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Immersion Editing Is Listening

Do you have a great listener in your life? I hope you do. A friend. A partner. A parent. A sibling. A child. A colleague. A coach, mentor, or counsellor. Whoever it may be, I bet that person is a blessing in your life.

woman listening

When you share something—whether it be a hilarious tale, stressful problem, or vulnerable confession—they lock onto your every word.

They lean in intently, as if listening with their entire body and being.

They nod or laugh or gasp or clutch their heart at just the right moment.

They focus on your facial expressions, body language, and tone of voice as much as—if not more than—your actual words. It’s a holistic, multidimensional type of listening.

Their eyes are mirrors, reflecting back what you are feeling. It’s empathy, plain and simple.

They don’t interrupt but instead offer short but powerful validations: “Oh man!” or “Wow!” or “No way!” or “I can only imagine . . .”

If they ask questions, it’s not to criticize or challenge but to urge you to go deeper or to help you discover a new angle.

They know how and when to gently guide you back on track when you lose your train of thought.

They have a knack for synthesizing all that unfiltered stuff streaming out of your mouth and offering it back to you in a beautifully clarified statement—as if they somehow know what you’re saying better than you do.

In fact, they even listen to what you’re not saying. They have this downright spooky sense that allows them to hear between the lines.

With all this and more, they make you feel heard, seen, understood, safe, validated, valued.

Not everyone is a great listener, though. Truth be told, most people aren’t. Most people fall somewhere on an ever-shifting spectrum between “pretty good listener” to “serviceable listener” to “Huh? Did you say something?”

And that’s OK. That’s human nature. I hope we’re all at least trying our best. Thankfully, listening is a skill that can be learned, practiced, and strengthened, if we’re so inclined.

So in a world of mediocre listeners, there’s something special and rare about these naturally gifted ones. They are truly amazing. As I said above, I hope you have one in your life.

And if you’re an author, I hope you have one as your editor.

Because editing is listening.

Look back at the descriptions above and scan for the keywords: lock on, lean in, focus, holistic, multidimensional, mirrors, reflecting back, empathy, powerful validation, go deeper, discover a new angle, gently guide, synthesizing, clarified, spooky sense, hear between the lines.

Those concepts apply to editing in roughly the same ways they apply to interpersonal communication.

As an author, don’t you want to feel heard, seen, understood, safe, validated, valued? Wouldn’t it be wonderful to feel that way during your edit?

My number one goal is not to help you improve your book. Now don’t fret—improving your book is, indeed, one of my goals. A really big one, yes. Just not the biggest.

Rather, my most important goal is to be a great listener for your book as well as for you. If I can’t be a great listener, then I can’t begin to help you improve your book—at least not beyond putting some commas in the right spots.

As I was writing this post, I decided to check out the testimonials on my home page. I hoped I’d be lucky enough to find something, somewhere, from someone who mentioned listening, being heard, or a related idea.

I was delightfully shocked, then, to see the very first words of the very first testimonial: “Angie takes time to listen . . .” (Thanks, Joan—you’re the best!)

I’d love to tell you that all editors approach this work the same way I do.

Some do. I’m amazed and inspired to see how many people take my immersion editing classes because they, too, believe in this approach. They, too, understand that this is about so much more than words on a page.

But other editors—surface editors—are often not so great when it comes to this listening concept. At best, they might land in that “serviceable” spot on the spectrum. At worst, they might be the editorial equivalent of “Huh?”

How do you know an editor is a not-so-great listener?

Well, how do you know a friend, colleague, or family member is a not-so-great listener?

You just know, right? You can feel it. You feel dismissed. Ignored. Belittled. Misunderstood. Disrespected. Annoyed. Hurt. Miffed. You name it—you’ve felt it. We all have.

It’s the same thing with editors. You just know it.

You might detect poor listening in a literal sense, with the editor not taking time to chat with you, not replying to emails, or not allowing you to raise comments and questions.

