Sessions are listed in alphabetical order by title.

Authentic Characters, Karin Beery

Regardless of whether your author writes plot-driven or character-driven fiction, all of the characters need to be multi-dimensional, realistic, and relatable. Know how to create those characters so you can help your authors strengthen theirs.

Common World-building Problems (And How to Fix Them), Katie Morford

In every genre of fiction, but especially the speculative genres, a novel’s setting and culture(s) play a key role in shaping and revealing characters and their conflicts. Unfortunately, inconsistencies in character and culture create reoccurring issues in many client’s manuscripts. Katie shows editors how to think deeper about the culture of the characters in their client’s manuscript, identify and fix common problems, and use culture to create conflict and shape characters.

Creating a Schedule that Works for You, Ralene Burke

Learn to balance life and work by creating a schedule tailored to who you are and your lifestyle. Tell your time where to go. In this workshop, Ralene helps people to determine their priorities and goals and to create a schedule that allows them to live into their ideal. There will be hands-on time for attendees to work through some of the process on their own.

Curating Your Own Library Terminology, Amy Williams

How to keep a library of buzzwords, slang, and technical terminology for each industry so you can write and edit like an expert. Knowing the definition and connotation of industry terms and slang can make you seem like an expert on any given topic, while not knowing can make it very obvious that you don’t know what you’re talking about. This class will teach you methods to accumulate, organize, and access your own personal library of industry terminology, whether you edit material for entertainment, education, or industrial construction.

Developmental Content Edits: Seeing the Angel in the Marble, Katie Morford

Before a manuscript reaches that stage, first they must undergo a developmental content edit. This type of edit focuses on story, plot, character growth, and world building. This workshop focuses on the “big picture” side of editing, drawing out nuances of character, conflict, and overarching story. It teaches editors to ask the “big questions” of their clients and encourages them to help their clients grow their craft beyond a well-written manuscript into a truly emotional and captivating experience.

Editing Books for Children: Part 1, Linda Harris

While there are aspects of editing that apply to all genres, children’s books are unique. If you want to edit children’s books, you need an understanding of the differences between editing for adults and editing for children. This session will cover an overview of children’s books, the reading levels, and what is required for each level.

Editing Books for Children: Part 2, Linda Harris

This session will continue showing the unique features of editing for children. It will cover technical aspects of children’s books including characterization, point of view, dialogue, plot, pacing, vocabulary, and readability.

Editing Deep POV Fiction, Rachel Newman

Learn to identify point of view errors and help your authors achieve a deeper point of view. In this session, you’ll learn to spot the areas of a novel that can be taken deeper and to communicate with your authors about how to revise for deep point of view. This session includes a short, hands-on exercise.

Editing Informational Nonfiction, Kristen Stieffel

This class provides an overview of the major elements of nonfiction an editor must be prepared to address with a writer: Personality, Presentation, Information, Voice, and Mechanics.

Using a comprehensive editorial checklist for nonfiction books, we’ll review each element in turn, explaining what acquisition editors and readers look for and how you can help your client deliver.

Editing Narrative Nonfiction, Kristen Stieffel

Narrative nonfiction, including memoir, requires a combination of journalistic objectivity and creative expression. Most nonfiction editors have not learned these techniques because in most nonfiction the emphasis is on reporting facts, not storytelling. We will discuss how to provide a dramatic story without fabrication by learning how to plug the true events of an author’s story into a dramatic arc.

Finding Your Place in Social Media, Ralene Burke

With social media continuing to be a big resource for modern marketing, it’s important for editors to know how to use it effectively to build their platform and recruit potential clients. Using her 3 Ks of Social Media, Ralene Burke will show editors how to combine who they are, as people and publishing professionals, with their target audience and the right social media tools to grow their platform and reel in potential clients.

Ghostwriting, Collaborating, and Book Doctoring, Cecil Murphey

The Secrets of Ghostwriting. Many editors want to move into the field of ghostwriting. Cec will answer how editors get into this field, and he’ll discuss the personality requirements for being a ghostwriter. He’ll also explain the differences between ghostwriting and being a book doctor.

Make Writers Love Working with You, Cecil Murphey

Based on his experiences as a writer and on solicited comments from professional editors, Cec will offer you tips on how to be loved and sought after by writers.

Professionalism for the Freelance Editor, Rachel Newman

In the competitive field of editing, it can seem impossible to set yourself apart from the crowd. In this session, we will discuss the different tools you can use to infuse your business with a higher level of professionalism. As part of this session, you’ll work on your own personal strategy to move your business up a notch.

Proofreading for a Publishing House: Format, Text, and More, Natalie Nyquist

Natalie walks through the types of proofreading from first proof to formatting check to footnotes, and from hard copy to Microsoft word to Adobe Acrobat markup. This workshop will also walk through an extensive proofreading checklist and practice several types of work on sample pages.

So You Want to Edit Fiction, Karin Beery

Expanding your services can help you build your business (and your income), but editing fiction (like writing fiction) requires a specialized skill set. If you’ve never edited fiction but want to, there are a lot of things to consider: genres, voice, author (or editor!) intrusion, and more. A glimpse at the things you need to understand before becoming a fiction editor.

Starting and Succeeding as a Freelancer for Publishing Houses, Natalie Nyquist

An introduction to freelancing for publishing houses. Natalie explores the differences between working for private clients and houses as well as valuable skills and experiences in-house editors are looking for (and what not to do!). Also highlights the different ways to work for publishing houses and ideas for finding work.

Starting Your Own Editing Business, Amy Williams

Get the low down on starting your own copywriting or editing business, including the basic steps of organization, tax registration, government paperwork, and attracting new clients. The road you’re walking isn’t untraveled, and there are plenty of successful freelancers who can offer advice, encouragement, and a helping hand. This class will give you the basic introductory steps of how to start your own freelancing business.

Top Ten Mistakes Freelance Editors Make, Cindy Woodsmall

Freelance editors focus on what is and isn’t working in a piece. Their goal is to help create the best work possible, but what happens when the editor’s understanding of her task is lacking? Cindy sent out a questionnaire to some of the best in-house and freelance editors in the business. She combines their answers with her twelve years of personal experience. Let the discussion begin!

Working with Editors from the Author’s POV, Cindy Woodsmall

Freelance editors are an integral part of the publishing industry, and in her fourteen years as a writer, Cindy has seen many author-editor relationships become an unbreakable team while others became contentious and fell apart, depriving the reading world of what could’ve been. This session will cover knowing when to respect an author’s work and when to challenge it and how to address the tough issues while forming a strong bond. Cindy has written for Penguin Random House for twelve years, and their editing-round process uses staff and freelance editors for every work. Let her experience work for you.

Sessions are subject to change.