I'll get in here early, and say welcome and we're so excited to have you by today. :)

I always wondered what a Book Doctor was, and I never really knew until my agent, Natasha Kern, recommended I find someone to work with to help me with a transition to single title/paranormal (which is sort of a double transition, really). I was apprehensive, as I think there's a mindset in creative writing that paying for anything in the way of writing help is somehow bad, but you know, bollocks to that! (as Spike would say!)Sort of a "rugged individualism" mindset, I guess.

What I've really learned is that we invest in our writing in many different ways -- time, energy, creativity and financially -- we'll pay for conferences, advertisements, memberships, and yet we might balk at paying for editing, when it can be the best thing we ever put our hard-earned money toward. And frankly, compared to what a conference or magazine ad costs, you are a good deal. ;>

But getting the help you need when you need it, to learn, to grow, and to advance your career, is what I think really counts. I know you've been instrumental in helping me get past several blocks I had in learning how to make a transition from category to single title, and that was with just one session and some email conversations. Writing is so solitary, and even with critique partners, there is just no one who can give you feedback like a professional editor, and it's been a huge weight off my mind with my new book -- it might not sell, who knows? There are no guarantees in this biz, that's for sure, but I know I've done everything I can to make it as good as I can.

So, thanks -- and this is my wake-up call to writers who might balk at paying for editing! But as Leslie points out, make sure you're working with someone qualified to take you where you want to go...

Sam

Thanks for an informative post. I am not a writer but it's interesting to read about how your job helps both published and unpublished-as-yet authors produce the best possible book. That's what we readers are looking for: a well-written, entertaining story.

Nice to see you here!

Ad I want to ditto all you said. So many people go with people who have no experience at all, or hold out promises they can't keep, and it's such a shame. Checking credentials, and only hiring someone who is an expert in their area is critical.

And I love your book, BTW. It's something I recommend often to my writing students!

Shirley

New York Times and USA Today Bestselling Author
Coming this fall: MIRACLE ON CHRISTMAS EVE (Harlequin Romance) and REALLY SOMETHING another Hot Romantic Comedy from Zebra Books
www.shirleyjump.com or read “Eating my Words”

Leslie,
I doubt you even remember me, but you were the first editor I ever met---at the RWA conference in Minneapolis. I was green and scared to death, but you were so calm and professional. You'd read something I'd sent to an agent and though I didn't sell that book to you, I have always said you gave me valuable information that I used to sell my next project to Harlequin Romance line. And I love your Romance For Dummies book---have recommended it to a lot of new writers. It's easy to see you are a true book lover.
Roz

Hi Leslie,
Good to "see" you here. (3500 pictures from Madagascar??? Gasp!) I haven't had the benefit of your analysis yet, but I'm so looking forward to receiving it and getting deeper into my work. I'm "between publishers and between agents" which is to say it's been awhile since I've had a new book out.
Getting honest constructive feedback is very difficult, as far as I'm concerned. I live in an isolated area with no near writing groups. Even so, in the past I've seen negative results for writers in some critique groups, so even if a group like that existed here, I doubt I'd join. Send me a raft, I'm feeling adrift here! Thanks for appearing on the horizon here today! Garda

Hi Leslie! It's wonderful to see you here today. I think I bought your book the same day it came out, and have to say it's been a great resource! I distinctly recall being on business travel and reading it on the flight, and there were parts that just made me laugh out loud.

I would agree that, based on what you've said, a book doctor could be invaluable to a published writer. I'm halfway through a manuscript that's due to my editor in ten weeks; if I send it to you, can you tell me how to finish it?? Okay, just kidding.

I do, however, have a manuscript that did really well on the contest circuit before I was published, but despite garnering interest from a number of editors, just can't seem to find a home. I'd say it's a perfect candidate for a book doctor; it needs a practiced eye to identify the weak areas. It's just a matter of getting up my courage to do it. I'm always convinced that whatever I write is just horrible!

Thank you so much for being here today, and I really hope I can send you something in the near future!

Karen Foley

Hi everyone!

Leslie, one bit in your post really spoke to me. My day job is also in publishing, but I am hired by the presses, not the individual authors. I don't recruit authors for clients largely because of the idea that some have that "now I've HIRED an editor, of course I'll get published." I think you've made it very clear what the service is: more like "now that I've hired a book doctor, I'll see what more work to do on my book."

I have two questions for you.

1. When you do a project with someone, do you just read that one version, or do you look at someone's rewrites? (In other words, have they been able to address any of the problems?)

2. Do you find there are certain problems that are difficult to solve--perhaps the analysis is "bail out of this baby and start from scratch"? Or is it entirely dependent on the author--one person might have to get, say, the emotional responses down on paper first while another can rip out action and has to deal with other features later.

Thanks for all your advice!

Thanks for the clarification about book doctors. Yes, I've seen a few shady/unqualified ones out there. I'm saving your website link in case I need it when I finish my manuscript. Thanks!

