I know Manda Waller through the Chartered Institute of Editing and Proofreading (CIEP) – like me, she’s an Advanced Professional Member, and she is also a member of the Council. Over the past eight years, Manda has built up a thriving freelance business, working with independent and querying authors. Her focus is romance (including romantasy), fantasy, soft sci-fi and YA. I’ll let her tell you more.

Hi, Manda. You and I have chatted often, but please do introduce yourself to everyone else!

Hello! I’m a fiction editor living in a hamlet in the heart of Winnie-the-Pooh country (deepest, darkest Sussex, England). I’ve been connected with the publishing industry for my whole working life, having worked as an in-house Production Editor for Butterworths, LexisNexis, Martindale-Hubbell and Reed Elsevier.

I set up my freelance fiction editing business in 2019 and now offer developmental editing, line editing and proofreading to indie authors.

As Anna has said, I specialise in fantasy, romance, soft sci-fi and Young Adult fiction.

When not editing, you’ll find me navigating the joys of parenting three daughters, vegetable gardening (badly) and looking after my new puppy and collection of rescued hens.

That’s a very busy household! Tell us more about your typical clients.

I work exclusively with fiction authors who are either wanting to self-publish or who are hoping to secure a traditional publishing deal. I deal with manuscripts and submissions of any and every length – ranging from 300 words right up to 200,000 words.

And what sort of editorial involvement do you have with the books?

I work with authors who have typed the words ‘the end’ but who know they need some help before they hit the publish button.

This means I don’t get involved until their story is almost fully formed. Then I offer manuscript critiques and developmental editing, line editing and proofreading, and also help authors with agent query letters and the whole submission package if they are approaching literary agents.

What do you enjoy most about editing?

I simply love it when an author can see how my line-editing tweaks improve the readability of their manuscript.

Sometimes it’s as simple as swapping a dialogue tag for an action beat. Sometimes it’s swapping out a character’s name and using pronouns instead. Sometimes it’s removing filter words (get in touch if you want to know more about filter words – I get very passionate about them!). These kinds of changes hugely affect the way a novel flows – and there is nothing better than a novel that flows well.

What’s the first thing you do when a potential client contacts you?

I try really hard to make the editing process as positive as possible – from the very first contact right through to final sign-off.

The first thing I ask for is a sample of writing. This provides so much information – firstly in terms of how much support the writer might need (which helps me provide a sensible quote) and also in terms of how I connect with their words.

Editing someone’s story can be a very personal thing (for the author and also the editor)!

Before I start the editing process, I also ask authors to complete my pre-edit questionnaire. If I know I’m going to spend hours and hours working with someone’s writing it’s important that I understand their hopes, dreams and intentions.

Are you reading any books for pleasure at the moment?

I try to read all the major hits in the genres that I edit – this helps me keep abreast of market trends and reader expectations.

I’ve just been on holiday, and read several books while floating in/on the pool (my idea of actual heaven!), including The Correspondent (very much enjoyed piecing it together), Atmosphere (the first Taylor Jenkins Reid book I’ve read, and oh yes I will be reading some more!) and Fury Bound by writing duo Sable Sorensen (still blown away by the way these two writers work together so seamlessly).

Is there anything else you’d like to tell us?

My aim is to bring a little kindness and positivity to the world, and with this in mind I offer safe-space editing – no judgement, no embarrassment (regardless of spice level), just the detailed editing that every work deserves.

If writers want to find out more, how can they get in touch with you?

I’m very active on LinkedIn, and if you want to watch me talking about punctuation and the joy of editing, you can find me on TikTok. My website is www.mandawaller.co.uk.

Thank you, Manda. See you at the CIEP Conference!

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There’s a lot of advice out there about what agents are looking for in terms of story and pitch, and how to find representation, and that’s all very useful. But have you ever thought beyond, to what happens next? Not just in terms of a carefully designed cover for your book, and marketing and publicity, but the actual long and detailed editing process your lovingly crafted text will (or should) go through, whichever publishing path you choose in the end?

(The cover picture shows a print out of my novel – the version I delivered to my publisher earlier this month, for publication next year!)

The number of stages of editing can come as a surprise to authors, even those who are traditionally published.

The ‘final’ file on your computer is the beginning of the editing journey, not the end.

If your novel is acquired by a traditional publisher, they will take your typescript through set stages of editing – even if you have an agent who has already worked on edits with you.

