Introduce yourself! How did you get into editing and what are your qualifications? What genres do you enjoy editing most?
My name is Megan Harris and I’ve been editing books for 14 years! I got my start as an apprentice under a small press, Evolved Publishing, that still operates today! Over time my services have expanded from only offering line edits to adding developmental editing services and helping with pitch materials including synopsis, book blurb, and query letter writing/revisions.
The genres I love to edit most are all in fiction and include horror, mystery, romance, and fantasy.
What is the biggest mistake you see indie writers making right now? (For example, info dumps at the beginning of their book, not enough conflict, too much tell vs. show, etc.)
One recommendation I often make to indie authors is to trust their reader to draw their own conclusions. This can be a struggle when you’re first starting out (which is why we edit) because what may seem like something that needs explanation from the writer’s side may be intuitive once the reader is embedded in the world building the author has set up. For example, conversations between two people may mean fewer dialogue tags needed and more physical action than the writer initially describes. It takes some effort to thread that needle but is so worth it in the end!
How do you keep the author’s voice intact while also guiding them with suggestions on how to make their book the best it can be?
I make it clear from the beginning of my author relationships that what I’m suggesting is not something they must agree with each time. When I’m making edits I explain the changes and why they are occurring, and it’s up to them to decide if the changes mesh with what they are trying to say. This partnership helps us both see each other’s perspectives while aiming for the same goal: a well-edited manuscript that readers will enjoy and that the authors is proud to publish.
Is there ever a time when a book requires too much work? What do you tell a writer whose manuscript isn’t ready for a professional edit? What resources do you refer them to?
Yes, this has happened from time to time but can be avoided when an author and editor take time to work through a sample edit together. I offer 1,000-word line edit sample edits as well as a 3,000-word developmental edit for those looking for those services. For both, I request authors send over a sample from the middle of a manuscript so there is a better baseline to work from since most authors have a well-edited start to their story.
If it seems like the book needs more work than the agreed upon scope, I give a few different options such as changing the service (which can come with a change in the cost) or referring the work out to someone else that may be a better fit if they agree to it. This is often avoidable, however, if the vetting process that comes from working on a sample is followed.
What advice can you offer an author who can’t afford a professional edit? Are there things they can do to sharpen their own self-editing skills?
Cost is often a barrier but that shouldn’t prevent an author to do the best they can with the resources they have. I recommend that authors who can’t afford a professional edit seek out critique partners that can help them improve their writing. You can find others to trade services with or barter skills. Maybe you’re great at making graphics and can trade manuscripts with someone who needs help in that area.
You can also see if an editor is willing to work with your smaller budget or if they have discounts. I offer them oftentimes and currently have a year-long discount for services to give authors a break during these challenging times. Not every editor is able to do this, but you won’t know until you ask!
Following a thorough self-editing process is also a great way to save on costs. For instance, if you’ve been able to self edit your book well and an editor determines from your sample that you only need proofreading, you’ve just saved yourself a lot of money because you’ve taken the time to carefully review your work. I recommend authors become familiar with study guides and books on craft to sharpen their self-editing skills. It can also help to ask others when you’re stuck for advice on word usage, either in writing communities or on social media.
Have you noticed AI writing tools affecting the manuscripts you edit? What are your thoughts on authors using them in the writing process?
I don’t accept manuscripts which have been created with generative AI. It’s in my contract and personal credo to only work on projects written by humans. Other writing tools that assist with writing, such as spellcheck, are okay in my book so long as the author is putting in the work to write and revise.
This may be controversial, but it saddens me when authors lean too much into using AI to write. If you haven’t bothered to write your book, why should others bother to read it?
Our reliance on technology has led to people believing that they can cut corners and it shows up in creative spaces too often. Readers can tell when an author has put their original work out there and are more likely to want stories written by human authors, so I urge authors not to rely on generative AI tools to create their stories.
As an editor, it’s important you’re honest and give critical and actionable feedback. How do you offer this feedback so a writer doesn’t take it personally?
No matter an author’s experience, I find it’s helpful to find what is working in a manuscript as often as I find what can be improved. My clients appreciate this candor and honest reactions to their stories which humanizes the experience and doesn’t look like I’m just checking boxes. For developmental edits, my writeup includes a section called “story strengths,” for instance, and in line edits I share with authors comments at times that tell them where something is working well.
When it comes to critical, actionable feedback, I ask a lot of questions in emails to get a sense of what they may have wanted to achieve in specific areas and then guide them gently through my thought process on changes that may improve what they have written. Sometimes there is pushback, but approaching their project in good faith helps authors know I’m on their side and rooting for them the entire time.
Are there any other tips or thoughts you would like to add about editing or publishing?
It’s probably said often, but taking a break between writing and editing is such a crucial step in the process. If you write your story and put it away for a while, you’ll come back to it with a fresh perspective and a better idea of how to make improvements. I also encourage writers to think about tropes along the way or have a friend read their work to determine what may be most helpful to know. Using tropes in marketing has become a common tactic and even if this trend dies off, it’s helpful when you’re pitching your book to others to know what kinds of themes they can expect to encounter.
Lastly, it’s a good idea to have thoughts about how to market your book before you finish the editing process. Clients of mine usually plan their release date and work backwards, giving themselves plenty of time to hit the major milestones they need, such as completing edits and having the cover ready, before the release date. Creating a plan can help you build up the hype about the book so that when the release date comes you can feel satisfied that you did everything you could to make it a success.
And lastly, where can readers find you online?
Authors can find me at my website, www.mharriseditor.com, where they can read blog posts with author tips and sign up for my quarterly newsletter. My username on most social media platforms is the same as my website: MHarrisEditor. Instagram | Threads | Facebook
Thanks for the opportunity to connect with your readers and answer these questions!
Vania Margene Rheault 