Next, I check their work history to see what kind of projects they have been working on. For example, if I’m hiring an editor and I see that 8 out of their last 10 projects had nothing to do with editing, I will probably pass because it means they either don’t enjoy editing work or they aren’t able to find enough of it on Upwork, which should not be a problem for a highly skilled editor.
About 25% of my (fiction) editing work is direct with authors, and the rest is split between two publishers. It my be of interest to note that these rates are close to what publishers pay their editors. That is to say, if you, as an author, were to traditionally publish your book, you would be paying this amount via royalties. Creating a professional product via self-publishing is not cheap, the costs (and income!) just shift from the publisher to the author.
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.
Contact the publisher directly by phone or email. The publisher’s website and contact information will likely be printed at the top or bottom of the copyright page. If it isn’t, you can look it up online. Contact the publisher by calling or emailing them to ask about a book’s editor. Publishers keep detailed records on each of their texts, so if anyone would be able to find a book’s editor, it would be them.
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.
Before we explore what you ought to be looking and asking for when you hire an editor, let’s talk about you, the author of the work, for a moment. On the one side are authors who, in response to an editorial query questioning the reason a particular scene was included, immediately suggest ditching the whole thing. On the other side are authors who will fight editors to retain even the slightest word changes. Before you embark on an editorial journey, ask yourself which side you fall on, and then own this truth and be willing to share it with the person you hire.
Freelance editors normally do not double as literary agents. Not only is it not our area of expertise, but it can actually lead to ethical quandaries. There have, unfortunately, been cases of literary agents saying that potential clients’ work “has potential” but needs to be edited (by them or their employee), for an exorbidant fee. It would also be possible for editors to give the impression that they are guaranteeing publication of a project, when that is something no one but a publisher can do. Many professional organizations forbid their members to combine these two roles, to avoid a possible conflict of interest.
Thanks Sangeeta! I’m glad you enjoy the videos! (New episode, with 3 weird tips on self-editing, here: https://www.youtube.com/watch?v=3mmLEuH9x28) Book doctors are such an interesting phenomenon… As are ghost writers, come to think of it. On one hand, self-publishing gives an indie author a chance to share his or her vision with little to no outside interference, but on the other, we’re seeing more and more books written “by committee!” What’s tricky is finding the right balance, which is why the search for the right editor matters so much. Cheers, Teymour For 3 weird self-editing tips, check out my new episode:… Read more »
Whether you’re just starting out, or you’ve been writing for some time, it’s no secret that the most successful writers specialize in a niche. Why? Focusing on a niche helps you become an expert in that area, write better content, ask better questions, and know where to find sources and research. The best editors typically specialize in one or a few niches for similar reasons.
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.
I want to thank the author of this article, the people responsible for this website, and the helpful comments I’ve read here, before discontinuing my watching of this thread. I have reached out to several developmental editors through emails and by posting my need for such an editor on the-efa.org. If anyone decides to go that route, the response has been tremendous. Be aware of their policy for posting jobs, though. They require aspiring authors to adhere to the ‘going rates’ shown here: http://the-efa.org/res/rates.php.
Additionally, I think that many GREAT, very reputable editors absolutely will not complete a sample edit for free. They can point you to their work, their testimonials, and their references, though, free of charge. And if you’re curious why editors I know do not offer a free sample edit, check out this video to illustrate the point. https://youtu.be/essNmNOrQto
Great article, Blake. I often receive ‘undercooked’ manuscripts from writers. Two other points come to mind: 1) Budgeting for an editor is important. You should start putting some money aside for editing fees whilst you’re still writing your first draft (preferably tuck it into an interest-earning account!). 2) Don’t leave it too late, either. Often writers don’t realise that editors are booked up several months in advance. Start contacting editors whilst you’re still at the self-editing stage or have your MS with beta-readers, to find out what their availability is.