Editing is objective

Unlike peer-critiquing and beta reading, an editor’s job is not to express her opinion about what “feels” right or what “seems” like the best solution to a particular problem. An editor’s job is to spot errors and fix them. It is her job to know the rules and know how to break them; to stay up-to-speed with both the literary market and any significant changes to style guides like APA and The Chicago Manual of Style.

How does she do this? By attending writers’ conferences and professional networking events; by reading articles from sources like PUBLISHERS WEEKLY and WRITERS DIGEST; through her experience working with dynamic authors (like you!) on a wide variety of projects; finally, she keeps herself professionally sharp by testing and honing her craft.

Today’s literary market is saturated, competitive, and unforgiving. There is no room for error, so an editor must continually work to develop her professional skills.

Editing is subjective

But…you just said…

Yeah, I know. While an editor must remain objective in order to ensure your manuscript is error-free and marketable, there will be times when she is approached with a project that’s so outside-the-box, she simply can’t resist it. If editors turned down every project that strayed from the “norm,” nothing original would ever get published.

When making decisions on a subjective basis, an editor must tread with caution. As an artist herself, she must see the value in “breaking the rules,” and she should be completely transparent with the author before doing so. No editor should wish to dampen a writer’s creativity or artistic integrity, nor should an editor lead you astray. If what you’re doing is deliciously risky, but doesn’t necessarily follow today’s literary conventions, you should know.

Additionally, her intention for taking on such projects, or for offering her subjective opinion when faced with problems in your manuscript, should be based on reason—not a feeling. Talk to your editor. Make sure you’re speaking with someone whose intelligence matches or exceeds your own. Otherwise, why bother?

You need to self-edit

Let’s face it: you have an emotional bond with your manuscript. You’ve spent months or even years envisioning it as a whole and laboring over the smallest details. It’s your “baby,” isn’t it?

STANDING BACK and looking at your work from an objective viewpoint is a practice that will not only make your editor like you more (self-edited manuscripts are a professional editor’s dream!), it will also develop a skill that will help you in writing and in life. If you can objectively evaluate your manuscript’s pacing and structure, recognize issues with plot, character, theme, etc., polish your prose and re-work your dialogue so it flows more naturally, you will have a much better command over your own writing—which should be one of a career writer’s major goals.
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Need a quicker reward for learning to self-edit effectively? The better condition your manuscript is in when your editor receives it, the less substantive editing will be required, which means lower editing costs for you—and a better working relationship with your (hopefully) long-term editor. Win-win!

You need a professional edit

Ideally, your manuscript has already been critiqued/beta read and self-edited before it arrives in your editor’s inbox. It has been torn apart and put back together based off of mostly subjective feedback. Unless you have formal training of your own–and you keep up with the market and continuously hone the editing skills of a professional–you cannot be objective enough to identify and fix the problems with your manuscript.

That doesn’t mean you have to pay hundreds or thousands of dollars on a professional edit. If your budget is tight, find an editor who’s just starting out. She’ll typically work for a smaller fee in order to build her professional portfolio. Or enlist a friend (one who isn’t too worried about hurting your feelings). You know that “Grammar Nazi” or “Lit Nerd” you’re friends with? What about your writer/agent/publishing friend who’s relatively in-touch with the market? See if they’d willing to edit your manuscript at a discounted rate.

Note: If your editor is the first person (besides you) to evaluate your manuscript, she is essentially a beta reader to start, meaning your manuscript could be in store for some serious revising. If you’ve already been critiqued—and have consequently revised your manuscript to the point of exhaustion—then your editor’s job is to make your manuscript more perfectly itself, and not necessarily to suggest major structural or developmental changes. Your manuscript has been through that already (that is, if your beta readers are any good). This is one of the major differences between a critique and a professional edit.

Writing is a solitary endeavor; editing is collaborative

Because certain elements of your novel will likely require a subjective opinion—either yours or your editor’s—it’s imperative that you work together to discuss these elements as objectively as possible. But let’s face it: hearing someone’s objective reasoning as to why something is or isn’t “working” requires a great deal of respect for that person. Your editor must be a good listener, someone who respects and admires your work, and who seeks to understand you and to help you achieve your literary goals. Likewise, you must find yourself working with an editor whose opinion you respect, too. Your manuscript may be shared between the two of you for several weeks or even months. You may exchange countless emails and telephone calls. Not all manuscripts require as much intensive collaboration, but for those that do, you should find an editor you “jive” well with on multiple levels: namely personality, work ethic, and creative vision.

