Avoiding Less-Than-Legitimate Publishers

Be Wary of Publishers Who Solicit You

Writers often ask: “Is such-and-such a good publisher? They just offered me a deal. I’ve never heard of them.”

Often this “deal” shows up soon after you apply for a book copyright, which is your first clue that the company is getting email addresses from a list.

I can’t stress this enough: be extremely skeptical of a publisher who contacts you out of the blue. That isn’t how legitimate publishers work, and by legitimate, I mean those who aren’t out to make a quick buck. When considering any publisher, the absolute first thing to do is Google their name, plus the words “review” and “scam.” It’s very easy to see which ones have a bad reputation. But also be skeptical of publishing names that bring up no info at all. That may indicate that they’re a fly-by-night operation.

There are also several websites, like Writer Beware, that keep a list of problematic publishers. It’s a good idea to peruse those lists when you’re looking into publishing options.

In writing groups, we throw around the term “publishing scam,” but truthfully, scam is too harsh a word for most vanity publishers, like Austin Macauley or Pegasus. They’re not complete rip-off artists nor fly-by-night: some even boast decades in the business. They do provide a product for your money. The problem is that they sell services at a high mark-up, services you could easily find for yourself, like cover design and proofreading. They also woo customers on the idea that the writer now has an official publisher, and is no longer part of the unwashed self-publishing masses. They prey on a new writer’s desire for legitimacy, for affirmation that their writing is a cut above. Is it? Maybe. Unfortunately, it’s still self publishing. There’s no standard for entry; vanity publishers will accept anyone willing to part with cash. You’re just paying a premium to do what you could have accomplished yourself.

And—call me biased!—the quality of editing is not comparable to that of a well-vetted, professional editor. Since the editors in these companies don’t see much of the money that’s paid for their services, they operate on a churn-and-burn model: give one quick, basic pass through the manuscript and move on to the next. That’s if the publisher even employs humans and not just AI programs, which don’t come close to catching what a human editor would.

But the most objectionable thing these firms do is give the impression that they market their books and try to sell copies. They don’t—there’s no money in that. As soon as you send them payment, they have their prize. Then they’ll churn out a sloppy product and move on to sweet-talking the next hopeful writer.

This doesn’t apply to all small publishers out there. There are legitimate small publishers who, while also for profit, genuinely care about their products. They don’t accept any writer with money; they take on books they believe in, and give an effort towards marketing. Again, a thorough Google search will usually reveal which type of business a publisher is running.

Remember, it’s very unusual for an upstanding publisher to approach you out of the blue, so proceed with extreme caution if this happens. Do your research, because the dirt is out there. It breaks this copy editor’s heart to have to tell someone that the deal they’re so excited about is no deal at all.

 

Copy editing for musicians in exchange for donations to music nonprofits

Sianni Editorial Services offers light copy editing to musicians who make small donations to music nonprofits. It is free other than the donation. Projects include music bios, promo material, or any short work. I’m not offering to write your promotions or market them, just copy edit them. The benefits are threefold: I edit in my desired specialty, artists get editing at far below going rates, and music nonprofits receive donations. Music is my first love, and many small venues and nonprofits need our help to survive this year. Updated February 2022.

FAQs:

  1. Cost and limit? The minimum donation is $10—a fraction of normal copy editing rates or minimums. That buys up to 3000 words, which may include several pieces. Higher word counts are an additional $5 donation per 1000 words. The limit is 10,000 words.  I’m happy to edit a longer work at normal rates.
  2. What is copy editing? It’s like proofreading, but more intense. I fix typos, grammar errors, wordy sentences, faulty punctuation, and misused words, and I make writing clear and concise. What I can’t do for you: write your material, provide artwork or formatting, market your band bio, or play my viola at your wedding. But if you have a piece of text that could be better, I can polish your own words like nobody’s business.
  3. What format? I copy edit in Microsoft Word. But short pieces can be in Google Docs or the body of an email. 
  4. Will you work with any band? My tastes are diverse, so music genre doesn’t matter. I don’t even care if we don’t vote for the same people. But if your band’s message includes hate speech or emblems, I will decline. I reserve the right to decline for any reason, including being too swamped. 
  5. How does it work and how do we start? Email me at Louise [at] SianniEditing.com. Include any band links and the piece you need copy edited, or just describe it and give me the word count. If we seem like a fit, I’ll ask you to donate to any music nonprofit listed below. Send me some proof of this, and then I’ll do the work.
  6. How long will copy editing take? Usually under a week for short pieces, but it depends on my schedule. I’ll provide a time estimate. 
  7. Why does my band bio need copy editing? You look serious about your art when you have mistake-free marketing. If you’re seeking gigs or representation, sending a badly written pitch will torpedo your chances. If you’re promoting shows or music, potential fans will tune out if your promos are full of typos.
  8. What if I’m unhappy with your music copy edit? Consider it a donation to a good music cause. I receive $0 for this project, therefore I cannot compensate for donations, nor can the music nonprofits refund you. But I’m passionate about copy editing and music, and I promise my best work. I don’t guarantee 100% accuracy—no editor does—but I catch 99% of errors.
  9. Why not edit for free? A very wise music teacher once told my husband: “Don’t ever teach for free, because they won’t take it seriously. There always has to be some kind of exchange.” This project is my way to have clients make some investment while I volunteer my skills for the love of music.
  10. Can I donate to any charity? Sure, as long as it involves music or education!

