Limited Editorial Services for CLG Entertainment

As of February 1, 2013, I will be limiting my editorial services to a small set of longstanding clientele. Freed-up time and energy will be channeled into personal literary endeavors. 

TIP: characters thinking

I hate these feelings, she thought to herself.

Cut "to herself". Unless, *snickering* the character is suffering from multiple personality disorder, and thus we actually need to differentiate among the many selves in the mind.

Editor Spotlight on Moi

Author, editor Karen S. Elliott invited me to her blog today for an Editor Spotlight! Come see what I have to say about finding an editor for your literary baby: link

How I Come to the Page as Editor

I think of editing as a series of teachable moments - my goal is to help the writer develop the best product s/he can. I fix changes, yes, but ultimately, I hope to provide information on how to fix changes so that in revisions and in future works, the author becomes a better writer because s/he has learned. In the editing process, I try to do this in three ways: Tracked Changes to fix grammatical, mechanical, and structural issues; Comments that relay to story-related issues, and Comments that I call "readerly comments".

Tracked Changes
These are the things clients typically expect to see fixed. Any issues with grammar, mechanics, structure (commas inside quotation marks, moving taglines to middle of long dialogue passages, etc.). These are typically accepted by the client overall when s/he receives her/his edited manuscript from me.

Comments Regarding Story-Related Issues
While having a clean copy (what's done in Tracked Changes) is cool, none of that matters if the story itself is not strongly written. I use comments to talk about story-related issues, such as underdeveloped characters, holes in the plot, weak development of tension, superficial dialogue, and weak beginnings and endings to chapters and/or scenes. This is primarily where teachable moments come into play. Typically, I will stop at the point of issue and write a comment that: 1) tells the client of the issue, 2) explain why I see it as an issue, and 3) provide suggestion(s) on how to fix the issue. This is where the bulk of my time goes, especially in a first edit because like I said, if the story is weak, grammar and mechanics are the least of a client's problems.

Readerly Comments
As I edit, I attempt to be "the average reader" of a client's book. And just like when readers wants to yell at a character, toss a book because it's irritating them, laugh out loud because something is so funny, or sob because they are touched, I like to illustrate those moments in the editing/reading of a book. In the past, I see these at times as comic relief for the client. Many of them contact me, laughing, because those comments were so funny. However, they do serve another purpose. If I'm laughing in a spot that's not intended to be funny, that relays something to the client and makes her/him have to consider what to do about it. If I loathe a character to the point of not wanting to read the book and the client actually wants you to like the character, then the client needs to consider what changes might need to be made. So, in the end, while the comments I make tend to be funny (because they are so off the cuff), they can be instructive, too.

What Clients Have to Say

I'm always happy when clients enjoy the work I do for them. I am a lover of writing, and I love helping writers to strengthen their stories. Here are a few words from current clients about their experiences with me. Want to know more about what clients have to say about me? Then check out the link Clients Say... on the bar above!

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Shonell's work was truly a gift to me. She thoroughly and professionally edited my manuscript within the promised timeframe. Her review of the work was insightful. In addition to fixing grammer, Shonell pointed out several places where my manuscript could be improved (to be clearer to the reader) and even provided concrete suggestions for how. Shonell being a writer herself made the whole experience easy.

~Rachel Coyne, author of Whiskey Heart





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Shonell provides expert editing services that can take any book to the next level. I have always left inspired and seeing my written words in a refreshed way. She is personable and pays attention to those little details. Shonell met my expectations (they are usually ridiculously high). I have used her services more than once and have never regretted it. I look forward to her being a part of my growing team.

~Maryann Reid, Award-winning author and TV/radio social commentator





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Shonell has provided editing services for two books with Branchrystine Publishing. In doing so, she enabled the author to assemble a well thoughtout manuscript, challenging the author to answer the 5 W's of Who, What, When, Why, Where to make certain the reader would have a coherent portrayal of the storyline. Shonell's provided consistent, constructive criticism to create improved writing habits in future manuscripts. She completed the project ahead of schedule, providing a comprehensive overview on the quality of manuscript, what a reader may interpret from manuscript, and meticulous corrections, suggestions on subject-verb agreements, grammar and punctuation. I plan to continue to use her services in future endeavors.