If you’re ready for a professional edit, or you’d like more direction about what to do next with your manuscript, send me an email! I’d love to hear about your writing endeavors, as well as offer my professional guidance: michelle@mjbookeditor.com.

Happy Writing!

MJ

The ink hardly dried on my last post before I began receiving inquiries about the specifics of where to find a freelance editor to champion your work, how to approach her, and what to expect as the two of you start working together. As requested, I’ll try to keep this one brief and straight to the point.

Where should I look for a freelance book editor?

1. The best way to find editors to interview is through word of mouth. Ask your author friends who edited their work, how much they enjoyed working with her, and if their editor actually helped them achieve success with their book. Don’t have any author friends? Join author discussions on social networks like Goodreads, Twitter, Facebook, and LinkedIn. In addition, always ask to see testimonials from freelance editors, or even better, ask each prospective editor for a couple of referrals.
2. Browse qualified professionals on the Editorial Freelancers Association website: http://www.the-efa.org/. The EFA boasts a huge directory of freelance professionals, making it easy to browse editors by experience, specialty, and location. The EFA is an excellent resource for industry-specific questions, webinars, and learning industry standards. You can also post your job on the site and allow freelancers to email you directly.
3. Writer.ly is a fantastic new platform for finding editors, book cover designers, formatting help, and marketing/advertising professionals. Simply set up your profile and browse freelancers, or create a detailed, thoughtful post about your project which editors can respond to.
4. Similarly, oDesk is a great place to look, but there are pros and cons when using oDesk versus Writer.ly. Yes, there are many more freelancers on oDesk—but with that comes a large pool of unqualified “professionals”—many of whom are overseas or may not speak English as their primary language. You could receive dozens of replies when you post a job on oDesk, and will be required to sort through the “slush” to find the right editor for you. This process can be time-consuming and discouraging, but the site is reputable; I have formed great working relationships with new authors through oDesk. If you decide to use oDesk, insist on some back-and-forth correspondence up front—or better yet, a phone call—and always ask for a sample edit.

(Note: oDesk and Elance are joining forces, so it may no longer be necessary to post information about your project on both sites.)

5. Use Google to search for editors. Most book editors have a website (like this one!) and/or a blog. Some editors are more active on their sites than others. Either way, a website allows you to see information about the editor, her services and pricing, testimonials, etc., without having to ask so many questions up front. Websites should give you a great idea of the editor’s experience and personality, as well as general guidelines for how to inquire about her services. If you find an editor’s website lacks transparency or is difficult to navigate, that could be an indication of her editing style, level of professionalism, and personality—and she is probably not the right editor for you.

How should I approach a freelance book editor?  

If she’s responded to a job you posted, reply with a friendly note detailing why you liked her application and how you think she can help you with your book. If the details of your job post (and thus, her response) were vague, ask for further clarification.
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Check to see if she has specific instructions to inquire about her editing services. What details about your project does she want you to include in your email to her? Does she ask you to attach a sample of your writing? Approach an editor just like you would a literary agent: with the information she’s specified, and detailed in a professional, friendly manner. This will ensure your working relationship with her starts off on the right foot. (If she hasn’t outlined a specific inquiry process, simply send her an email introducing yourself and detailing your needs, and ask questions if you have any.)

The “interview” process—which I often discuss in great detail—follows the initial correspondence. This is where you ask clarifying questions, read testimonials and/or referrals, and gauge her level of interest in your project. Ask for a sample edit or a consultation phone call to start, keeping in mind that some editors do charge for this time up front. That’s pretty standard, but up-front costs should be low. I have found the fairest way to charge for this time is to make all up-front costs refundable; that is, my fee for a sample edit is deducted from the author’s final bill if they choose me to edit their full manuscript.

Once you’ve decided on an editor, it’s time to iron out the details. Agree on payment terms and a deadline, and set clear expectations (and understand hers) regarding communication, correspondence, and the level of editing required. If the two of you are a good fit, this process should be painless—and even enjoyable. After all, you’ve written a book and now you’re ready for a professional edit! How exciting!