Hi Everyone:
Thank you to the ladies of LIEC for having so many great guest bloggers.

Leslie:
I've always wanted to sit and chat with you, and did. It was several years ago you when you attended the NEC conference as an editor. Saturday night after conference you visited us in the conference suite. We shared stories, laughs and cold pizza and card readings. I was the coordinator of that conference. After chatting with you I can honestly say I wasn't as terrified of editors, but still have a healthy respect for everything they do.

I just wanted to ask you what the difference is between a book coach and a book doctor is?

I actually look forward to getting your book and reading it. Thank you for taking time out of your busy schedule to answer questions.

Leslie, there's another title some people use, writing coach. I'm thinking that's someone who rah-rah's from the side saying, "get those page numbers up!", "you call that a writing session? 10 words??", "you'd better go back and brush up on your high school grammar quizzes!" That sort of thing. So is "writing coach" a more general kind of work with a writer as opposed to more focused work on one manuscript, which I would think would in part describe the role of a book doctor?
Garda

Thanks for taking the time to explain what you do and the benefits of a book doctor. I know I often considered it before I published, but will certainly consider it again when/if the time is right.

Kay

Kay Stockham
Montana Skies, Harlequin Superromance, Jan '07
His Perfect Woman, Harlequin Superromance, June 2007
Untitled (Jack Brody's Story), Harlequin Superromance, November 2007
Coming 2008 ~ The Tulanes of Tennessee!
Want to win fabulous prizes

Leslie -- wanna go there? Do you, once you've worked with an author, recommend to the author agents or editors you think may be open to looking at the work? Or do you strictly work on the book at hand and end the partnership there? Thanks for spending time here today! Garda

Hello, I am new to this site, thanks to Sam directing from the NaNo board :)
I have your book as well, Leslie, and have found it useful. I will also tell you that I had purchased several books and through looking at recommendations at Amazon yours was most highly recommended.
I look forward to reading your 'advice' here. I was not really familiar with what a book doctor was either, until today.
Maureen

I saw the notice on eharl's NANO's thread, as well! Thanks for the tip, Sam.
I love your book. Thanks for putting all your tips on paper, and for being here today.

Carol Hutchens

Hi Leslie,

Thanks for this informative session. I'm fascinated.

I have a few questions...

1. Would you be able to give us an example of what your feedback looks like? I saw on your website that it looks as if you do everything from pointing out issues to offering suggestions. I'm wondering what the feedback looks like--notes on the page and an analysis? Do you look at each manuscript using a standard set of criteria and then add individual notes or is each one different?

2. What are some of the easy and/or common fixes people can make for high impact? I love a book with good dialogue, that seems pretty important? (Does this sound like those "sell your house" shows on TV--for instant curb appeal, spruce up your dialogue with a coat of cheerful paint...)

Thanks a million! This is such an interesting topic. I had a friend who hired a freelance editor when she sold her first book. We both learned a lot from the notes on that project. Some things are so obvious once you know them, but if you don't know them...

Cheers,
Ellen

OK, I promise to stop the barrage of comments and questions AFTER I ask this, Leslie:
What is your "concept" of "high concept" and what do editors really mean by that term? Is it over-used? Can there be too many high concept projects? I knew of some writers a few years back who spent months on coming up with a "high concept log line" for the top of their ms just to hook an editor. They didn't. So was it that their definition of "high concept" didn't mesh with the editors they submitted to? (To whom they submitted -- gee, writing to an editor makes me all too aware of ending with prepositions, etc.!) Thanks yet again. Garda

Leslie,

In your reference book "Writing a Romance Novel for Dummies" you indicate that lousy writing is the single most common reason why a book is rejected. It's my absolute favorite line in the book. As a former corporate learning development manager I often struggled with helping individuals recognize their strengths as well opportunities for development. In some cases desire and dedication were never going to help an employee achieve a goal that extended far beyond their skill set.

This brings me to my question. As a new writer I have received both positive and constructive feedback on my work. Would a qualified book doctor be frank enough to say your ambition exceeds your talent? I think many non published writers crave honest, realistic input on whether they have the foundation to make it in a very competitive industry.

Regards,

Rita

Hi, Leslie. Great to have you here today. I read your post carefully and so glad that you stressed the book doctor needs qualifications, specific ones to the piece/needs. I visited your website and compared those rates to a book doctor who recently spoke to a local group. His fees were 5k, but lasted a while, can't remember the specs, but do remember the 5k.
I've read the present comments here, and if this one is here, I've missed it: When an editor or Leslie (as the book doctor or both) makes an analysis and comments on one piece, those comments are learning tools for future books. Study them well. One of the best things a published author can do for others who are learning (and you never stop learning) is to pass around the MS with editorial and copy editor comments to be used as a learning tool. Published or not, there are skills to learn or relearn. Very nice, value-worth-it offering, Leslie.

Cait London