~Tyrenna Tolbert, author of Who's Got Skills





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Thank you, Ms. Shonell Bacon, for breathing life into my manuscript. I found your editorial services to be both professional and cost efficient. Your quick turnaround time is also a plus. With your expertise, I expect great things from my novel From Hard to Hallelujah! I'll be calling you for the next one and the next one and the next one. God's Blessings, Lela Gholar Tizano

Knowing Your Editor's Editing Philosophy

My latest Blood-Red Pencil post, "Knowing Your Editor's Editing Philosophy," came about after reading another BRP bloggers post titled "Who Is Your Editor?" There has been plenty of advice for writers about researching agents and publishers and making sure writers have a good fit with these people; it's equally important to have a good relationship with your editor and to know what type of editor you need and want. That's what I talk about, briefly, in this latest BRP post. Check it out here, and leave comments!

The Blood-Red Pencil
Sharp and pointed observations about good writing
[http://bloodredpencil.blogspot.com]

CLG Entertainment Offering Editorial Specials Now 'Til August 1!

For nine years, Shonell Bacon and CLG Entertainment has assisted writers in developing their craft through editorial, evaluation, and coaching services.

And now, from April 25 to August 1, Shonell is bringing her editorial services to clients--at a major discount.

Any work over 100 pages (25,000 words+) can save up to 50% on CLG Entertainment's already inexpensive fees.

Past, present, and repeat clients value what Shonell brings to their literary projects...


She was professional and prompt. Her keen eye, unique insight and constructive criticism made My Name Is Butterfly the gem of a novel it is today. I highly recommend her! ~Bernice L. McFadden, author of Sugar and Glorious

 Shonell Bacon is Proactive, Productive and Professional. Ms. Bacon is a true blessing to the literary world. Her direct and thorough approach to editing allows the author a candid retrospective into their novel. Shonell incorporates recommendations, options and understanding of the novel via her editorial services. Shonell Bacon is a diamond in the rough. ~Sharmina T. Ellis, Vice President, 5ive Star Publications

Shon's editorial skills reflect consistency as she has a keen eye for detail to go along with her knowledge of the English language. Bearing the understanding of a novel's fluidity, her constructive criticism boosted my perspective of polishing my work more efficiently. Even when two hurricanes rocked Southeastern Texas and her home-base of Louisiana in the same month, she still managed to communicate with me in regards to finishing the edits to my novel. That's the epitome of dedication and professionalism. ~King Dhakir, author of I Hate My Job



If you are looking to shape up a project right now for publication or for submitting to agents and publishing houses, you definitely need to check out CLG Entertainment. At the website (http://www.clg-entertainment.com), you can learn about Shonell's editing philosophy, read what other clients have said about her, and more.

And if you're ready to take that jump and make your writing stand OUT in a crowd, then you can contact Shonell directly at sdb6812@hotmail.com to learn about CLG-E's special fees!

To Writer with Love ~ Writers write; Editors edit

In my latest The Blood-Red Pencil post, "To Writer with Love ~ Writers write; Editors edit," I offer more advice to writers about what it is editors do, and what writers should be doing. Check it out and leave comments, thanks! [link]

Shonell Bacon: The Editor

Learn more about my editorial services at CLG Entertainment. I'm affordable, pretty fast, love to teach through editing, and my clients don't think I'm half-bad either. Some of their testimonials are at the site, too!

Using Characters and Scenes to Trim the Fat from Your Story: Part One

Every year, I edit a slew of manuscripts – short stories, flash fiction, novellas, novels, etc. The biggest book I had ever edited before this time was about 200,000 words, and that story was about 80,000 words too long. A lot of slash-and-burn occurred for that literary baby.

But in 2009, I met my biggest adversary: a book that was over 330,000 words. No, this was not a Twilight saga. No Harry Potter. No The Lord of the Rings. This was a contemporary novel, a blend of street, urban, and literary fiction.

It was, by far, one of the cleanest reads I have ever read. The writer is extraordinarily creative and talented.