A final note: it’s important to remember that editing practices do vary. The editor you’ve chosen may be booked months in advance, or she might be able to begin right away. Similarly, your editor may require months to edit your manuscript, or just a couple of weeks. She may use “track changes” in Microsoft Word, or prefer to share the manuscript with you in Google Docs. Style guides may also vary. She might refer to the Chicago Manual of Style or the AP Stylebook, among others. All of this depends on her editing style, the level of correspondence required between the two of you, and how full she keeps her schedule. An editor is not “good” or “bad” based on these practices, but you should discuss your preferences with her (if you have some) to see if she’ll be a good fit.

If you have additional questions about finding an editor, or you wish to contact me about your project, I’d be more than happy to help! Send an email to michelle@mjbookeditor.com, and I will respond promptly.

Happy Writing!

MJ

It’s a recurring theme throughout all of my posts, and something you will hear time and again during your journey from first draft to published piece: the process of finding a great editor (that is, the right editor for you) should not be taken lightly. It’s important that she not only be skilled—educated, experienced, and continually fine-tuning her craft—but that the two of you work well together. Will she champion your work, and yourself as an author? Will she offer ideas for improvement that make sense, and actually help improve your manuscript? Do you feel empowered to ask her questions and seek her counsel—or do you dread pressing “send” with questions she may not respond kindly to, or in a timely manner? It’s important for both your success and hers that you find an editor you click with, and establish a solid working relationship from the get-go.

Establishing an Author-Editor Relationship

The amount of time you spend recruiting an editor depends largely on your needs as a writer. If your manuscript has been heavily self-edited and beta read by eagle-eyed readers, you may only need a proofread, or a copyedit at most. In addition, perhaps this is the only book you’re trying to publish. You may not be too concerned about how well you and your editor “jive” together, because your time with her will be short. It will still behoove you to do your homework—make sure she has the skills and experience required to properly edit your manuscript—and correspond with her or ask to speak on the phone to make sure you enjoy her personality. Ask for a short sample edit or a list of books she’s worked on. You may also ask for references or to see a list of testimonials. Even for “smaller” jobs like yours, your editor should be qualified, pleasant, and willing to communicate with you in detail about your project.

You may need to spend more time recruiting—that is, researching your editor, asking her questions, and having longer or more frequent meetings up front—if you need more substantive or long-term editing. Ask yourself the following:

• Will I need help on multiple books?
• Do I need assistance with publishing, formatting, and cover design in addition to editing?
• Before editing, has my manuscript been translated from a language other than English?
• Do I believe I have a good story, but don’t necessarily consider myself a great writer?
• Will I seek ghostwriting in addition to editing for some parts of my book?

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If you answered “yes” to any of the above, it is even more important that you establish a healthy and productive relationship with an editor who will advocate for you in the long-term.

Maintaining a Great Relationship with Your Editor

So, you’ve found an editor. How do you ensure the two of you will continue working well together? Not just pleasantly, but efficiently. Good author/editor relationships can make for clean, publishable manuscripts, but a GREAT relationship can help take your book—and by proxy, your career—to the next level. Don’t just enlist a so-so editor; partner with someone who “gets you” and is willing to go the extra mile for your work—then do your part to keep her cheering you on. Here are some ways to ensure your editor will love working with you.

• Communicate your goals. Sure, she’s the expert, but no one knows your manuscript better than you. Tell her what you’re trying to say, so she can inform you if that vision is clear to readers. Tell her about your publishing goals, so she can cater her editing to ensure those goals are met. Maybe you’re a busy professional and would rather she didn’t email too much. Or perhaps you’d like updates from her after every chapter. Let her know! A good editor is flexible, and will cater to your needs in order to achieve mutual success.

• Ask for clarification. Your editor is going to change some things. These could range from little tweaks to mile-high revisions. A good editor will stay in constant communication with you—if you want her to—and will know your comfort level as far as revisions (because you’ve communicated as much to her). She’ll keep you posted. During this time, don’t let anything stew. If you’re unsure of something she’s suggested, speak up! She will not be offended.

• Demand mutual respect. How much you can respect your editor, and how much respect she has for you, should be evident from the very beginning. But if you’ve been working with her for a long time, one or both of you may start to feel too comfortable. A slip in respect from either party can damage the relationship and your work. If she doesn’t listen authentically to your concerns, it may be time to start looking for a new editor.

• Be open. You might have been working on your project for several months or several years and may be reluctant to “kill your darlings.” A good editor knows the market—she knows what sells, what readers demand. She’s seen authors succeed, and authors fail. Leverage her expertise, and be open to the idea that some things in your manuscript may need to change in order for you to be successful.