And as anyone in the querying trenches knows, even before then, there’s a LOT of work to do to ahead of the heady moment where an agent or small press accepts your manuscript. [I’d say you need a healthy dose of luck, too.]

If you’re planning to self-publish, or work with a hybrid publisher, you’ll need to establish your own editorial workflow – one that works for your budget, readership and timelines. It helps to know what standard practice is when you’re making those decisions. Knowledge is power.

Here are the standard editorial steps from germ of an idea to published book.

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Every subscriber receives the interviews I do with authors and freelance editors from the WRITER MEET EDITOR community. These go out on a Friday lunchtime. You’ll receive the interviews in your email inbox, unless you download the Substack app and set your preferences to receive in-app notifications only.

In MEET AN EDITOR, you can find out what sort of books and clients the editors in the community take on. (Maybe you’d like to work with them if you’re a writer? Or maybe they’ll inspire you if you are a freelance editor?)

In AUTHORS ON EDITORS, discover whether our author members enjoy being edited (!), how they decided – or were told – what sort of editorial help they need, and who their editors are (it’s normal to have more than one editor).

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Paid subscribers get more. Over the coming months, I’ll be demystifying how editing works for traditional, indie and hybrid publishing, building up an archive of useful content you can access any time. I’ll cover what you need to know in order to hire an editor – whether you’re considering self-publishing or want to query agents and traditional publishers. These posts are also useful if you are a freelance editor considering branching out to work with a different type of publishing client.

In the QUESTIONS STUDENTS ASK ME series, I’ll share my answers from the many training sessions and webinars I’ve run for writers and editors over the past few years, so you get all the info hassle-free.

Right now, during the launch period, an annual subscription is only £25.

I’ll also be introducing ‘office hours’ on Chat in the autumn, if I can figure out how to do this! I really want to find a way for paid subscribers to ask me about their publishing, writing and editing dilemmas. So watch this space!

Paid subscribers get access to the whole archive. In addition, annual subscribers are eligible to be considered for writer or editor interviews.

Above all, paid subscribers enable me to carry on building this community, which I think there’s a real need for. I’m a self-employed editor, writer, trainer and poet (that famously lucrative profession…) Lots of Substackers who post about writing and publishing are doing it as a hobby alongside their salaried day job, but I’ve been living and breathing this world as a freelancer at the sharp end for over six years now. If you are a paying subscriber, I really appreciate you: thank you for creating this space with me.

I don’t want to flood your inbox with emails, so if I’m getting it wrong, please do let me know via Substack. On that note, I won’t email this piece out, but you can find it on the WRITER MEET EDITOR website within the Substack app. I’ll link to it in future posts and update it as the community grows.

Thanks so much for being here.

Anna

Kelly Thompson is a highly experienced non-fiction editor and editorial consultant. She works with both traditional publishers and indie authors. Kelly is also a self-styled ‘book doula’ – read on to find out more.

Hi, Kelly! Tell us a little about yourself.

I’ve worked in non-fiction book publishing for over 25 years – in all levels of editorial role, from editorial assistant through to my most recent in-house position as senior commissioning editor at Watkins Publishing, London. As such, I’ve been lucky enough to shape and edit hundreds of wonderful books with hundreds of wonderful authors over the years.

I’ve also worked as a private tutor and as an associate lecturer/dissertation supervisor and mentor on the non-fiction module of Falmouth University’s Professional Writing MA. And I now work independently as what I call a book doula (more on this in a moment).

As well as working with authors on their book ideas, I give publishing talks and workshops, run therapeutic writing sessions – including Writing to Remember for a recent Good Grief Festival – and host story-sharing evenings and interactive cinema nights. At heart, I love words, storytelling and bringing people and ideas together.

In my free time, I love singing, dancing and hula hooping. I’ve also practised yoga for more than 20 years – if not always as regularly as I intend! I’m originally from Northern Ireland, but these days I live with my partner Graham by the sea in Hastings, where walking along the coast gives me space to breathe, think and see things more clearly.

What does being a ‘book doula’ mean?

In this role, I help people ‘birth’ their book ideas by holding space for them, asking lots of questions, listening closely, and offering support and guidance based on my experience. I chose the term doula because I’ve heard so many of the authors I’ve worked with refer to their books as their ‘babies’ – precious, unique, and created with great care and love. But also because writing a book can be a vulnerable and challenging process, so I want budding authors to know that they don’t have to go through it alone.