Or maybe you’ll detect it in a literary sense, with the editor misunderstanding your voice, message, and intentions and therefore editing your manuscript so poorly that you don’t even recognize it anymore.

Either way, it’s bad.

Do you remember the statement on my home page that says, “You deserve an immersion experience”? Let’s build on that now and say, “You deserve an editor who’s a great listener.”

You flat-out deserve it.

Working with a great listener is not a luxury or some pie in the sky. Don’t ever tell yourself you’re not worth it or that something as fundamental as engaged, empathic listening doesn’t matter in editing.

Writing, editing, and publishing a book is an emotional, meaningful, and vulnerable experience. You need and deserve to feel heard, seen, understood, safe, validated, valued.

I’m listening . . .

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Immersion Editing as an Investment

“How much does editing cost?”

It’s one of the first questions authors ask me. Which I totally understand. None of us has a money tree in the backyard. Especially not here in 2020, in the middle of a global pandemic.

The thing is, though, I don’t see editing as a cost. I see it as an investment.

I’m no economist, accountant, or financial planner, but here’s my simple take on it.

With a cost, you get back roughly what you put in. Goods and services have prices commensurate to their value. (More or less.)

But with an investment, you get back more than you put in. Or at least that’s the goal. It’s not always guaranteed. Some investments are smarter and more successful than others.

Charts showing investment return

Well, I’m here to tell you that immersion editing is the smartest investment you can make in your manuscript and in yourself as an author.

The more you invest in immersion editing, the more you’ll get back in return.

It begins with your expenditure—what you put in. Not just your money. More importantly, your time and dedication to the process.

Once you make that investment, the dividends will instantly start rolling in.

Your manuscript will transform, improve, strengthen, and blossom. Every letter and punctuation mark. Every sentence. Every paragraph. Every chapter. The book as a whole. It’ll reach its fullest potential in a way you may not have realized was possible.

Your writing craft will transform as well. As we work on this manuscript, you’ll gain larger insight and strategies about your skills, talents, and foibles. It’s not just an edit but a learning experience. In fact, many of my authors have compared it to a master class.

Sounds like a great return on your investment, right?

But wait—there’s more. So much more.

The greatest return of immersion editing is confidence.

Yes, confidence.

Writing is a deeply personal and emotional experience. Publishing even more so. Every author wrestles with fear, doubt, insecurity, vulnerability, and anxiety.

Is my book good enough? Am I good enough? Whom am I kidding? I have no business publishing a book. What if people hate it? Worse yet—what if they love it? I don’t know if I could handle that either. I should just put this manuscript right back in that box under my bed, where it sat collecting dust for years.

This near-crippling anxiety is universal for all authors across the spectrum of skill and experience. Whether you’re a big-time author with dozens of best sellers or a small-time author with your first indie release, you’ll likely find yourself in the same emotional waters.

Why do you think I use the visual metaphor of a scuba diver?

Scuba diver going underwater

You need an editor who can do more than put your commas in the right place and fix your dangling participles. You need an editor who can even do more than tighten your story arc and smooth your transitions between scenes.

You need an editor who can help you build confidence through the power of trust, rapport, compassion, understanding, and unwavering support.

Sadly, not all editors realize this. Surface editors certainly don’t.

But I do. This is what immersion editing is about. This is what “going deeper” means.

From commas to story arcs, from encouragement to empowerment, I’m here to help you gain the confidence you need to put your book out into the world—and to therefore put yourself out into the world.

And that’s priceless.

So, you wanna know what immersion editing costs? Sure thing. Let’s talk specs and scope, and I’ll start crunching some numbers.

What I can tell you right here and right now, though, is that it’s an investment. And you’ll get so much more back than you’ll ever put in.

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Connections Radio Part 2

What’s better than taking part in a radio show? Taking part in two radio shows. On November 16 and 23, I had the honor of being on the AM 950 Connections Radio show with host Laurie Fitz and author Michael B. Dardis. First check out the November 16 podcast, then come back for the November 23 podcast.