• Stand your ground. Every writer has a few things they just aren’t willing to compromise for the sake of “what’s hot” in the market, and that’s okay—fantastic, even! While it’s healthy to be open to new ideas for your manuscript, sweeping changes that compromise your artistic integrity should not be taken lightly. Take some time to mull over what your editor is saying. If you come to the conclusion that you aren’t comfortable making one or a few of her suggested changes, then stand your ground. She’s heard “no” before, and she respects you for it.

Are you ready for a professional edit? Are you unsure about how to find an editor, or have questions about the level of editing your manuscript requires? Send me an email and I’d be more than happy to discuss your project with you: michelle@mjbookeditor.com.

I wish you all a healthy and productive 2015. 🙂

Happy Writing!

MJ

I typically encourage skilled authors with engaging, timely stories to seek representation for their novels in order to publish the traditional way. Getting a reputable press to publish your work likely means lower costs for you, larger audiences, and greater earnings from your books. Sometimes, though, traditional publishing just isn’t meant to be and the author must recognize that self-publishing is the most viable route for them. Perhaps the story’s scope is too narrow. Or maybe the writing needs some work because the author is just starting to get their feet wet. This should by no means be seen as a “concession” as self-publishing definitely has its perks – like more creative control and higher royalties. Not to mention the time it takes to publish your work is significantly less.

Are self-published novels worse than those published traditionally? Not always. In fact, sometimes indie authors do a far better job at crafting their novel and marketing it to readers than even some of the most reputable presses. There is a wealth of information for self-published authors on the Internet and in books. Don’t be overwhelmed! Even the most successful self-published authors have had to start somewhere. But where, you ask? I’ve compiled a short list of three things you MUST know before you self-publish your novel. It is by no means all-inclusive, but a great place to start.

1. Take Your Time – Traditional publishing can take several months to more than a year from the time your book is “done” to the time it goes to market. Because of the nature of self-publishing, it doesn’t have to take nearly as long. That doesn’t mean it doesn’t take time. Self-published authors should never upload first drafts of their work. Not second drafts either. Put your novel through the wringer before calling it done: that means three writing drafts at least, two or three rounds of beta reading, and at least one round of professional editing.

What about when the writing is done? Or while it’s being professionally edited? Do your research! Read books from successful self-published authors. Find your target audience. Make friends with other authors and readers. Develop the cover, blurb, and synopsis. Research keywords and how to properly price your novel. Create and polish your author website. Most importantly, spread the word! Start marketing your book and your author brand months prior to hitting “publish.”

2. Spend Money – Enlisting industry professionals can add credibility to your name and separate your book from the thousands of self-published books sloppily put together and uploaded by amateur writers.

You’ll need money for a professional editor (like yours truly), properly formatting your book for e-readers and print-on-demand (if you’re unwilling to learn these things or you don’t have time to), designing the cover for your book, and marketing (again, if you don’t have time to do it yourself). These services can add up to thousands of dollars. So…what if you don’t have thousands of dollars to spend on your book? Be resourceful! Find skilled beta readers (and I stress the word skilled) to exchange editing services with you. Barter with a friend who happens to be a talented digital artist. Extend your network through blogging, social media, interviews, and book tours (virtual or in-person).

Still struggling with high costs? Consider developing a crowdfunding campaign for your book. There are thousands of people willing and anxious to support up-and-coming indie authors. In fact, authors who have sought my editing services have raised over ten thousand dollars through crowdfunding alone! I recommend pubslush.com.

Like all things with self-publishing, it doesn’t just happen. If you’re serious about funding your self-published novel, take your time to create a truly compelling campaign for your book, and TELL EVERYONE.
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3. Practice the Art of Begging – Know that self-published authors have time, money (or both), patience and resilience. They are talented and resourceful writers!

I talk a lot about enlisting, partnering, bartering, finding… I use these words intentionally to tell you that you must be resourceful when finding people to support/buy/download your work. Tell your family and friends about your project. ASK for beta readers and reviewers. Not sure where to find reviewers? Either hire a PR company to develop a marketing campaign for your book, or contact “top reviewers” on Amazon and Barnes & Noble. Trade reviews with fellow authors and run promotions to get more clicks.

In short, a writer who asks (ahem, begs) has a much better shot at “making it” in this new world of self publishing. You won’t get what you don’t ask for, but the opposite is also true. 🙂 

Happy Writing (and Publishing)!

