According to Couleurs: Pigments et teintures dans les mains des peuples, Sanskrit differentiates between the white light of the autumn moon, stars and a ray of sun with specific, individual terms. If, in likeness to white light, your unique essence as an author is composed of a spectrum of colors, what words will define yours?
Let me introduce myself...
It's a human need to express one's self, a human want to have that authentic self be seen. This fundamental need and this fundamental want converge on the page. Writing is infused with the authentic essence—the blended product of every emotion, experience, thought, secret, dream, memory, attitude, observation, opinion and belief—of its author. This essence is reflected in their voice. Their essence informs how that voice will appear. This is in likeness to the perception of white light in nature: sunlight, its composite spectrum of colors producing its appearance; snow and clouds reflecting the entering sunlight to be perceived as white when they too are a mixture of frequencies of light. It might be said that editors hold up the prism to the white sunlight and evaluate the energy coming from the different colors to determine the right mix and right degree of each. It is their job to see, evaluate and enhance. To add further light, clarity and address anything that might hinder a powerful understanding of the material. They see the writer, every natural talent and every glimmer of potential. The right editor for your project won't only see what's there; they will see all that could be, recognizing and enhancing the inherent merit. In very simplistic terms, the editor helps the book become all it was created to be and helps the writer create all they are to become (illuminating the unique voice and creative identity the writer will be remembered for).
If you've read the previous page discussing the benefits of working with an editor and what the writer-editor relationship should ideally entail, then let me take this opportunity to share my personal approach and how nearly a decade of writing and editing experience in both journalistic and literary sectors informs that approach.
I've been able to examine all aspects of the writing vocation from direct, hands-on writing and editing experience in multiple mediums with works of varying lengths, to daily editing and evaluation of writers for the literary journal I founded in 2008, to associations with numerous writing organizations and indie booksellers, to insights obtained from interviews with diverse best-selling authors of fiction and non-fiction, instructors, agents and publishing industry insiders. The combination of my collective professional experiences has proved to be an asset I can draw upon in my freelance manuscript editing to give a unique, in-depth evaluation to clients. I specialize in content (substantive and developmental) editing. I have worked on fiction, poetry and creative non-fiction manuscripts.
Approach
Although I feel that each project requires and deserves a customized approach, there are general facets that are consistent across the breadth of my manuscript editing work. First and foremost, I believe that editing is about relationships. The relationship between a writer and editor should be a meaningful, nurturing one where the editor cares about both the work and its creator.
I feel that cultivating a bond with the author of the material that acknowledges their individuality and personality, is mutually rewarding in a personal sense and professionally productive in the interest of the written work itself. It allows for a deeper understanding of the core essence the editor will be drawing out further as well as a deeper understanding of the voice and style they will highlight and help define. It also facilitates a better grasp of the writer's aims, message and intentions. A comfortable rapport opens doors to inspiration and clear, effective, efficient communication. In my editorial capacity, I always remain cognizant of the Herculean effort a writer puts forth in writing their manuscript and the subsequent attachment that comes of that intimate, often emotionally charged process. I foster relationships built on trust, understanding and mutual respect.
Critique is constructively rendered, paired with encouragement—the editor is meant to not only assess and advise on what doesn't work, but to also display a keen, intuitive ability to discover and enhance what does. Analysis is paired with creativity and I always give explanations and illustrative examples behind my suggestions so that I and the author are on the same page, so to speak. Having detailed feedback in hand, they can then come to their own conclusions and the insights provided might serve as future tools vs. one-time use due to the explanations provided. Structure is paired with innovation based on the needs of the project.
My goal is to provide the author with a unique, in-depth experience that positions the work well and is a positive, collaborative meeting of the minds. This shouldn't be the painful part. The labor of getting the book out was (glorious and painful). This is the point where someone comes in to nourish, doctor and care for the product of that labor, helping to soothe your doubts, offer some peace of mind, and give that life you've created every edge they can so that it may flourish. The role of the editor is to be the writer's—and writing's—consummate ally, and they should conduct themselves as such. While working hard and accomplishing much, we just might have fun.
Process
The process begins with the initial e-mail inquiry from the client. The prospective client provides general information about their project to give me a sense of the work and what they are looking for.