Both shows were fantastic, if I may say, but this second show was especially great. We began with a segment about how I got started in editing. Spoiler alert: it all began with a sixth-hour drama class. (Yep. You read that right. Drama class.)

Once again, I can’t express how wonderful it was to work with Laurie. And it was a pleasure to have this special opportunity to swap stories and insights with Michael. Be sure to listen to the second segment of the November 23 show, when Michael describes how his family history and his own service in Vietnam helped shape his novel The Dark Side of the Sun. It’s quite moving.

radio show
radio show

For anyone who wants to learn more about me, immersion editing, or writing in general, I do hope you check out these podcasts. Together, they’re a two-hour glimpse into what going deeper really means.

Again, many thanks to Rachel and Jamie Anderson of RMA Publicity for the great photos they captured of us in action.

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Connections Radio Part 1

This past Saturday, I had a blast recording part 1 of a two-part AM 950 Connections Radio show with host Laurie Fitz and author Michael B. Dardis. Check out the podcast in case you missed it live.

Let me tell you, that hour went by in a blink once we were behind the mic and the On Air sign was lit. We talked about writing, editing, whispering, kicking people under the table, bridging, and more.

Laurie is the best—she made Michael and I feel so comfortable during the show. I liken her to an editor, actually. Michael and I came in with a story to tell, and she guided us through the process of sharing it with others.

Many thanks to Rachel and Jamie Anderson of RMA Publicity for the great photos they captured of us in action. I’ll post more next week as well.

If you loved part 1, then be sure to tune back in on Saturday, November 23, for part 2. In true immersion fashion, we will go even deeper with our discussion.

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Connections Radio on AM 950

Remember “Turn Up the Radio”—that ’80s hair-metal anthem? (Bonus points if you knew it was by Autograph.)

Well, get ready to turn up the radio at 9:00 a.m. on November 16 and 23. I’ll be a guest on the AM 950 Connections Radio show with host Laurie Fitz. I’ll be joining author Michael B. Dardis for a two-part discussion about writing, editing, and the immersion magic that brings it all together.

radio microphone
radio microphone and “on air” sign

Michael and I worked together on his historical novel The Dark Side of the Sun, a sweeping tale that spans World War II and the Vietnam War. For a year, we immersed ourselves in a unique blend of developmental editing, content editing, and copyediting. It was what I call a full immersion edit.

In the true spirit of going deeper, we dove into everything from adding more poignancy to the story’s ending to verifying what album featured Joni Mitchell’s “Both Sides, Now.” (Again, bonus points if you knew it was Clouds.)

The edit was a wonderful experience for both of us, and we’re thrilled with how the book turned out. We’ll be chatting with Laurie about our collaborative process and sharing our insights and advice to other authors and editors.

So grab yourself a cup of coffee, get cozy in your favorite chair, and turn up the radio at 9:00 a.m. on November 16 and 23.

Can’t tune in to catch the shows live? Then stay tuned to my website, as I’ll be sharing the podcast recordings shortly after each show airs.

Rock on.

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Immersion in Developmental and Content Editing

Editors, by now you know that immersion editing is all about going deeper. Well, there’s no better way to go deeper than with developmental editing and content editing. So come take the plunge with Immersion in Developmental and Content Editing on Tuesday nights, April 23 through June 4.

scuba diver in water

Please allow me to continue the water analogies: Developmental editing and content editing are uncharted seas for most editors. I know many editors who have never taken on a developmental and/or content editing assignment.

Why? Perhaps because they assume they’ll be sailing into choppy, murky waters where monsters abide.

In contrast, proofreading and copyediting are (usually) crystal-clear waters with easy-breezy cruising. After all, those editing levels are about mechanics. They boil down to rules and standards someone else has established. You can lean heavily—if not fall back on—CMOS, M-W, and in-house guides.