-MJ

“The only way to avoid being miserable is not to have enough leisure to wonder whether you are happy or not.” | George Bernard Shaw

1. Know your market.

Writing is, first and foremost, an art—but when you start talking about “selling” and “distributing” your books (ie: publishing), you must start thinking like a businessperson. Decide who will want to read your work, and market your book accordingly. Is it a romance novel? Mention the love interest in the book blurb. Is it an epic fantasy? Consider the names of the characters and places. Whatever you’re writing, if you want people to read it you must know who your target audience is. Figure out what they want, and don’t disappoint them. I’m not suggesting you forsake the “artistic” aspect of your work, and I definitely don’t believe in abiding by every convention of your genre. What I am suggesting is that there is an audience for everything, even for cookie-cutter novels. If yours veers too far off course, be clear and intentional about where you’re going with it—and who is going to meet you there.

2. Research literary agents.

It’s important to gather enough information about prospective agents before you start asking them to represent you. Think of it like a job interview: what are your skills, and how can you benefit the company? Doesn’t it help to know a little about the company you’re interviewing for, as well? Just like finding an editor, be as thorough as you can. It will save time in the long run for both you AND your representation. The most important thing to find out is: Are they currently accepting queries for books in your genre? If they are, find out what format they want your query letter and what to include in your query. Agents receive far too many queries to willingly spend time on ones that are incomplete or improperly formatted. If you want to be seen and respected as a talented writer—NOT an amateur—you must show up as one!

Not sure who to query? Start by browsing literary agents listed on agentquery.com and querytracker.net, or simply do a Google search for literary agents; you can narrow them down by location, genre, or some other factor specific to you and your work.

3. Write your letter.

The query letter lets agents know you’ve done your research. It tells them who you are, what your book is about, and who your target audience is. It is not only their first impression of YOU, but of your book, and is sometimes even harder to write than the book itself! Spend as much time as you need to craft and polish the perfect query letter for your book.

THE ANATOMY OF A QUERY LETTER

Let’s take a look at this query letter by one of my clients and first-time author of “The Storm” which is currently in contract with a respectable literary agent in New York.

(Click the image for a larger view.)

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4. Track the responses.

Can’t remember who or when you queried, or if/how they responded? It’s important to stay organized, even if just for your own sanity. This is as easy as creating an Excel spreadsheet with columns for the date you submitted your query, the agent’s name, the date of their response, and any follow-up required.

If an agent rejects your query, it is not necessary to reply.

5. Don’t lose heart.

So, let’s be realistic. You are going to send out a TON of query letters and you might not get many responses at all. From the responses you do receive, most of them will be rejections. That’s OK! Any well-respected author today has been rejected by SOMEONE. There could be a number of reasons why an agent might reject your work—the least of all being that it just wasn’t “good enough.” My advice for you is to 1) just keep querying, 2) take a writing class or join a critique group to hone your writing skills, or 3) consider self-publishing your book instead.

If you need more direction or would like individualized help with your query letter, send me an email at michelle@mjbookeditor.com. I would be happy to see how I can help you.

Not sure you want to publish traditionally? Check back here for my next blog, Tips for Self-Published Authors.

Happy Writing!

MJ

“Writing is not like a painting where you add. It is not what you put on the canvas that the reader sees. Writing is more like a sculpture where you remove, you eliminate in order to make the work visible. Even those pages you remove somehow remain.” | Elie Wiesel

A potential client sent me an email this morning, after about a week of emails back and forth, and asked me the best question I’ve been asked so far in my career as a professional editor:

What do you love about editing? 

My reaction was something like: Yes! Finally! While I’m usually the one to ask my clients, What do you love about writing?, I was so excited to be on the receiving end of a similar question. I then returned with a (likely) too-long response, but he could not have been more appreciative. Why? Because we had just found a common denominator: we have a passion for our craft. Since we’re about to be working together for the next six to eight weeks, I couldn’t ask for a better start to our working relationship.

Before he asked me this question though, we had to take care of the basics first. When would I be available? How long would it take? How much would it cost? Could I help him with his query letter, too? These are great questions to ask your editor, but don’t stop there. Here are three important follow-up questions you should ask before signing on with any editor:

How can you help me?