What sort of books do you work on?

Non-fiction is my main area of expertise, and historically I’ve worked on a mixture of illustrated and non-illustrated books.

My specialisms include personal development, holistic health and wellbeing, smart thinking, practical lifestyle, and mind, body and spirit.

Among the many books I’ve worked on are Tom Fortes Mayer’s The Freemind Experience, Swami Saradananda’s The Power of Breath and Mudras for Modern Life, Mel Collins’s The Handbook for Highly Sensitive People, Jayney Goddard’s Rewind Your Body Clock, Isla Macleod’s Rituals for Life, and Louis Weinstock’s How the World Is Making Our Children Mad and What to Do About It.

As those books perhaps suggest, I particularly enjoy working with experts who want to translate their knowledge, insights and teachings into books that readers can connect with, trust and draw on in their own lives.

Many of the subjects I work with – particularly around wellbeing, self-development and spirituality – have also supported me through challenging experiences in my own life, so I understand their potential value beyond the page.

All that said, my experience stretches across a much broader spectrum – from popular culture titles to travel guides and even a few children’s books, including a beautiful series of Buddhist-inspired bedtime stories.

And, more recently, I’ve also been helping a growing number of independent authors with memoirs and other books built around personal stories and lived experience, including an inspiring memoir about a life in music and a moving grief memoir and guide.

In essence, I love working on anything that could be called transformational non-fiction: books that help readers grow, change, understand themselves, navigate life or see the world through a kinder, more compassionate and connected lens.

On the basis of this, I’ve recently collaborated with the beautiful Starcroft Farm Cabins in Sussex to create a transformational non-fiction retreat, at which I’ll be mentoring writers as they develop books of this kind. We hope it will be the first of many.

What sort of editorial involvement do you have with the books?

I’ve worked at almost every level of the editorial process during my career, from proofreading and line-by-line editing, to developing and commissioning book ideas, to substantive structural editing and editorial mentoring. This means I can draw on a wide range of experience to create a tailored approach at almost any stage of a writer’s journey, whether they’re a first-time author or have published books before. The exact nature of my involvement depends on where they are when they come to me and what we decide their project most needs – from broad strategic thinking to fine editorial detail.

Some of the ways I can help include:

• Idea development: At the seed stage, someone might arrive with a few ideas and need help deciding which offers the strongest proposition. Or they might have one central idea that we can brainstorm and flesh out together.

• Book Proposal development: A natural next step is often to develop what’s called a Book Proposal. In traditional non-fiction publishing, this is the document used to pitch the book to agents and publishers. Some agents refer authors to me specifically for this work, so that together we can sharpen the central concept and positioning, to make the project more distinctive and commercially compelling for publishers.

  In my view, the process of creating a Book Proposal can be enormously useful whether an author is pursuing a traditional publishing route or a self-publishing one. Done well, it can become not just an invaluable sales tool for agents and publishers, but also an invaluable vision board for the author and a comprehensive blueprint for their writing.

• Publishing-industry insights: Either along the way or in separate sessions, I offer insights into how the publishing world works. This might include what agents and publishers are looking for, how books are acquired, or the different types of editing available and which would be most useful at a particular stage. My aim is to make the whole process feel clearer and more accessible.

• Proposal and manuscript assessment: If an author already has a proposal, sample material or a complete manuscript, I can provide a professional assessment with either verbal or written feedback.

• Hands-on editing: As well as continuing to take on full edits of selected titles for traditional publishers, I can sometimes also offer hands-on editing to independent author clients – whether developmental/structural editing or line-by-line copyediting. Before moving into any detailed copyediting, though, it’s crucial to make sure that the overall messaging, shape, flow and reader journey are working. Only then does it make sense to begin polishing individual chapters, paragraphs or sentences…

• Writing companionship: For a small number of people each year, I also offer a tailored programme of writing companionship, providing the individual attention and bespoke support that will be most helpful to each writer and book.

So, as you can see, I can either support a book through multiple stages or come in at a particular point to help resolve a problem, find direction or take an idea or manuscript to its next level. There’s no one-size-fits-all approach: the aim is always to find the kind of individual support that best serves each author and book.

What do you enjoy most about editing?