It must be said that I don't take on every project that my services are requested for. If for whatever reason a project falls outside of my personal expertise and I don't feel I'm the best person to help it fulfill its greatest potential, I will let you know. I will offer some insights, initial impressions and give you guidance on what you might want to look for in the person you hire because the best interests of both the writer and the writing itself are of primary importance to me.
If, however, the project seems to be a mutual fit in the initial stages, as determined through a few initial back-and-forth e-mails, I would send along a basic working framework of what my customized approach would entail, along with thoughts and ideas for the project, and an estimate of a flat rate (the rate is explained, accompanied by some market figures for reference or comparison). If the prospective client is in agreement with the information they receive and we agree to take the next step, I request a representative segment of the work. Depending on the length of the work, it would typically be one-third along with a summary and if applicable, the introduction or table of contents (an overview of how the material is currently organized). Provided the project still seems as though it would be a strong mutual fit after my review of the manuscript segment, a free phone consult is scheduled. (For clients who have not worked with me previously and would like to see my editing in action, I am happy to do a sample edit if they so choose at this stage of the process. I choose to offer a sample edit vs. providing samples to give a more interactive glimpse into my approach. Content editors look at works as a whole, so a sample chapter wouldn't be as effective of an example for this purpose. For fiction or non-fiction, a completed piece of under 2,000 words or, for poetry, five poems that we'll pretend entail a complete collection would work well. No obligation, no cost for the sample edit. If you like the method in miniature, we move forward to the next step.)
The free phone consult goes into more detail. Here we can establish a good rapport and delve deeper into my customized approach having studied the segment and researched comparative existing examples that may inform possibilities for structure/audience or may serve as triggers to determining what we'll do differently. I will share further thoughts, ideas and impressions, ask questions, and further refine goals (ex. what you want this book to accomplish in terms of the purpose for its creation, aspirations for it, messages you wish to convey, whether it is a solitary volume or part of a planned series, what timeline you wish to work within, etc.). This is your opportunity to share concerns and get to know the individual who will be caring for your beloved creation. The connection part of this process, establishing comfort and rapport, is important. We'll go deep, discuss our professional purpose and likely share a laugh together. Content editors, in the more classic tradition, can be a lively bunch. Pair that with someone used to conducting author interviews on a regular basis, and you're in for a genial exchange that will smoothly extract the pertinent information for our prospective journey together.
Should we agree to move forward, the full manuscript would be requested. I would then send a simple letter of agreement that would serve as our contract. Once I receive the signed agreement and a method of payment is determined, a start date pinpointed, we would commence. I provide my clients with e-mail report updates and organize a project chart that reflects the agreed upon timeline and the work that has been done. Phone checkpoints or consults can be scheduled upon request following feedback reports. I specialize in content editing (substantive and developmental editing) and make this the targeted focus of my concentration; that said, above and apart from the scope of the project, as time allows, I include additional research for the project as well as structure/word choice/line/copy edits (as I note them) that will not be charged for. I discuss the author's goals with them and talk about the audience they'll be addressing.
I had mentioned earlier that I feel each project requires and deserves a customized approach. That said, these are some of the elements evaluated (by no means a complete list):
Fiction: Development of well-rounded, relatable main characters; incorporation of secondary characters that serve story purposes; capacity for eliciting desired emotional reactions (that the reader is made to feel, engage in, and connect properly to the material); maintenance of story thread and theme (whether any developments are radical departures from preceding sections that affect believability or connection); showing vs. telling; enough backstory to substantiate critical story points; effectiveness of the chosen point-of-view; description; story arc, denouement and subsequent impact; how setting is conveyed; flow of material (how the story is organized and the efficiency of this organization); extraneous material; chapter beginnings and endings for pacing; plot; realistic quality of dialogue and how it suits the characters...
Creative non-fiction: Central message, purpose and overall theme; how the central message is conveyed, how purpose is executed, how the theme is maintained; organization of sections (ex. a collection of memoirs organized chronologically or according to themes); reinforcing or highlighting important points while eliminating redundancy; general relevance and specific relevance ("relatability") to desired audience; capacity for eliciting desired emotional reactions (that the reader can feel and connect properly to the material) or capacity to inspire, educate, etc. in line with the purpose of the book; portrayals of certain time periods, events or personages; consistency of language and central figures mentioned; sufficiency of information to support a point, explain a circumstance; description; tone; extraneous or missing material; chapter/section beginnings and endings for impact; the degree of the writer's distance from the material (close enough for raw truths, far enough to avoid skewed extremes); illustrative anecdotes where applicable...