No two projects are the same. You have your own style, your own “voice”. Your writing is unique, and your story fits into its genre in a way no other story has – or will. You may need help with a query letter and finding an agent, or you may be more interested in self-publishing. You might expect your editor to know about KDP and CreateSpace and Smashwords, or not. Ask your editor to read some of your work first, and tell her about your specific publishing and/or marketing goals. How many books has she edited in your genre, and does she enjoy it? Can she still help you? HOW?

What are your credentials?

Ask about her education and experience. How long has she been in business for, and who has she worked with? Ask for references or testimonials from her previous clients. Remember that it goes beyond what she looks like on “paper” though; when a good editor isn’t editing, she’s learning how to do it better. Ask her what she does as far as continued education. What books does she read? You can also test her skills by asking for a sample edit or requesting she pass a proofreading test, which are easily accessible online.

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And my new favorite: What do you love about editing?

In case you’re wondering, here’s a snippet of how I responded to that one: 

“While I consider myself as having a ‘natural’ desire to help others, I didn’t realize I could have such an enormous impact on other writers until I became a member of peer critiquing groups. For years I was proofreading for my friends and suggesting big story-level changes for their writing, and they started taking my advice! When some of those friends actually published their books – successfully! – I knew I’d found my niche. I stopped critiquing for ‘free’ and officially became a freelancer. The best part is: some of those friends are now coming back to me, on their second or third or fourth books, and hiring me to provide the same service I had offered for free the first time. Pretty cool, huh?”

In addition to asking the right questions, pay attention to the questions your editor asks you as well. Building a solid foundation is key to any working relationship, but especially between authors and editors. Look for an editor who is collaborative and responsive, and remember to set clear expectations – or to ask for hers. Open communication is hugely important, and it starts with the interview.

If and when you are ready to start shopping around for an editor, I’d love to hear from you. Just send an email to michelle@mjbookeditor.com, and ask away! I’m an open “book”. 🙂

And now, I leave you with this:

“The purpose of life is not to be happy. It is to be useful, to be honorable, to be compassionate, to have it make some difference that you have lived and lived well.” | Ralph Waldo Emerson

At the risk of re-hashing some of the same information from my earlier blogs, I thought it would be helpful to answer a few of the most common questions I get asked as a fiction book editor. Here’s a quick “FAQ” for your easy reference. If you find this list helpful or you have additional questions, leave a comment or send me an email. I’m always happy to help!

• How much will it cost to edit my book?

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There are a number of factors that affect the cost of a manuscript edit, including the length of the manuscript, the quality and style of writing, the formatting of the text, and the amount of structural (developmental) work that is needed. Standard industry rates range from $35 per hour to $100 per hour. Check out the pricing schedule put forth by the Editorial Freelancers Association, or visit the “Services” page of my website for more detailed information.

Always request a sample edit to ensure an accurate quote from your prospective editor.

• How long will it take to have my book edited?

Like cost, the length of time to complete a thorough edit may vary as well, and for many of the same reasons that cost varies – quality, length, etc. Efficient, deadline-driven editors may take one week to one month to edit your novel.

It’s important to start shopping for editors as early as possible, as sought-after fiction editors may be booked weeks or even months ahead of time. 

• Where can I find a fiction book editor?

There are countless ways to find a professional editor, from freelance websites like oDesk and Elance, to author recommendations, or even a quick Google search. Be sure to do your research and have more than one prospective editor lined up to “interview”. What are their qualifications? Do they have samples of their recent work? What about testimonials from their clients?

Ask every prospective editor about their work history, and what they can do for your manuscript.

• Do I have to accept changes from an editor?

It’s a good idea to take all edits and suggestions from your book editor very seriously before deciding to decline their edits, but in the end it’s up to you. Many editors use Tracking Changes in MS Word to keep track of edits, making it easy for you to see what they’ve changed and to decide which edits you’d like to accept or decline. There’s also an “Accept All” option.

A good book editor is a collaborative consultant, helping you transform your novel into something that’s ready for publication – always with your permission, of course.

• Can an editor ensure my book will be published?

Now more than ever, publishing companies want to keep their cost low. If your book is selected for publication, your publisher will put it through the editorial process before they put their name on it. If your manuscript needs substantial developmental edits, they may not be willing to take on the task – or foot the bill.

Submitting a professionally edited manuscript will set your book apart from the countless unedited, unsolicited manuscripts a publishing company receives, greatly increasing your chances of publication.

