit based on the beta commentary. Sometimes, I have to scrap or completely rewrite scenes. Other times, I need to add some meat. I may not work on EVERY scene in this pass, only the ones that needed work according to the readers.
  2. EDITS: I print out a copy of the manuscript and read it aloud. Yep, some people might find this crazy. I use a colored pen to mark up the manuscript. Usually I read a couple chapters and then return to my computer to input the changes. Sometimes they get changed again as I’m doing the inputting. This pass generally takes longer than any of the others.
  3. POLISH: I compile from Scrivener to a Word document. I do a few macro searches for overused words and change them out. Then I start at the first page and polish line by line, making sure spelling, grammar and punctuation are as perfects as I can make them.

Now, the manuscript is ready for my publisher.

This Story

This summer, Kindle Worlds closed down. I begged Melissa Storm, the author who owned the universe I’d published in there, to form her own small press. She did!

Sweet Promise Press is unique in that they are 100 percent shared series. Not only has she opened up the First Street Church universe that was the Kindle World, but she’s invited authors to pitch ideas for other worlds. Then she opens up submissions for these individual series.

As an author from her Kindle World, she invited me to the group right away. I submitted interest in two of the first five shared series, and I’m contracted to write a novella for the Mommy’s Little Matchmakers series in April 2019.

The novella is written. As I pen this blog, it is with an amazing editor for critical feedback about plot and character arc, as well as the style. Since I’ve never written this genre, I’m worried my sense of humor may get missed or not resound with readers.

One thing about Sweet Promise Press that was quite different from Roane Publishing (where my first fiction works were published)is that they only proofread. It is part of the author contract that a manuscript is line edited before submission.

This is NOT that edit. I’ve contracted the recommended line editor to handle that closer to publication.

My manuscript is with Kristen Corrects, Inc. for something more along the lines of a developmental edit. Except that would have cost about twice as much as what I’m paying her to do with the story. I’m hoping that I’ve got the story RIGHT and only need help with the comedic elements.


SO…I hope I sell enough copies of this story to offset the cost of TWO rounds of editing.

My Hope

I worked with Kristen on my first First Street Church novella, Love’s Late Arrival. She really helped me make that story shine.

I’m hoping she’ll be able to spot all the weaknesses in this new story.

In this case, readers deserve to get the best story. I know I can deliver a great story, but if I miss the mark on the humor, the reviews are going to scream it.

“Romantic comedy is supposed to be funny!”

Most of my stories have an edge of darkness. I always end on a hopeful note, but I’m a realist. I don’t write fluffy stories. My character face some hard issues, but they press on and find light at the end of the shadowy journey.

That’s not the case here. So I had to find lighter issues for my characters to face, but I didn’t want it to be trite.

If anyone can help me bring the story to a smile-inducing place, it’s Kristen.

What questions do you have about the writing or editing process? Are you surprised I spend so much time on each manuscript(and will still release three new novellas and two short stories this year)?

7 Must-Ask Questions to Find Your Perfect Book Editor – Part II

 I hope you haven’t been holding your breath for a week waiting for the second part of Kristen’s post on finding the perfect editor for your book. Waiting with bated breath is good. Holding your breath for a week? Not so much.

Now here’s Kristen with the rest of the questions that will help you in your editor search.

Go for it Kristen:

Last week I shared four of seven questions every author must ask to find the perfect editor for your manuscript. The first four questions are easy, focusing on narrowing your search to editors who offer the type of editing you need, who specialize in your genre, who have experience, and who have a portfolio and testimonials for you to look over.

Now, we’re getting into the serious stuff. By the end of this, you’ll have found the editor that’s right for you.

5. What is the editor’s attitude?

Real talk: There are too many editors to settle for one that doesn’t contribute to a healthy author-editor relationship. When you make first contact with an editor, pay attention to how they communicate.

  • Do they have time to talk to you on the phone about your project?
  • Is conversation with them easy, and do you see eye-to-eye with your plans for the book?
  • When you ask about their experience, are they open and communicative?
  • Do they seem excited about your project?

The author-editor relationship is famously collaborative, meaning if you don’t feel your editor is onboard 100%, move on to the next option. Your manuscript is understandably an important project—and usually a major part of your life. It deserves the respect of an engaged, enthusiastic editor.

6. Does the editor offer sample edits?

As you narrow your search for an editor, you may find several editors that may be a good fit for your project. Getting a sample edit is often the only way to know for sure which editor is right for you. Most editors will be happy to do a sample edit of 500-1000 words on your manuscript—just ask! Once you get the sample edit back, ask yourself:

  • Did the editor’s sample edit make a difference in your novel’s excerpt?
  • Do you feel that the edited material reads better than the original?
  • Pay attention to the editor’s stylistic choices, such as using em dashes (—), semicolons (;), and italics. Do you like their style? Do you feel like it’s right for your book?

The best editor will be able to match your writing style, so all editing changes will be seamless to your original writing. The final result will be a beautifully polished book, highlighting your skills as an author. 

7. What about contracts and pricing?

Before making the final decision, pay attention to two more important elements: if the editor offers a contract or written agreement, and if the price is reasonable.

