Book series can be lucrative endeavours for indie authors and publishers alike, but they also come with their own challenges. In this two-part webinar, you will learn about how editing a series differs from editing an individual book.
Presenter:
Julie Kay-Wallace
Want to get your fiction manuscript into top shape, but don’t know where to start? Start here! This short series breaks down the fiction editing process into understandable and accessible chunks.
Presenter:
Amy J. Schneider
This session will cover one experienced editor's approach to copyediting fiction for mainstream publishers. Topics include balancing house style and author's voice; appropriate level of editing; leeway in applying "correctness"; using style sheets to maintain plot consistency for characters, locations, and timeline; handling dialogue; balancing real and fictional elements; conscious language; and diplomacy in editing and querying.
Presenter:
Brenna Bailey-Davies
Self-editing can be a daunting task for fiction writers, whether they are new or seasoned authors. This webinar is for fiction writers at any stage in their career and for editors looking to help fiction clients with self-editing. In this session you will learn general revision strategies, specific methods for large-scale editing and sentence-level editing, when to send a manuscript to an editor, and how to apply feedback when revising.
Presenter:
Nicholas Giguère
Cette formation sera divisée en deux parties qui donneront un bon aperçu de ce que représente la révision linguistique en contexte littéraire. Plus précisément, nous reviendrons, dans un premier temps, sur les rôles du réviseur dans le processus éditorial, puis nous nous pencherons sur les enjeux propres à la révision d'une oeuvre littéraire.
Cliquez sur le webinaire pour plus d'informations.
Presenter:
Amy J. Schneider
Copyediting fiction is like being the continuity director for a film, watching for little mistakes that pull readers out of the story. In this session, we’ll discuss (1) language bloopers: pet phrases, sound bloopers, danglers, redundancy; (2) action bloopers: Chekhov’s gun, drop-in characters, bad scene breaks, remembered elements, “As you know, Bob…”; and (3) factual bloopers: physics, body position/parts, anachronisms, geography, deliberate obfuscation, and just generally How Things Work.