One of the things I enjoy most about editing is the way it combines strategic and creative thinking. It’s about finding the heart of what an author wants to say and shaping it into something that feels true to them, while also making sure it meets readers’ needs and has a clear, distinctive place in the market. When all those elements come together, the result can be both creatively fulfilling for the author and much more compelling to agents, publishers and readers.

I also love the collaborative nature of the work. It’s a sounding-board process, with questions, thoughts and possibilities moving back and forth as the book gradually gains greater clarity, depth and nuance. I particularly enjoy it when questions uncover previously hidden golden nuggets in someone’s ideas – including details that may be so familiar to the author that they haven’t realised how valuable they could be to someone else. Once we find these, we can work together to decide how best to shape and share them.

The Book Proposal creation process can be particularly helpful here. It gives us the space to explore different possibilities – clarifying its key messages, readership and what will make it stand out. And it often also allows us find a distinctive vocabulary around the author’s central ideas – terms and phrases that feel uniquely theirs, which not only creates a clear thread for readers to follow but also gives the work a recognisable identity that’s easier to remember and share.

I love the moment when, through all that toing and froing, the book begins to emerge clearly from what may previously have felt like a mass of ideas and material. It’s so rewarding to see authors come to understand both their book and their own voice more deeply, and to watch their confidence grow as the book takes shape. I especially love it when they start to say, ‘Yes – this is what I’ve been wanting to say.’

It’s also lovely when authors I’ve worked with in depth return to ask for my help with their next idea or manuscript. We already understand one another and have a shared foundation on which to build, so it feels like continuing a creative conversation.

And then there are the moments when the ‘book baby’ is finally ready to meet the world: when a proposal is ready to be sent out; an author or agent contacts me to say that a proposal we’ve reworked has secured a book deal – sometimes after attracting multiple offers; when a manuscript reaches the point at which the author feels happy to let it go; and/or when the finished book itself lands on my desk. Later, seeing positive reader reviews or articles celebrating an author and their work brings another kind of satisfaction. It’s always a privilege to have played a part in helping it get there.

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What’s the first thing you do when a potential client contacts you?

If we haven’t worked together before, I’ll generally suggest booking an initial Discovery Session to give us focused time to discuss where they are with their book, what their aims are for it, and its key opportunities and challenges in the current publishing climate – to begin establishing the most helpful way forward.

One of the key things we investigate is the author’s ‘why’: why they want to write this particular book, why now and what they hope it will achieve. Answers to questions like these influence almost everything else – from the key messaging, overall content, structure and voice to the most appropriate publishing route and next steps.

The aim is that the author leaves the Discovery Session with fresh ideas, professional insights, greater clarity and practical options for moving forward. If we both feel we’re a good fit, we can then discuss continuing to work together in whatever way would best support them.

Are you reading any books for pleasure at the moment?

To be honest, because I spend so much of my working life immersed in client manuscripts, I don’t always have as much time or headspace for leisure reading as I would like, or once did. There’s always a large, optimistic pile of memoirs, novels and varied non-fiction dotted around our home, but the manuscripts have a habit of reclaiming my attention!

Holidays are therefore often the main time when I rediscover the pleasure of disappearing into other books for hours at a time. I’ve got a couple of music and travel memoirs lined up for our next wee break. I find there’s something especially enjoyable about reading accounts of creative lives and journeys while going on a journey of my own.

In everyday life, I always keep books I can dip into for inspiration at hand though. Books about language, such as The Dictionary of Lost Words, Balderdash & Piffle and Interesting Stories about Curious Words. Poetry collections, such as Andrew Motion’s Here to Eternity: An Anthology of Poetry and Brian Bilston’s Days Like These. And also books by writers whose wisdom I’ve returned to for many years, such as Maya Angelou and John O’Donohue. O’Donohue’s Anam Cara is a particular favourite of mine.

If writers want to find out more, how can they get in touch with you?

You can find out more about my work and get in touch at www.bookdoula.co.uk.

I’d particularly love to hear from you if you’re an expert with valuable knowledge to share, someone with a powerful personal story, or a thoughtful writer trying to turn a collection of ideas into a clear, coherent, compelling book.

My approach is particularly suited to writers who want every part of their book to work together as a meaningful whole and be the best it can be. I’m naturally chatty and enjoy exploring ideas in depth, so I tend to work best with people who value genuine collaboration, want more than a quick fix, and feel ready to roll up their sleeves and discover what their book can become.

