As a freelance editor, I would like to express my strong disagreement with the idea that a freelance editor must work as an employee of a publisher for three years to be any good. In my field, spirituality, many publishers have gone to having most editorial tasks beyond acquisitions performed by freelancers, so the in-house positions being held out here as a prerequisite for freelancing simply don’t exist; many editors must cut our teeth as freelancers. It also occurs to me that self-published authors usually bristle at the idea that they are not “real” authors unless their work is accepted by a commercial publishing house. Is it fair to apply this standard to the people they propose to employ as editors?
First, decide whether your time or your money is worth more to you right now. You can greatly reduce the amount of money your project will cost by investing more time, and vice versa. If time is no object, you may want to spend some hours in the library reading style manuals and going through your manuscript with a fine-toothed comb so that when you do hire an editor, (s)he will be able to zip through it quickly. If you end up deciding that’s more effort than you want to invest, then you will at least find the monetary cost of hiring someone to do it for you a less bitter pill to swallow.
If you know you are sensitive to changes, or that you only want edits that correct what’s wrong (and not subjective edits beyond that), tell the editor so. This kind of information is invaluable, and will prevent frustrations and misunderstandings. That said, don’t suggest this if you’re open to your work being better. Editors will bring your work to a whole other level if you’re able to loosen your grip on any notion that your creative expression is under attack when an editor makes changes to your work. The most successful authors are edited multiple times over.
We may be talking about different services. I’m referring to a full read that usually creates a 5-10 page edit letter–no in-line editing. Or, perhaps we’re just working in different corners of the market. I’m around those who are freelance editing pre-query for writers hoping to traditionally publish their genre fiction, not the kind of rigorous editing a self publishing author would need, which should rightfully be much more expensive! It’s true that most people doing freelance editing at the lower rate/rigor aren’t doing it full time. It’s an optional step for those traditionally publishing, and the prices reflect maintaining access for those writers, I believe.
Moreover, the casual distinction between a (developmental) “editor” and a “copyeditor” can be a bit simplistic, particularly in a self-publication or even vanity-publishing context. A self-published author may barely have the budget to hire one editor, so that editor needs to be able and willing to blur the lines between developmental editing and copyediting. The editor must also be accustomed to working with authors of a variety of strengths and weaknesses, including many whose work would not, in fact, have been accepted by a commercial publishing house in its current form. I have come to take great satisfaction in taking a new or newish author by the hand and helping them find ways of making their work the best it can be. Of necessity, this must include line-by-line correction of grammar and style (often a surprisingly great amount of such correction), but can rarely be limited to that.
Hi Sean, as an editor I run permissions for authors. It’s a case of contacting each right-owner (author or publisher) where the quotes are not deemed public domain, and provide them with context for approval. You can do this yourself or I’d be happy to quote for the work, if you’d like to contact me directly? My email address is firstname.lastname@example.org.