As a book editor, I require a contract with every project, which provides the details of any editing project in writing, including the payments, editing services provided, and a confidentiality agreement. At the very least, protect yourself and ask the editor to provide a written agreement prior to you submitting payment or your manuscript.

Finally, the old adage “you get what you pay for” is true when it comes to selecting a book editor. The Editorial Freelancer’s Association’s Editorial Rates Chart is the gold standard for how much editing should cost, so make sure your editor falls in the ballpark. Generally, more experienced editors will charge more, while less experienced editors will charge less. You get what you pay for.

BONUS: Editing company or freelance editor?

Your search may turn up freelance editors, or editing companies—big difference between the two. Editing companies can have five or more editors on staff, several of whom will be working on your manuscript. Although multiple eyes on a document can be a good thing, conflicting editing styles and an inability to communicate freely with your editor may turn some authors off.

Generally, freelance editors own their own companies, take on fewer projects, and are the sole editor of your manuscript, meaning you’ll be working with one person (the editor) throughout the entire process. You’ll get to speak directly with the editor you’re working with and form a personal connection with her. That personal connection I make with the author is why I will always be a freelancer. Maybe I’m just biased. 😉

When you hire an editor, you’re paying them thousands of dollars and giving them the power to improve or destroy your work. Choose wisely!

Book manuscript editor Kristen Hamilton is the owner and sole employee of Kristen Corrects, Inc. , which provides manuscript editing services. Working independently allows Kristen the opportunity to interact with clients and provide them personalized service. There is nothing better than communication and friendliness in a business world that is slowly becoming less focused on people. 

Kristen is included in the 2014 Guide to Self-Publishing and the 2015 Guide to Self-Publishing, both published by the prestigious Writer’s Digest. She is also part of the credible Writer’s Market, Publishers Marketplace, and Editorial Freelancers Association and plays a pivotal role as senior editor at Modern Gladiator magazine.

Reading is Kristen’s passion, so when the workday is over, she can usually be found curled up with a good book (alongside her three cats, Sophie, Charlie, and Jack). She loves pizza, cat videos, watching The Bachelor, and traveling, and is likely planning her next vacation. She lives outside of Boise, Idaho.

What are your personal experiences in working with editors? What advice can you offer readers?

Road to Self-Published – Finding your Perfect Editor – Part 2

everyone-needs-a-good-editor2

This is the second part to a serial post describing my search for a freelance editor. Read part 1 here if you missed it last week.

The first half of the post talked about how I started my search for an editor and the overload of information I needed to sift through before I could contact some editors. Now, what did I ask them? How did I pick one?

What I wish I knew first

Don’t be afraid to ask for a sample edit. Both of the editors I corresponded with happily edited a few pages of my manuscript. It truly gave me insight into their styles and what I might expect when I got the copy back.

Copy editors follow the Chicago Manual of Style. If you don’t know what that is, follow this link to get more information. One of them clung to this more strictly and changed the sentence fragments I used in my writing.

In fiction, fragment have become increasingly accepted. Authors use them to emphasize or make a character’s succinct voice come through more clearly. If this editor intended to correct them all, my manuscript would be a mess of red.

When I asked her about it, she said she would NOT change them if that was my preference. My preference is that they have impact. If they don’t, then they should conform to grammatical rules.

Ask about a time frame. Apparently, many editors are booked as far as three months in advance. I wanted someone to look at my manuscript in 30 days. Luckily, since it is a novella, both of these editors were able to squeeze the estimated 14-hour job into their schedule.

If you’re interested in copy editing, book formatting, proofreading and help writing marketing text, most of the editors I previewed had experience with all these things. Yes, you can get this assistance – for a price.

Both of the editors I worked with offered discounts for bundling copy editing and proofreading. I was amazed at the price for the proofreading service since I figured the manuscript should be squeaky clean after the copy edit.

Apparently, things like spelling and punctuation aren’t priorities during a copy edit. This surprised me. How can you make a sentence grammatically correct and clear without altering faulty punctuation and spelling? That must be the English geek in me that connects these two things.

My Final Criteria

The samples and conversations with both Kristen (Kristen Corrects, Inc.) and Lindsey (Lindsey Alexander Editorial) pleased me. I felt both of them would make my manuscript better – ready to face the public.

Both of them seemed happy to go “the extra mile” with me and answer questions not clearly related to the service I was buying from them. Lindsey even spoke with me for fifteen minutes on the phone before I signed any contract.

In the end, I based the decision on experience. Lindsey had been involved in publishing and editing in a more direct way for several years longer than Kristen. In fact, her freelancing business was seven years older than Kristen’s.

I would highly recommend either of these editors. I hope you’ll take the time to click through to all four of the editorial websites I’ve linked to this post. Research is your best avenue for finding the right editor. Your project might fit more easily with someone other than Lindsey.

It’s true, I haven’t seen more than just a few pages of work from Lindsey Alexander. Her willingness to speak to me on the phone and answer a host of questions that had little to do with copy editing – and much to do with my insecurities about being my own publisher – added a ton of bricks in her favor.

Have you hired an editor? Do you have advice to add? What other information would you like to know on this subject?