A final note of reassurance: please know that you don’t need to arrive with everything figured out. You might have only the beginnings of an idea – or even several ideas. Perhaps you’ve attempted a contents list but can’t find the focus, written a lot of text but can no longer see its shape, or simply aren’t sure of the best next step for bringing your book into the world.

Sometimes what helps most is an experienced pair of eyes, the right questions and someone who can see both you and the book as a whole – holding space for your ideas while helping you recognise their potential and shape them into something you’re proud to share.

Thank you for chatting with us, Kelly!

*Photographs by Anna McGrath Photography

I often deliver workshops, webinars, training sessions and Q&As for editors and writers (you can see some of my clients below). In this series, I take a question I’ve been asked and answer it for everyone.

Question

If editors were an alien species, how would you introduce yourself to the human race?

Answer

Hi, Human! I’m an editor, and my job is to work with a writer to help them make their book the best possible version of itself, so that it lands with the reader – we’ll check who that is – in the way they intend.

My role as an editor is to be a champion and critical friend, highlighting what works and drawing attention to any issues so the writer can resolve them before laying their precious words open to the scrutiny of the wider world (and merciless Amazon reviewers). I mark up the text so the writer can decide what they want to publish and what they want to consider further or amend.

The level of mark-up – whether it delves into the overall argument, or the plot, or characterisation, for example, or whether it focuses on ‘typos’ and the publisher’s style guide – depends on what I’ve been briefed to do. It also depends on whether I’m working for an indie author or a publishing house. Publisher requirements and the needs of the marketplace come into play.

Editors can have a pastoral role too, guiding writers through the development of their work and then the publishing process.

That’s the broad, general answer, Human! Stick around on Planet Writer Meet Editor, and in future posts we’ll look in more depth at all of this – the different stages of editing, different types of publishing, and different roles editors play.

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I know from personal experience as a writer and an editor just how hard it can be to know what sort of editing you need to publish your book and to find the person who shares your creative vision so you can make it happen.

My name is Anna Davidson. I’ve worked in book publishing for over 30 years. I’ve been an editor and managing editor at amazing publishers like Hodder, DK and Faber.

As well as an editor, I’m a traditionally and self-published writer and poet. Next spring my fifth book will come out: my debut novel, with a hybrid publisher.

Human editors are the invisible engine room of publishing.

There’s a LOT of content in the world. Some of it’s written by robots. Editors turn decent copy into great copy, so that it cuts through to the intended audience.

Freelance editors make manuscripts query-ready for agents (who rarely nowadays have time to work with new writers). They edit books for indie authors. They edit books for traditional publishers, too – often the same editor will work both for publishers and indie clients.

Above all, a good editor is an expert, critical friend to a writer; they bring satisfaction and joy to the hard labour of writing a book.

A great author–editor relationship is life-enhancing, and helps you sell more books.

WRITER MEET EDITOR is here to demystify editing and publishing (indie and trad) with weekly posts and more, so that you can decide what editorial support you’re looking to receive or offer. I’ll introduce you to writers and editors in the community via regular interviews and chat.

Finding the right person to work with isn’t always as easy as logging on to a massive marketplace. You’re looking for a bespoke love match.

I’ve launched WRITER MEET EDITOR because publishing has changed since I started out.

Successful writers are embracing every sort of publishing: hybrid, indie and trad. They mix and match according to their goals and priorities. What that means is that finding your right editor(s) is more important than ever.

I’m looking forward to welcoming you to the community!

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Until next time,

Anna

*Lucy took this photo using a Mamiya C330 twin lens reflex camera.

P.S. Want to know more about my credentials?

• I’m an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP).

• I’m a tutor on the CIEP’s Introduction to Fiction Editing and Editorial Project Management Courses.

• I regularly deliver a one-day Editorial Masterclass for Get Into Book Publishing – their courses are supported by some of the biggest names in the industry.

• CIEP, Blue Pencil Literary Consultants, Forthwrite Festival Brighton, Bristol Writing Festival, Poetry Pharmacy Events, Tunbridge Wells Literary Festival. These are some of the clients for my webinars and workshops on demystifying publishing, understanding self-publishing, writing and editing.

You’re in safe hands.

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