In the book publishing industry, fact-checking should happen before the book is made available to readers. This means that from the early editorial stages, editors should be working on fact-checking, but this isn’t quite an industry standard yet. As time goes on, the need for fact-checking in editing is becoming clearer and clearer. So how do you even begin?
editor
Single Narrator or Full-Cast in Audiobooks—Which Is Better?
By Rachel Done @RachelDC06
You’re probably reading this article because you either have a book that you’d like to make into an audiobook and are wondering how to go about it, or you’re just curious about the factors that go into deciding what an audiobook will sound like.
What Do You Know About Award-Winning Editor Sheila E. Gilbert?
By Luis Ramos
Sheila E. Gilbert is just one example of how successful editors do things in the world of publishing. It is a treat to get into the mind of an award-winning editor, since most editors are very private and it’s difficult to find information on them. But they are the wizards who bring the best books to the market.
Editing Children’s Books on Mature Topics: What to Consider
By Jennifer Ladwig
While books can be a wonderful way for readers to escape reality for a few hundred pages, books can also help foster learning and provide readers with safe ways to cope with issues they might be facing.
How to Build Community with Other Editors
By Olivia Rollins
Although editors are a notoriously introverted bunch, we all stand to benefit from a little social connection. What happens when you run into a truly perplexing problem—be it a difficult client or a questionable comma—and you need to turn to other editors for advice? Where can editors go to receive mentoring and swap war stories? This post outlines some of the ways in which editors can connect with each other—virtually as well as in person—in order to grow as professionals and build a sense of community.
Editing Trauma
By Grace Hansen @thegracieve
William Faulkner said, “In writing, you must kill all your darlings.” A good editor knows that this process is sometimes painful to the author because their words are their babies. How, then, is an editor to approach nonfiction trauma manuscripts when an author’s words are their nightmares?