There’s a weirdness: most writers have no idea what to expect from an editor. I find myself compelled to educate nearly every new client, especially those who have been roughed up. I end up digging up articles to show them. This could be easier. While I already have a blog category for articles on this subject, a digested listing of the more pertinent material on this site might also be an assist to the general writing public.

In order of perceived need:

What editors do–lists the different editing modes. If you read no other article, this would be the one.

Editing modes from a pure client perspective–similar information but starting with actions and then supplying definitions. The post links to my guest post on another blog, so click on through.

That’s why you have an editor–on the benefits you should expect to receive from professional editing services; some you might not have considered.

Is this a vanity book or a commercial book?–why that’s a key question, and why the answer is not in what the author says, but what he or she does.

Being a writer’s nurse–thoughts on the nature of my work, and how clients can refrain from thwarting my efforts to help.

I don’t believe in writer’s block–nor should you.

Demystifying editing and proofreading–a guest post at Ajoobacats’s blog; why some need an editor, some do not.

All that red ink–on dealing with the splatter shock of change tracking.

Don’t book-format it yet–discussing why you don’t gussy it up for publication until we finalize your content.

A stunner on editors–on the lamentable tendencies of some in my field.

The cost of editing–on the different modes and situations, and how they shape the bottom line.

The state of the proofreading–just because someone says she is a proofreader, and has high ratings, doesn’t mean she is or deserves them.

A story veterinarian–musings on my profession.

The client question I dread most–if I wanted to be a Word tech support professional, I’d be doing that; alternative suggestions.

Alan Smithees–when and why an editor might ask not to be credited, and why it’s not a good sign.

Why didn’t you notice that before?–on the sometimes iterative nature of manuscript revisions.

Every new author does this; why?–on spurious spaces and hard returns in mss (that’s industry-speak for “manuscripts”).

No one who refuses to read this book should ask me for marketing tips any more–on Veeck as in Wreck, and the limits of my usefulness in marketing.

How to get free feedback from your editor friends/family–you would be surprised what you could learn; what you should ask for, what you should not.

Writing women, and writing for women–an interview with Adrienne Dellwo, who had helpful, educated insights to offer.

When the reviews say “she should fire her editor”–why that reviewer probably doesn’t understand how books are assembled.

So you need a book review–guest post by prolific book review blogger Ajoobacats, how to and how not to solicit reviews.

I know that’s what they taught you in school; I don’t care–on changing orthographic standards.

The dumbest criticism of writing I ever hear–on questions of profanity in writing.

Why you don’t lie to your editor–because, for one thing, it can only result in a worse book.

Reviews need to be more than one sentence long–on puffs, reviews, and how they compare.

The difficulties inherent in semi-autobiographical writing work–it looks the easy way, but it brings its own set of problems; consider carefully.

The fiction writing advice most people are too tactful to give you–blunt don’ts and do’s.

Forbid yourself to write worse–how to eliminate bad habits I’m just going to edit out anyway.

Badverbs–because I’m coming for your adverbs.

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Tags: manuscript editor, fiction editor, non-fiction editor, freelance editor.