Poetry: The evolution of the "story" of the collection and how each individual poem contributes to it; the order of the poems; how the poems are or could be organized into different sections/themes (ex. introduced by text from the poet, quotes, photographs) or a continuous flow with a conscious trajectory; consistency in voice from intro to poems to any further commentary from the poet; language; imagery; whether there are extraneous poems; capacity for eliciting desired reader reactions; emotive power; if applicable, interpretive space (a measure of room for the reader to step into the poem, relate and make it theirs); clarity where intended; figurative devices; cadence of the line; breaks for impact and emphasis...
Brief Bio
Nicole M. Bouchard has spent nearly a decade as a writer and editor of various mediums in both literary and journalistic sectors. She has shared her experiences and expertise in interviews, essays and contributions to professional anthologies. Her chapter "Founding Female Editors: Your Voice, Your Vision and How to Make it a Reality" was featured in Women, Work, and the Web: How the Web Creates Entrepreneurial Opportunities, Encourages Women's Studies (Rowman & Littlefield 2015). She served as a speaker on the Small Press Panel: How Online Journals and Social Media Transform Poetics at the Fourth Massachusetts Poetry Festival and was also the instructor and creator of an intensive online course entitled, Passion, Philosophy and Prose: The Power of the Pen. Nicole is the founder and editor-in-chief of The Write Place at the Write Time literary journal, Member CLMP (Council of Literary Magazines and Presses) with a readership extending to nearly seventy countries as of 2014. Contributing writers that she has had the pleasure of working with through the magazine range from being previously unpublished to having written for The New Yorker, Newsweek, The Wall Street Journal, Time magazine, Glimmer Train, Georgetown Review, Simon & Schuster and Random House. Her interview portfolio includes NYT best-selling authors such as Janet Fitch, Dennis Lehane, Arthur Golden, Joanne Harris, Mona Simpson and Alice Hoffman. She is a Letters member of the National League of American Pen Women. Solicited for her editing skills by colleagues over the years, she began formally taking on freelance manuscript editing clients in 2012. It was a natural evolution and one she has deeply enjoyed. It continues to be a passionate calling.
To learn more about my approach and process, send an inquiry to illuminedediting (at) gmail.com
Let me introduce myself...
It's a human need to express one's self, a human want to have that authentic self be seen. This fundamental need and this fundamental want converge on the page. Writing is infused with the authentic essence—the blended product of every emotion, experience, thought, secret, dream, memory, attitude, observation, opinion and belief—of its author. This essence is reflected in their voice. Their essence informs how that voice will appear. This is in likeness to the perception of white light in nature: sunlight, its composite spectrum of colors producing its appearance; snow and clouds reflecting the entering sunlight to be perceived as white when they too are a mixture of frequencies of light. It might be said that editors hold up the prism to the white sunlight and evaluate the energy coming from the different colors to determine the right mix and right degree of each. It is their job to see, evaluate and enhance. To add further light, clarity and address anything that might hinder a powerful understanding of the material. They see the writer, every natural talent and every glimmer of potential. The right editor for your project won't only see what's there; they will see all that could be, recognizing and enhancing the inherent merit. In very simplistic terms, the editor helps the book become all it was created to be and helps the writer create all they are to become (illuminating the unique voice and creative identity the writer will be remembered for).
If you've read the previous page discussing the benefits of working with an editor and what the writer-editor relationship should ideally entail, then let me take this opportunity to share my personal approach and how nearly a decade of writing and editing experience in both journalistic and literary sectors informs that approach.
I've been able to examine all aspects of the writing vocation from direct, hands-on writing and editing experience in multiple mediums with works of varying lengths, to daily editing and evaluation of writers for the literary journal I founded in 2008, to associations with numerous writing organizations and indie booksellers, to insights obtained from interviews with diverse best-selling authors of fiction and non-fiction, instructors, agents and publishing industry insiders. The combination of my collective professional experiences has proved to be an asset I can draw upon in my freelance manuscript editing to give a unique, in-depth evaluation to clients. I specialize in content (substantive and developmental) editing. I have worked on fiction, poetry and creative non-fiction manuscripts.