List of music nonprofits to donate to for copy editing:

Arden Gild Hall. I grew up near this nonprofit music venue. N. Wilmington, DE. http://ardenclub.org/donate/

Christina Cultural Arts Center. Music and dance classes to kids in Wilmington, DE. https://ccacde.org/donate.php

Philadelphia Chamber Music Society. Small-scale classical music concert series. https://www.pcmsconcerts.org/support/secure-donation/

Kennett Flash. Music listening room in Kennett Square, PA. https://charity.gofundme.com/o/en/campaign/kennett-flash-emergency-fund

World Cafe Live. Mid-sized music venue at the University of Pennsylvania. https://www.worldcafelive.com/support/

Y-Not Radio. Music streaming station that does a lot for Philly area bands. http://www.ynotradio.net/donate.php

The Freeman Stage. Outdoor stage in DE that hosts a few national music acts a year, also nonprofit. https://freemanstage.org/support-sponsorship/donate

Stax Music Academy. Music education nonprofit from one of my favorite record labels. Memphis, GA. https://staxmusicacademy.org/get-involved/make-a-donation/

Kelly Center for the Arts. Nonprofit music listening room in Havertown, PA. https://kellycenter.org/contribute/

Stoltz Listening Room / Avalon Foundation. Nonprofit music listening room in Easton, MD. https://avalonfoundation.org/General%20Operating%20Support

Godfrey Daniels. Nonprofit music listening room in Bethlehem, PA. https://app.etapestry.com/onlineforms/GodfreyDaniels/GrassRootsGiving.html

Iradiophilly. Nonprofit music streaming station. http://www.iradiophilly.com/

 

Why you shouldn’t skip editing and go straight for proofreading

*When I wrote this, I separated copy editing and line editing into two different services and price points. But I was trained at UCSD to do a comprehensive job, and I find it difficult to do less for clients who pay less. So I have now combined the services. Everybody edited by me gets my best work, in a full line edit plus copy edit, with hints of content editing. If I see something, I say something.

One mistake writers commonly make, when choosing a service, is to skip professional editing in favor of a proofread. Yes, it’s a bit cheaper. I get the appeal—I’ve lived modestly my entire life, and these services can be expensive. But buying proofreading before editing is a prime case of the cheaper option being more costly in the long run. 

Let’s say your manuscript is a promising 1970 Chevy Nova that you found gathering dust in a barn. Proofreading is giving that car a thorough wash and detail. Copy editing is having a mechanic check brakes and transmission, ensuring it runs. Line editing is optimizing it for superior performance. After a line edit, you could race this Chevy on a track. After a line edit plus proofread, you could show it at auction and give it the best chance of attracting top dollar. Not everyone needs to have that Nova performing so well it might be sold to a collector, though. Maybe you just want to drive around town, or you’re confident that the engine needs only a tune-up. That’s when a copy edit is the best choice. 

The proofread, naturally, happens only after a mechanic has it performing to the desired degree. But what if you skip that and go straight for a sudsy bucket of proofread? You can’t judge if it’s going to run, but no opossums seem to be nesting under the hood, so you hope for the best. Still, no pro has so much as checked gaskets or fluid levels. Is getting the outside gleaming worth it? Not usually. Unless you get really lucky, you’ll own a sparkling Chevy that’s not in condition to be driven around the block, let alone shopped around.

I know this sounds like upselling. But truthfully, if you only have the budget for one service, it’s better to opt for the copy edit than the proofread. At least with a copy edit, you’ll know your vehicle runs. Even if there are some bugs stuck to the grill.

And to totally exhaust this analogy: imagine taking grandma out in your car. She’ll forgive the bird “gift” on the windshield and the dust on the dashboard. She won’t forgive the car grinding to a halt on I-95 because it hasn’t been serviced. Similarly, readers and agents will forgive little typos and missing marks that were never caught in a proofread. But they won’t forgive repetitious or awkward passages that would have registered in a copy or line edit. 

Keep this in mind when choosing an editing service. Try to gage for yourself what level of service your manuscript needs. I’ll be happy that your work is getting the right level of attention, and you’ll be happy with a final product that not just sparkles on the outside, but runs like a champ. 

Pied-billed grebes in Golden Gate Park, CA. October 2018, HL Sianni

What’s with the aerial shots of cups and laptops?

 

I looked at a lot of editing websites for ideas.

Fancy. Simple. Experienced editor. Newbie. Fiction. Academic nonfiction.

When I was creating this site, I must have perused dozens of websites representing my colleagues in the editorial community.

All have one thing in common: at least one aerial photograph of a cup of coffee or tea, half full, sitting next to a laptop on a stylish and uncluttered desk. Maybe there’s a succulent there that no one ever forgot to water for a couple of weeks: no, not once. Often the desk is made of weathered gray barn wood, or some chic and improbable material like slate or soapstone—you know, the ones from IKEA’s new Imprakticül line. 

Look, I like coffee as much as—no, more than—the next comma herder. As I type this, a chipped red mug sits on an old Kmart table with burn marks on one end from what’s known in my house as “that party when the tablecloth caught fire.” I’m sure the combo would have made a lovely aerial photo. I’m sure the image would have added just the whiff of industriousness and caffeine-scented relatability that this editing business needs. Or is that the smell of scorch marks wafting from my theoretical scratch-n-sniff website photo?

But theoretical it remains; I cannot do what everyone else does. I’m the kind of person who avoids trends. So at my own peril—because the aerial cup n’ laptop shot is probably a secret handshake in the editing community—I choose perching songbirds to decorate my site. What do birds have that convey “choose me for your editing needs for I am Serious and also I hydrate with hot liquids”?

Nothing. I just have a lot of bird photos on my camera. 

Eastern bluebird in White Clay Creek, DE. June 2020, HL Sianni