But there are no quick lookups with developmental editing and content editing. They’re not about grammar, spelling, style, punctuation, and other surface issues. Rather, they’re about organization, clarity, flow, intention, voice, and other in-depth issues.

How do you master developmental and content editing? By going deeper with immersion editing. So come take the plunge.

In this seven-week course, we’ll learn how to navigate these sometimes challenging waters. We will:

  • Define developmental editing, content editing, and copyediting—and see why the lines often blur.
  • Explore how developmental and content editing are perfect opportunities to go deeper with the immersion editing approach.
  • Compare and contrast developmental and content editing across the spectrum of traditional publishing, hybrid publishing, and self-publishing.
  • Uncover the secret immersion step that sets you up for success with developmental and content editing. (Spoiler: It happens before you make a single edit.)
  • Understand why developmental editing is so much more than a beta read.
  • Discover why content editing is the most important—yet most overlooked—level of editing.
  • Learn why it’s crucial to create positive, trust-based relationships with authors, project managers, and other key collaborators.

If you’ve ever worked with me, you know my copyediting and proofreading mantra: “Look up everything—even if you know it.” But developmental and content editing are things you can’t just look up. You have to learn it, swim it, sail it.

So let’s dive in together, matey.

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Say What: An Immersion in Dialogue—April 16

Confession: editing dialogue is, without a doubt, my favorite part of the job. It’s no surprise, then, that I’ve always wanted to do a class sharing my insights on dialogue with authors and other editors. So come join me for Say What?: An Immersion in Dialogue on April 16.

man speaking into can

I’m not sure why editing dialogue is so enjoyable for me. Going deeper with dialogue is an essential part of my immersion editing approach. Perhaps it’s because I believe that voice—a writer’s unique style, expression, sound, rhythm, and flow of words—is what makes great writing great.

And what is dialogue if not voice? It’s the voice of the people (fictional or real) in your book. It’s how they speak to themselves, to others, and to the readers.

Or who knows—maybe I love working with dialogue simply because I’m a talker. I love talking. (Usually with my hands waving wildly about, as anyone who’s spent more than five seconds with me knows.) But I also love listening to other people talk, especially authors as they talk about their books. I suppose dialogue is nothing more than “talking on a page.” What’s there not to love?

Whatever the reason, I have a special passion for dialogue, and I’m excited to share it during this class. Here’s a taste of the topics we’ll address:

  • Do you really have to stick to say and ask as dialogue tags?
  • What’s the hidden secret behind one of the most common dialogue foibles?
  • How do you avoid the “tennis match” effect of back-and-forth dialogue?
  • What does “show, don’t tell” have to do with dialogue?
  • How can a trip to a coffee shop or taking a selfie help you with dialogue?
  • And what’s the advanced-level tip that few authors seem to know?

Authors, come learn the inside scoop on how to make your dialogue speak for itself. Whether you write fiction or nonfiction, dialogue is no doubt a key element in your book.

Editors too, come learn the inside scoop so you can apply it to the manuscripts you edit. Helping authors improve their dialogue is a major way to bring both them and their manuscripts to the next level.

I’ll see you there! (Spoiler alert: there will be a lot of talking.)

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Two Classes This Fall

What’s better than one immersion editing class? Two immersion editing classes, of course. The fun begins on September 15 for Going Deeper: Immerse Yourself in Immersion Editing. Then join me again for Immersion in Proofreading and Copyediting on Tuesday evenings, October 9 through November 13.

Let’s take a closer look at each course.

 

Going Deeper class title

Going Deeper: Immerse Yourself in Immersion Editing

September 15

This is the foundational class for immersion editing and what it truly means to go deeper. This one-day intensive is a game-changer for editors of all levels, authors, project managers, and basically anyone who works with writing.

We’ll discuss how immersion editing is like scuba diving and what it has in common with servant leadership, emotional intelligence, and even “whispering.” It’s a whole new—and better—way to take authors, manuscripts, and your own career to the next level.