Despite these glowing praises, the book was way too long. Typically, I would have helped the writer slash and burn the book down to a nice length, but it was difficult to do so with this project because everything in the book “seemed” to belong there. After reading the book once before editing, I realized that two problems hindered this VBB (very big book) from being a good size: characters and scenes.

In May 2009, I wrote a piece for the Blood-Red Pencil titled “Eight Questions for Writers.” The very first question in the list is “Who is your main character?”

If you have a book that needs to be cut and cut BIG TIME, then you seriously should consider this question. In the book I edited, though the client told me who the main characters were, everyone was a main character. Every character had a backstory, nearly every character had a story arc, and there were so many characters that I needed to index them and take notes while I read so I could keep up with who did what when and how all the characters connected with one another. No reader will take that kind of time to read your book. They just won’t. We read, typically, to escape and to enjoy another place, another set of people. There’s nothing escapist or enjoyable with having a slew of main characters that we have to keep meticulous tabs on.

So, ask yourself, “Who is your main character?” Realize, there will be supporting, minor characters that help main characters, but all of these characters do not need full-blown stories of their own; that’s why they are minor and supporting. At least one read-through of your completed manuscript should be conducted to edit out any material that over-inflates a minor/supporting character’s role in a novel and to make sure your main characters are developed as necessary.

Part two will look at scenes and scope.

Using Characters and Scenes to Trim the Fat from Your Story: Part Two

In addition to examining the characters in your story to trim unnecessary material, you can also look at your scene development.

As I edited the VBB, I saw a major need for the client to edit scenes. Back in 2008, I wrote a short piece titled “Developing Scenes” that’s worth a check out. It’s important to remember that scenes don’t have to start at the beginning. Now, what does this mean? Let’s say you wanted to write a scene in which your main character’s conflict was revealed. You plan to do this by having the conflict blurted out during an argument between the main character and her boyfriend. In your scene, you start with allowing us to see the main character driving home, then she walks into her apartment, then she checks her mail and phone messages, then she takes off her clothes and puts on something comfortable, and then after all of that the boyfriend comes home, and there’s a lot of conversation about nothing before we even get to the argument. This would be considered a very slow-reading scene. As a reader, I would be waiting impatiently for something to happen. You would be amazed, if you went back and read through your manuscript paying close attention to scene development, at how many words go into revealing nothing important about the story and characters.

With this issue, it’s important to ask yourself, “Where’s the best place to start a scene and end a scene?” You don’t want to start too early and slow the read, and you don’t want to drag a scene on.

In my piece “Developing Scenes,” I write, “Typically, we are ‘placed’ somewhere (setting). People are revealed to us (characters). Some idea, point, purpose, situation is presented to us (beginning). There is interaction amongst the characters (middle), and the scene concludes in a way that propels the story forward and makes us want to know what happens next (ending).” As you edit through your manuscript, you want to make sure that these elements are in your scenes and that each scene does what it needs to do to make your story sing, not lag.

To those writers who tend to write epics when a particular book doesn’t necessarily call to be epic-size, place this word on a Post-it near your computer: SCOPE.

I know there are a lot of pantsers out there, those who just sit and let fingers fly across keys until a story is done. However, to help limit scope, it might be a good idea to actually outline books before writing them. An outline can give you a sense of how big a book will be. If it looks like your book will hit the scale at 125k or more, then you can work to revise an outline instead of revising a whole novel. And as you do so, you can ask yourself what is the overall purpose of this story, what characters are absolutely necessary to tell this specific story, and what tension, development is necessary in order to tell that specific story.

Writing in 140: Making Friends with Your Internal Editor

I used to advocate killing the internal editor, but I now see the importance of making friends with her. The IE often whispers things like, "Scene needs development," "Show more," or "That’s flat dialogue." Instead of halting your writing flow, make friends with your IE and take notes of what she says. I'm currently working on a novel that’s filled with IE notes I will handle in REVISIONS, not in the writing stage. I like having a book DONE, not perfecting a chapter for weeks. We need to learn how to listen to our IE, see how she just might be right, make note of what she says, and MOVE on in the story. Doing so will enable us to get a book DONE and have great notes for revision.

How do you "make friends" with YOUR internal editor?

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Writing in 140 is my attempt to say something somewhat relevant about writing in 140 words or less.