Approach
Although I feel that each project requires and deserves a customized approach, there are general facets that are consistent across the breadth of my manuscript editing work. First and foremost, I believe that editing is about relationships. The relationship between a writer and editor should be a meaningful, nurturing one where the editor cares about both the work and its creator.
I feel that cultivating a bond with the author of the material that acknowledges their individuality and personality, is mutually rewarding in a personal sense and professionally productive in the interest of the written work itself. It allows for a deeper understanding of the core essence the editor will be drawing out further as well as a deeper understanding of the voice and style they will highlight and help define. It also facilitates a better grasp of the writer's aims, message and intentions. A comfortable rapport opens doors to inspiration and clear, effective, efficient communication. In my editorial capacity, I always remain cognizant of the Herculean effort a writer puts forth in writing their manuscript and the subsequent attachment that comes of that intimate, often emotionally charged process. I foster relationships built on trust, understanding and mutual respect.
Critique is constructively rendered, paired with encouragement—the editor is meant to not only assess and advise on what doesn't work, but to also display a keen, intuitive ability to discover and enhance what does. Analysis is paired with creativity and I always give explanations and illustrative examples behind my suggestions so that I and the author are on the same page, so to speak. Having detailed feedback in hand, they can then come to their own conclusions and the insights provided might serve as future tools vs. one-time use due to the explanations provided. Structure is paired with innovation based on the needs of the project.
My goal is to provide the author with a unique, in-depth experience that positions the work well and is a positive, collaborative meeting of the minds. This shouldn't be the painful part. The labor of getting the book out was (glorious and painful). This is the point where someone comes in to nourish, doctor and care for the product of that labor, helping to soothe your doubts, offer some peace of mind, and give that life you've created every edge they can so that it may flourish. The role of the editor is to be the writer's—and writing's—consummate ally, and they should conduct themselves as such. While working hard and accomplishing much, we just might have fun.
Process
The process begins with the initial e-mail inquiry from the client. The prospective client provides general information about their project to give me a sense of the work and what they are looking for.
It must be said that I don't take on every project that my services are requested for. If for whatever reason a project falls outside of my personal expertise and I don't feel I'm the best person to help it fulfill its greatest potential, I will let you know. I will offer some insights, initial impressions and give you guidance on what you might want to look for in the person you hire because the best interests of both the writer and the writing itself are of primary importance to me.
If, however, the project seems to be a mutual fit in the initial stages, as determined through a few initial back-and-forth e-mails, I would send along a basic working framework of what my customized approach would entail, along with thoughts and ideas for the project, and an estimate of a flat rate (the rate is explained, accompanied by some market figures for reference or comparison). If the prospective client is in agreement with the information they receive and we agree to take the next step, I request a representative segment of the work. Depending on the length of the work, it would typically be one-third along with a summary and if applicable, the introduction or table of contents (an overview of how the material is currently organized). Provided the project still seems as though it would be a strong mutual fit after my review of the manuscript segment, a free phone consult is scheduled. (For clients who have not worked with me previously and would like to see my editing in action, I am happy to do a sample edit if they so choose at this stage of the process. I choose to offer a sample edit vs. providing samples to give a more interactive glimpse into my approach. Content editors look at works as a whole, so a sample chapter wouldn't be as effective of an example for this purpose. For fiction or non-fiction, a completed piece of under 2,000 words or, for poetry, five poems that we'll pretend entail a complete collection would work well. No obligation, no cost for the sample edit. If you like the method in miniature, we move forward to the next step.)
The free phone consult goes into more detail. Here we can establish a good rapport and delve deeper into my customized approach having studied the segment and researched comparative existing examples that may inform possibilities for structure/audience or may serve as triggers to determining what we'll do differently. I will share further thoughts, ideas and impressions, ask questions, and further refine goals (ex. what you want this book to accomplish in terms of the purpose for its creation, aspirations for it, messages you wish to convey, whether it is a solitary volume or part of a planned series, what timeline you wish to work within, etc.). This is your opportunity to share concerns and get to know the individual who will be caring for your beloved creation. The connection part of this process, establishing comfort and rapport, is important. We'll go deep, discuss our professional purpose and likely share a laugh together. Content editors, in the more classic tradition, can be a lively bunch. Pair that with someone used to conducting author interviews on a regular basis, and you're in for a genial exchange that will smoothly extract the pertinent information for our prospective journey together.