What other questions do you have? How can I help you? Leave me a comment or send an email to michelle@mjbookeditor.com. I’m happy to discuss your particular project in more detail with you. You can also view my previous blogs for other related information.

Happy writing!

-MJ

“Books aren’t written – they’re rewritten. Including your own. It is one of the hardest things to accept, especially after the seventh rewrite hasn’t quite done it.” | Michael Crichton

Actual prices for professional editing services found on the Internet and fair, industry-standard prices may vary wildly. If you’ve been shopping around for an editor lately, you might be feeling a little bit lost—and justifiably so. One editor may offer her services for just fifty bucks to edit your entire manuscript, while another editor’s prices could be as high as ten to twenty thousand dollars!

Okay, let’s take a step back from these seemingly nonsensical—and often arbitrary—numbers and break it down in simple terms. How much editing do you need, and what’s a fair price to pay for it? While there are dozens of editing methods and dozens more author requests, I’ll focus here on the three main objectives of a professional book editor.

Manuscript evaluation – an evaluation, or “critique”, of the entire manuscript. The editor’s objective is to thoroughly read through the story and offer specific feedback relating to the story’s content, flow, syntax, characters, and overall marketability. She may even offer ideas for improvement. The evaluation is often returned to the author in the form of a feedback letter with suggestions for moving forward.

Developmental editing – also called “content editing” or “heavy editing”, developmental editing focuses on things like structure, plot, and character development. You know the story you want to tell; a good developmental editor will show you how to tell it well. What developmental editing does not focus on is grammar, spelling, and punctuation.

Copy editing – for the final edit, copy editors proofread the entire manuscript to correct grammar and spelling, check for factual consistency, and fix any formatting issues. Their attention is on the Five Cs: Is the manuscript clear, correct, concise, comprehensible, and consistent? In short, the copy edit is the final polish of your manuscript.

The Editorial Freelancers Association (EFA) is the undisputed leader in evaluating the market and determining fair, industry-standard prices for professional editing services. You can find the EFA’s estimated costs for a manuscript evaluation, developmental editing and copy editing, in the chart below. Note that 1 ms page is equal to 250 words.

(Click on the chart for a larger view.)

 
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Remember that prices may be lower or higher depending on the editor’s skill and experience.  Basic supply and demand may also affect the cost of professional editing services.

So what does this mean for you and your manuscript? I’d love to discuss the specific details with you, including the length of your manuscript, your publishing goals, and the level of editing your story requires. I’m always happy to offer a sample critique or edit of your manuscript as well, so we can “try” each other out and determine how to proceed.

Feel free to email me at michelle@mjbookeditor.com for any questions or further discussion.

Happy writing!

-MJ

“The writer must believe that what he is doing is the most important thing in the world. And he must hold to this illusion even when he knows it is not true.” | John Steinbeck

Critiques are mostly honest (and typically free) overall impressions of a manuscript. The process of exchanging peer critiques has been instrumental to my growth as a writer, and many successful authors and editors would argue the same. But while the benefits of critiquing—and peer critiquing especially—are endless, they are not the end. If you think you don’t need an editor because you’ve already had your story critiqued, think again.

Here are some of the differences between a professional edit and a critique, and why your story needs both.

Critiques identify potential problems.
A professional editor fixes problems.

Before submitting a manuscript to a professional editor, many writers choose to have their story peer-critiqued (or beta-read) first. Betas are responsible for reading through sections of a manuscript or the entire work, and identifying potential problems. They offer reader reactions throughout, perhaps an overall evaluation at the end. They point out things that confuse them, or scenes they find unnecessary. They may suggest the author expand certain areas or add extra layers to a character or sub-plot.

An editor will also point out issues that may remain after the manuscript has been critiqued, but as a knowledgeable professional in her field, she has the insights and ability to help fix those problems. The author is not left with what to do, but suggestions of how to do it. Depending on the type of edit, the editor may even make the changes herself – with the author’s permission, of course.

Critiques address the big picture.
Editors see the whole and focus on the details.

As stated above, critiquers and beta readers aren’t typically looking at the details of a manuscript; their responsibility is to point out what works and what doesn’t, while giving an overall impression of the story. This kind of feedback is invaluable, but ensuring the happiness of your beta readers does not guarantee your novel’s marketability or likability with readers outside of your sphere.