 

Immersion in Proofreading and Copyediting

Tuesdays, October 9 through November 13

Editors, this is the nitty-gritty, in-the-trenches, getting-your-hands-dirty class you’ve all been waiting for. In this in-depth six-week course, we’ll explore all sorts of “secrets” about proofreading and copyediting—from mechanics and style sheets to best practices and tips. I’ll walk through sample edits to give you a glimpse into my mind. (Scary stuff—I know.) And you’ll get plenty of hands-on exercises to practice what you’ve learned. Authors, come join us too if you’ve ever wanted to be your own first editor or perhaps get a foot in the editorial door.

 

With both courses, what excites me the most is that they bring like-minded people together in our growing network of immersion editors. It’s a bit of a revolution, and it’s incredible to see how it’s growing.

I wholeheartedly believe that editors learn best from each other. In these classes, I swear I learn more from the participants than they learn from me. It’s an enlightening experience for all.

Immersion editing is about making the world a better place for authors, manuscripts, and editors. So come take not one but two plunges with me this fall.

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Immersion Editing as a Journey

The scuba-diving analogy is of course the heart of immersion editing. It’s a great way to capture the concept of “going deeper.” But diving isn’t the only analogy for this approach. I often describe immersion editing as a journey.

Editing as a journey has special meaning for me. I love hiking, especially in the mountains. Something magical happens the moment I lace up my boots (or better yet, have my husband lace them up because I never remember how to do the special ankle-lock tie). I love setting out with my poles, my pack, and my camera, breathing in the cedar-scented air.

Before long, I find myself huffing and puffing, trudging my way up steep inclines and winding switchbacks. I need to be surefooted and fearless up there in those heights, so I repeat my mantra: “Mountain goat. Mountain goat. Mountain goat.” Sometimes I even catch a glimpse of those agile animals, and they steel my resolve.

Most trails lead to beautiful vistas that serve as worthy rewards for all those miles. Really, though, the reward is the satisfaction of knowing I pushed myself to the limit and made it there and back again, just like Bilbo. (By the way, ever notice that the “back again” is the hardest? You’d think going downhill would be a cinch, but it kills the ol’ knee joints.)

Uphill, downhill, and in between, hiking is invigorating, challenging, and sometimes even arduous. But it’s worth every moment. It makes me feel alive as nothing else can.

 

So imagine, if you will, immersion editing as a journey. As your editor, I’ll be your trusty trail guide. I’ll walk right alongside you, taking every step with you. With positive encouragement and real understanding, I’ll help you achieve feats you maybe couldn’t achieve alone. I’ll help you see your book and yourself in new ways as we go deeper and deeper on our path.

Yes, it may be challenging at times. It can be a long process. This is a journey, after all—not a jaunt. (Be sure to pack some water and protein bars. Maybe some jerky.)

But again, it’ll be worth every moment. Every step will reveal something new and exciting. Every step will be meaningful. Together, we’ll reach our destination. That is, both you and your manuscript will reach full potential. Your book will transform, and so will you as a writer and a person.

Actually, the journey of immersion editing is the journey of servant leadership. Servant leadership, as the name suggests, is a bit of a paradox. How can you serve and lead?

The key is in the leader’s mind-set. A trail guide may stand out front with the map and the compass, but she isn’t concerned about wielding power, control, and authority. It’s not about her. She just wants to help you get up that mountain because she knows how much this journey means to you. It’s all about you. She leads you with her knowledge, experience, and insight in order to serve you. And first and foremost, she understands that she needs to earn your trust and rapport before you take step one.

The true measure of servant leadership is whether a leader can inspire growth. For sure, the true measure of immersion editing is the growth and transformation of the manuscript and the author. That’s the destination of the journey.

In contrast, there’s no journey, no serving, no leading, no growth with run-of-the-mill editing experiences, which I call surface editing. You hand your manuscript over to someone, he finds typos and wrangles commas, then he hands it back to you before walking away.

