Thank you for this most timely article. I’m a newbie writer that is writing a history book on a small WWII town. It is a little unique in that it will have many newspaper clippings and historic construction photos. The narrative will only be there as a clarification to these items. I want to be sure that this narrative is smooth flowing and comprehensive. I’m not certain to what degree editing will be involved. You article certainly helped bring to light things I should consider.
At first, I didn't want to add Fiverr to this list because there are a LOT of editors on Fiverr that aren't exactly a good investment. But, that doesn't mean there aren't amazing opportunities out there. Editors like Kerrie McLoughlin, have done an amazing job with their Editor Fiver gigs. However, if you do decide to go through Fiverr, then ABSOLUTELY use my test to ensure you aren't hiring someone who isn't qualified.
My facility with words derives from a love of literature and a background in French, teaching English, and editing. Throughout my academic and professional experiences, I have had the opportunity to work on a variety of texts, from academic papers to blogs to web content to novels while respecting English grammar and mechanics within the context of various style guides, including AP, CMoS, APA, and MLA.
Developmental Editing helps you fine tune the sequence and the order of your book. Have you presented the information in a format that makes sense to the reader; does each piece of information build upon previous material? If you’ve had a few people read drafts of your book and they’re confused, you need developmental editing. A developmental editor may even be able to help you uncover features in your work that will create a powerful experience for your readers.
There seems to be something half-way between beta-reading and development editing. I think it’s right for many new writers — I’m just finishing my first book, and was not about to pay a real development editor, but beta readers weren’t engaged enough (especially friends unwilling to point out the negatives). But it this kind of editing doesn’t really have a clear name.
Editing is one of those skillsets that many people claim to do well but which few actually do. And while it’s probably the most important service an author can solicit (second only to book cover design), it’s often undervalued. Furthermore, most authors have no idea how to assess an editor’s work, and the result can be catastrophic, ranging from an editor who introduces new errors to an editor who changes the intention of your writing.
Working with a professional is always the best choice, so if possible, then save up to work with an editor. But of course, some writers can't afford this, in which case there are some other options. You can barter with other writers in the same genre, editing each other's work, or providing other services you might be more skilled at e.g. Marketing tasks.
Start at the top of the copyright page and work your way down. Copyright pages can be formatted differently, but they usually start with the publisher, date, and location of publication. Slowly scan each line to look for an editor’s line listing. The editor (or group of editors) are usually listed in the middle, underneath the publisher’s information, but above the country and printing number.
ROUND TWO: an in-depth, comprehensive, line-edit that includes rewriting sentences, improving word choice, organization, plotting and pacing. We’ll make the dialogue stronger and more believable, the action more tense and nail-biting, and the emotional peaks less melodramatic and cheesy. For non-fiction, we’ll strengthen your argument and make the writing more engaging.
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.
Proofreading is the vital last step of the book editing process. After your manuscript has received its professional edit, your book proofreader will perform a final review to fix any remaining mechanical and grammar issues before your book is printed and published. Proofreading is not a structural edit and instead focuses on eliminating minor mistakes and inconsistencies.
Really great advice. I just wish editors and proofreaders were more affordable. I find that the cost often dissuades writers from hiring help, even though it’s a really important investment. I like PaperBlazer (https://www.paperblazer.com/hire-a-proofreader-or-editor-for-your-novel/) since it’s more affordable than a lot of other editors. The other comments here are very helpful as well.
It’s best, if you decide to hire a freelancer, to figure out what the going rate is for the service you need, and expect to pay that amount. Otherwise it may turn out to be a waste of money, because the quality of the service will suffer. Sometimes there are payment plans to help with high costs! But it’s really a good investment to pay industry standard for editorial services; I agree with Shayla.
Check out freelance websites like UpWorkor even a great site called Scribendi. (Warning: if you source an editor from these sites, make sure you hire another, professional editor to go over it afterward. There is no way to know what you are getting otherwise. Just because the draft comes back better than it was before, does not mean it was well-edited!)
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?
I'd suggest working through each change so you can learn for next time, rather than just clicking Accept All on the Track Changes version. This will take time, but it's well worth it. I usually accept 80-90% of my editor's changes and the manuscript is improved considerably by the experience. After the line edits are updated, I send the manuscript to a proofreader for the final check before publication.
The book provides further support for the importance of government-sponsored R&D by documenting numerous historical facts that demonstrate how government investments created the modern world and fueled the prosperity the world has witnessed over the past 200 years. The book also explains the origin of major technology revolutions over human history in a very accessible way. It ends with an investment strategy and a plan on how our nation can continue its prosperity for future generations.
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.
I have a question… how do software programmes rate in comparison to using an editing service. I ask simply from the point of view as someone with a limited income, who is thinking outside the box for solutions to produce the best polished product I can with the means I have.Will software do a large percentage of the ‘work’ that will then allow an author to use a proof reader or line editor to just do a final check?
Stephen, I’m not sure what you mean by “time wasted matching a style guide.” Any professional editor of trade books knows the Chicago Manual of Style well and as a matter of course automatically makes changes that are in line with it. What you said is akin to “They waste time correcting spelling errors.” They’re not wasting any time; they’re doing their job and it’s a basic and automatic part of that job.
“My advice is that you take a couple of days off—go fishing, go kayaking, do a jigsaw puzzle—and then go to work on something else. Something shorter, preferably, and something that’s a complete change of direction and pace from your newly finished book. . . . How long you let your book rest . . . is entirely up to you, but i think it should be a minimum of six weeks.”