Editors see the whole of the text, then key-in on the small details, checking their alignment with the novel as a whole, a single unit. After ensuring the novel is compelling and consistent and error-free, editors may then help with your synopsis, marketing, querying, and even publishing your manuscript.

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Critiquers are amateurs – mostly.
Editors are professionals – mostly.

Writers seeking feedback on their manuscript may turn to a number of people, typically other writers seeking feedback in return, friends and family who care about the writer’s project, or readers who just love to read. In most cases, these critiquers are amateurs. While they can certainly offer feedback based on their preferences, they probably don’t have enough exposure to the publishing industry to polish your manuscript as effectively as a professional.

Whether they work for a Big 5 publishing house or individual self-published authors, professional editors have their hands in the publishing industry on a daily basis. Each editor may work on four to six manuscripts in a month; they may be presented with a dozen more, and they see what sells and what doesn’t. They keep a pulse on the market, the trends, what readers are asking for, in order to better serve their clients. Professionals won’t tell you what they think; they’ll tell you what they know.

Finding the right individuals to critique and edit your manuscript can be a daunting task. What questions do you have about the process? Maybe you need help finding beta readers, or your manuscript is ready for a professional edit. Send an email to michelle@mjbookeditor.com, and I’ll be happy to help you.

Happy writing!

-MJ

“The most original of authors are not so because they advance what is new, but more because they know how to say something, as if it had never been said before.” | Johann Wolfgang Von Goethe

Next week’s blog: How much should you pay for a book editor?

Last week I talked about what you should look for in a fiction book editor once you’ve finished your manuscript and are ready to shop around. There’s another side to that though. Preparing yourself to work with an editor takes time and consideration. And the more prepared you are, the more time you’ll save right off the bat—not to mention money!—and the more efficient both you and your editor will be once you start working together.

Here are some things a good book editor may (should!) expect from you, the author:

1. Have your first draft completed.

I can’t stress this point enough. Remember King’s advice? Write the first draft with the door closed; rewrite with the door open. That door should be kept closed, not just to separate your first-draft work from the eyes (and opinions!) of your friends and family, but from professionals as well. For your own peace of mind, and to make sure the first draft gets finished at all, wait until it’s done before asking for advice—anyone’s advice.

Having your first draft completed is also the first display of respect you can show to your editor. Upon submitting it to an editor, your manuscript should be reflective of your highest ability, your strongest effort, to save both your time and hers. Completing the manuscript is also the surest way to maintain the “organicness” of your project. The more your editor has to alter or add, the more your work becomes a reflection of her style, not yours.

2. Be open-minded.

If she’s any good, the book editor you choose may have some pretty good ideas for your manuscript. She may also challenge you at times. Maybe your main character’s motivation doesn’t quite “work” or the genre and style do not sing well together. Maybe the narrator’s voice has a tendency to shift from scene to scene, or perhaps the structure of the story needs some tweaking.

Maybe the central conflict is, I hate to say it…boring.

Your editor should criticize gently, with enough knowledge of the craft and the industry to offer sound advice. Stay true to your story, but be open-minded to new ideas, and be ready for your editor’s criticism. Yes, your manuscript should be the product of your best work when you submit it; no, that doesn’t mean it’s perfect.

An open dialogue with your editor, and a mutual respect for one another, is absolutely vital if you’re going to work well together. Pay attention to how she communicates with you in the very beginning, and listen to your gut. Is she someone who’s opinion you can trust?

3. Prepare to rewrite.
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So you finished your first draft. Congratulations, your job is done!

Well…not quite.

After your editor returns to you with all that lovely criticism we talked about, it’s your turn to work again. Your manuscript may be ready to publish with just some minor tweaking here and there, or it may be in need of a complete overhaul. Be prepared to be just getting started.

At a lecture this week, Marcus Zusak discussed his most recent novel, The Book Thief, which was his fourth work and a huge success—to say the least. But even for an experienced, successful, full-time author, it took him several drafts and over three years to finish the manuscript. When asked if he had any advice for new authors, Zusak said, simply, “Don’t be too hard on yourself.”

Writing a book takes an enormous amount of time and effort, but whether your book becomes a bestseller or just a favorite among your friends, I think we can all agree: In the end, it’s totally worth it.

Unsure about whether you’re ready for an editor or not? Send me a message at michelle@mjbookeditor.com, and I’d be happy to have a conversation.

Happy writing!

MJ

“Courage is grace under pressure.” | Ernest Hemingway