Should we agree to move forward, the full manuscript would be requested. I would then send a simple letter of agreement that would serve as our contract. Once I receive the signed agreement and a method of payment is determined, a start date pinpointed, we would commence. I provide my clients with e-mail report updates and organize a project chart that reflects the agreed upon timeline and the work that has been done. Phone checkpoints or consults can be scheduled upon request following feedback reports. I specialize in content editing (substantive and developmental editing) and make this the targeted focus of my concentration; that said, above and apart from the scope of the project, as time allows, I include additional research for the project as well as structure/word choice/line/copy edits (as I note them) that will not be charged for. I discuss the author's goals with them and talk about the audience they'll be addressing.
I had mentioned earlier that I feel each project requires and deserves a customized approach. That said, these are some of the elements evaluated (by no means a complete list):
Fiction: Development of well-rounded, relatable main characters; incorporation of secondary characters that serve story purposes; capacity for eliciting desired emotional reactions (that the reader is made to feel, engage in, and connect properly to the material); maintenance of story thread and theme (whether any developments are radical departures from preceding sections that affect believability or connection); showing vs. telling; enough backstory to substantiate critical story points; effectiveness of the chosen point-of-view; description; story arc, denouement and subsequent impact; how setting is conveyed; flow of material (how the story is organized and the efficiency of this organization); extraneous material; chapter beginnings and endings for pacing; plot; realistic quality of dialogue and how it suits the characters...
Creative non-fiction: Central message, purpose and overall theme; how the central message is conveyed, how purpose is executed, how the theme is maintained; organization of sections (ex. a collection of memoirs organized chronologically or according to themes); reinforcing or highlighting important points while eliminating redundancy; general relevance and specific relevance ("relatability") to desired audience; capacity for eliciting desired emotional reactions (that the reader can feel and connect properly to the material) or capacity to inspire, educate, etc. in line with the purpose of the book; portrayals of certain time periods, events or personages; consistency of language and central figures mentioned; sufficiency of information to support a point, explain a circumstance; description; tone; extraneous or missing material; chapter/section beginnings and endings for impact; the degree of the writer's distance from the material (close enough for raw truths, far enough to avoid skewed extremes); illustrative anecdotes where applicable...
Poetry: The evolution of the "story" of the collection and how each individual poem contributes to it; the order of the poems; how the poems are or could be organized into different sections/themes (ex. introduced by text from the poet, quotes, photographs) or a continuous flow with a conscious trajectory; consistency in voice from intro to poems to any further commentary from the poet; language; imagery; whether there are extraneous poems; capacity for eliciting desired reader reactions; emotive power; if applicable, interpretive space (a measure of room for the reader to step into the poem, relate and make it theirs); clarity where intended; figurative devices; cadence of the line; breaks for impact and emphasis...
Brief Bio
Nicole M. Bouchard has spent nearly a decade as a writer and editor of various mediums in both literary and journalistic sectors. She has shared her experiences and expertise in interviews, essays and contributions to professional anthologies. Her chapter "Founding Female Editors: Your Voice, Your Vision and How to Make it a Reality" was featured in Women, Work, and the Web: How the Web Creates Entrepreneurial Opportunities, Encourages Women's Studies (Rowman & Littlefield 2015). She served as a speaker on the Small Press Panel: How Online Journals and Social Media Transform Poetics at the Fourth Massachusetts Poetry Festival and was also the instructor and creator of an intensive online course entitled, Passion, Philosophy and Prose: The Power of the Pen. Nicole is the founder and editor-in-chief of The Write Place at the Write Time literary journal, Member CLMP (Council of Literary Magazines and Presses) with a readership extending to nearly seventy countries as of 2014. Contributing writers that she has had the pleasure of working with through the magazine range from being previously unpublished to having written for The New Yorker, Newsweek, The Wall Street Journal, Time magazine, Glimmer Train, Georgetown Review, Simon & Schuster and Random House. Her interview portfolio includes NYT best-selling authors such as Janet Fitch, Dennis Lehane, Arthur Golden, Joanne Harris, Mona Simpson and Alice Hoffman. She is a Letters member of the National League of American Pen Women. Solicited for her editing skills by colleagues over the years, she began formally taking on freelance manuscript editing clients in 2012. It was a natural evolution and one she has deeply enjoyed. It continues to be a passionate calling.
To learn more about my approach and process, send an inquiry to illuminedediting (at) gmail.com