It’s the equivalent of a trail guide snatching your camera from your hands, hiking up the mountain on his own, returning a while later with your camera, and leaving you to flip through a couple of photos he took on your behalf. Or it’s the equivalent of the trail guide giving you a crummy map, pointing you in the general direction of the trailhead, and wishing you luck before he goes back to the lodge to take a nap.

Authors, what kind of experience do you want? Are you ready and eager to take a journey? Wouldn’t you like the company of a guide who’s ready and eager to climb that mountain with you?

And editors, what kind of experience do you want? Do you want to journey alongside authors? Do you understand the paradox of servant leadership and how it relates to editing? (Stay tuned, as I have a few editing classes launching this fall.)

Immersion editing is a journey, and it’s one I enjoy taking. I hope to see you out on the trail.

 

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Editing Secrets Made Easy: April 19

hand on laptop

There’s so much to remember when it comes to grammar, punctuation, style, and other mechanics. Sometimes it seems as though these are secrets only your eighth-grade English teacher knows. With that said, I’m happy to invite editors and authors to Editing Secrets Made Easy on April 19, 6:30–8:30 p.m. at Beaver’s Pond Press. (Many thanks to the Pond for graciously opening their office for these classes. It’s a wonderfully creative and inspirational space for bookish folks to gather.)

This will be my second time presenting this class. It’s easily my most popular class to date. Last time, we packed in nearly twenty people, a mix of editors and authors and a few in-betweens. Here’s hoping we get a big turnout this time too. If you didn’t join us for the first go-around, please check it out this time.

I think the class is so popular because everyone wants and needs a better grasp on grammar, punctuation, style—the nuts and bolts. Specifically, everyone wants and needs someone to explain it all in simple, common-sense, easy-to-remember terms. That’s true not only for writers but for editors, and we’re the so-called experts.

Case in point, I’m the first to admit I’m no grammarian. I often forget the difference between a misplaced modifier and a dangling participle. But it doesn’t really matter, so long as I know how to identify each of them in a manuscript and polish them up.

Along those same lines, the class won’t focus on jargon. Rather, it’ll help you recognize there’s something wrong with this sentence: “Sensing a collision, the oncoming bus made Sherry brace herself.” (By the way, that’s a misplaced modifier. I think…)

The other reason Editing Secrets Made Easy is so popular is because these “secrets” are culled from real experiences, real manuscripts, real authors, real editors. With eighteen years of professional editing, I’ve seen these issues pop up in countless raw manuscripts from authors. I’ve also seen them pop up in countless copyedited manuscripts when I do proofreads. For that matter, some of these issues have baffled me too for years. (Lay versus lie. I swear I have to look it up every time, just to be safe.)

Authors, this is a great way to boost your writing. Knowing the ins and outs of mechanics will make you a better writer, hands down. Fact is, master wordsmiths have also mastered the basics of language. And the more you know about mechanics, the better shape your manuscript will be in when it comes time to start the publishing process. You will save yourself time and quite possibly money.

Learning the basics will make all your writing better, including the pieces that don’t go through a professional editor. Think about every tweet, blog post, email, cover letter, and so on. What effect will you create as a professional author if you mistakenly use affect instead of effect?

Editors, this is a great chance for us to gather and learn together. I’m all about sharing knowledge, especially because we no longer have an apprenticeship model in our industry. (Something I’ll discuss more in posts to come.) We need to find our own ways to share trade secrets. There’s something here for everyone, from newbies to seasoned pros.

This particular class creates a unique experience to learn alongside authors. You’ll see how to approach copyediting mechanics in an author-friendly, common-sense way. So, let me break out some jargon here: Maybe you know the difference between a restrictive and nonrestrictive appositive, but do you know how to explain it to an author without making her eyes cross—or worst yet, without sounding patronizing?

So, come one, come all—join us for Editing Secrets Made Easy on April 19. Let’s shed some much-needed light on these secrets!