Next, it is possible to follow the road to traditional publication without hiring your own editor, with editing being done at the publisher’s expense. However, you have to be a very good writer and self-editor to get on that road, and what you write has to fit into a very marketable niche. You also need to be very patient and willing to weather plenty of rejection along the way. Don’t jump too quickly to the conclusion that this option is closed to you. Do your research carefully. There may be a small press that is just right for your book and that will be happy to help you make it the best it can be while paying YOU rather than making you pay them.
Start with a google search and see what comes up. Click on a handful of options and see if you can find an editor who is specialized or who has edited books similar to your own. An easy way to do this is to open just a few of your favorites in tabs and check out each editors’ website and about me section. Take a look at their testimonials. See if any stand out to you.
Thanks for this article! I have been freelance editing for several years now, and I have never been able to find something that gives such a succinct and clear summary of the different types of editing services and going rates. I got my start on UpWork, and most of my clients have expressed how difficult it is to find good editors and how thankful they were for my work.
Work in house first. That’s the best way to learn all you can about editing and proofreading and make good connections. I have met several people I’ve worked with from hanging out in Twitter and responding to tweets asking for an editor or proofreader, but I have had the most success from business connections I made while working in in house. Other things – a web site, professional associations such as the SFEP and the EFA (though I can’t say much more on these as I am not a member of either yet!), social media.
This is great advice, Val! Thank you for sharing. I’m a freelance editor as well. I agree with the advice about giving a newbie a shot because I was a newbie freelancer four years ago, with newbie rates because of being a newbie. But I had already been editing for five years in-house and at professional competence level, so my early clients got a bit of a bargain from me!
Even if a book is well-written, and even if it’s been edited professionally, success isn’t guaranteed. Publishing success is partly about branding and design, partly about getting in front of readers so they can start reading, and mainly about whether you satisfy their expectations and over-deliver on genre conventions. We want to do more than simply editing or proofreading your book. We want to help you make sure readers love it. But the sad truth is, most submissions we receive are nowhere near ready to publish, and are suffering from common but easily avoidable first-time author mistakes. How does YOUR book measure up?
Val, thank you, lots of good stuff here, and it’s great to suggest giving a credible newbie a try. As an encrusted oldie, I can say that it’s sensible to deal with a niche/specialist editor, but sometimes editors have broad experience in both fiction and nonfiction writing (I’ve written and edited a good deal of both), and thus can edit with confidence across styles and genres. Thanks for a sound, thoughtful post.
Trish – I agree with your replies to this article and Carol, I agree with your comments too. And while I disagree with some of Natasa’s points, a sample edit is definitely good advice, not only for the writer, but also for the editor to ascertain what type of editing is needed. Many new, inexperienced writers still ask for a ‘proofread’, only to discover what they actually need is a developmental edit. I also agree with Natasa’s point that a good rapport is crucial. As to the suggestion that an editor shouldn’t be working on seven to 10 books per month, well, I never work on more than two (although I do fit in other small projects for regular business clients – they break up the working day and help me to refocus). I don’t know how anyone could work on such a large volume of books effectively — or at all — unless they were very short books!
Well, hopefully, now self published authors can now see that there are a lot of AMAZING editors who can do outstanding work for a LOT cheaper than that list. As for the free editing sample, yeah – so long as the editor has solid proof that they are a legit editor with great credentials, that’s all you need. But if they don’t have that and won’t provide a free sample edit, then there are a lot of fish in the sea and it’s best to move on.
“Build my house, but don’t waste time making sure anything you do is done in the normal way things are automatically done (up to code). I don’t need any of that.” Doing things the way they are automatically done does not cost more, and it doesn’t take more time. On the contrary, trying to do it in some other fashion—making up a new way to do it—would take more time. Furthermore, the results would probably be a disaster.
While you may (or may not) be correct in your assumptions, your tone in general is rude, and disrespectful. If you are indeed a true editor of distinct taste and experience, you should not feel the need to bad mouth others for their thoughts and opinions. Show a little decency, and realize that you are indeed speaking to a human being, who probably has thoughts and feelings, and is in my opinion, a much more intelligent human for having the intellect to not attack someone verbally for their thoughts. No one needs you to be rude, or asked you for that matter.
Due to popular demand, we’re adding a low-cost manuscript review + passive developmental edit to help you find and fix the “cause of death” before you invest in editing or proofreading. You’ll get expert eyes on your manuscript, and while we won’t focus on or fix every little issue, we’ll help you identify the big red flags that are killing your book slowly. These are the places readers will give up and agents will ditch your manuscript into the slush pile. In-depth comments and suggestions will be provided to help you clarify and restructure your book, but this feedback is “hands-off”: we won’t go in and actually make changes, though we will point out signs of weak writing, repetition, and provide tips on how to improve as a writer. If you think your manuscript might be a mess, or you want to focus on the large, important stuff that matters most, this is for you.
Hey Elizabeth – I get what you’re coming from. I try to work in some flexibility with clients due to budget. Like you said, many people are charging the market rate regardless of experience. However, most good editors will work with your budget in one way or another, be it payment plans or reduced rates. I find it’s easier for me to retain clients and provide better services if the costs go down over time. Some people choose to discount the first project. It’s all very fluid. But yes, cost can be a deterrent for some folks. Self editing can drive these costs down, so taking the time to go through your work first is very helpful for the editor and for your own pocketbook..
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For editors who are charging pennies for what should be hours and hours and hours worth of work: I am saddened that you would ruin the market for those who have the expertise and ability to charge what it’s worth. You see, an author whose book needs a whole lot of help will see your rock-bottom prices and think that’s the norm. But the reality? That’s not normal. It’s not normal to charge sweat shop rates for something that requires top-notch quality.
There are different levels of editing—developmental, copyediting, and proofreading. I’ve found that authors are often willing to pay good money for a developmental editor, someone who walks by their side and helps to shape the book, but when it comes to copyediting and proofreading, especially if and when an author has had a developmental editor, suspicion arises as to the value or merit of these more drilled-down types of edits. Don’t let this be a blind spot; they’re important—on par with a developmental edit for sure.