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| Photo courtesy of Sommerville Photographie |
Editorial Services
It’s said that a doctor who treats himself has a fool for a patient. The same
can be said about lawyers, hairstylists and writers who self-edit.
In truth, all writers self-edit—or they should—as they polish their work to
the best of their ability. Frankly, I’m one of those writers who can’t move on to the next sentence until I’m
satisfied with the one I’ve just written. I edit as I go, even as I give myself permission to, in subsequent drafts,
edit further. Yet as the former editor for a literary e-zine, I was amazed by the number of submissions we received
that looked as if the writer merely threw the words onto the screen thinking they’d arrange themselves into semblance
of a good piece of fiction or non-fiction.
I once read on a writers’ forum that all that is required
for publication is a good story; that publishers have editors on staff whose job it is to fix errant grammar, punctuation
and poor sentence structure. In today’s struggling book industry, publishers are looking for ways to cut costs, and
one way is by cutting staff, including editors. Story alone carries little weight if, after the first paragraph, the acquisitions
editor determines that a writer lacks the basic tools of good writing. They’re concerned with the big picture—narrative, dialogue, story, characterization, otherwise known as content. They expect that the
writer knows how to construct a sound sentence and tell a good story.
We’re all protective of our work—we’ve spent many hours sweating, bleeding over our story, bonding with our characters.
We want them to be accepted by the reading public, and we want them to do well, like our children. I’m no different
than anyone else when it comes to critiques of my work: I’m embarrassed when someone points out a word omission or a
“their” that should’ve been “they’re.” Even the most diligent writer can miss these types
of errors once; and once missed, they are likely to be missed during subsequent rewrites. I struggle most when someone tells
me one of my characters doesn’t ring true, that their believability falls just short. I get defensive, sometimes belligerent.
But after I kick and scream for a while, I give serious consideration to that constructive criticism and get cracking to fix
what is flawed.
As a fiction writer, I want to submit the cleanest copy I can
to differentiate myself from the competition. What writer wouldn’t want to do that? If you’re looking for a second
set of eyes to go over your work, whether simple line editing or content editing, drop me a line, tell me about your project. I’ll ask for a short excerpt of the piece and, after I look it over, return to you a revised
version in edit mode, along with a quote based on your total word count.
No editor can guarantee you publication, but I can increase your
chances for an accept.
Recommendations
“I have had the privilege of
working with J. Conrad on a number of projects, big and small. He is an invaluable contributing writer and contributing editor
for Impact Times, a professional online magazine. Having witnessed J. Conrad’s
ability to get projects done timely and professionally, I requested him to edit my immigration handbook entitled, “Handbook
for Immigrants: U.S. Lawyers, Visas & Resources.” Having worked with numerous professionals in diverse fields, I
am quite impressed with J. Conrad’s dedication, enthusiasm, professionalism, and ability to get projects done expediently.
As an editor, he has the ability to catch every detail, even at a very technical level. More importantly, he preserved the
integrity of the author’s voice. Because of J. Conrad’s dedicated service, deadline for a very technical project
was met. He is a technician and a creative writer, qualities that will prove invaluable to anyone who has the opportunity
to work with J. Conrad. It is a pleasure to work with him.”
—Richard
Quan, President, Q Vision Press & Multimedia, Inc.
Managing
Editor, Impact Times magazine
January
12, 2009
“J.C. edited my non-fiction
book. He has a knack for keeping the writer’s voice while significantly improving the readability and flow of the prose.
He works very fast and yet is thorough. He is honest with the author about what is working and what is not. He can tell authors
to delete things that don’t contribute to their story without crushing their enthusiasm. He is a pleasure to work with.”
—Jothy Rosenberg, Principal at Tabach Technology Team
You’re listening to I Want You to Stay from No Place Left to
Fall by Bill Champlin.
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