Finding the Right Editor

Within my various writing groups (mainly online), it's not surprising that I encounter a variety of interactions about finding an editor. While some know that I'm an editor too and not just a writer, when I take part in these conversations, it is only to pass on my knowledge and experience about the things that writers should ask when seeking to hire a freelance editor.

The questions below are general. You might not need to ask every question, but getting the answers before you work with an editor will help to go a long way in forging a healthy working relationship with your editor.

In fact, these questions can apply to any freelancer that you might hire to be part of your team, be they a cover designer, book formatter, publicist, and, to a lesser extent, an agent. (Yes, an agent is technically a freelancer too.)

Within this post, when possible, I have also included my answers (as the editor).

Your Roles in Your Writing Business

No matter how you look at it, if you are heading down the road towards publication, then you are running a writing business. Most of us don't start out thinking of it that way. We just want to write. But with publication comes money, taxes, marketing, and sometimes hiring others.

I have written on this topic before, highlighting how this whole running-a-business thing tends to just creep up on us. But for today's post, instead of focusing on how we are all little business owners, I want to delve into the different hats that we all need to wear.

Editing Costs and Expectations: Insider’s View of My Editing Process

It would appear that yet again I have found myself in a situation where a client might have had different expectations regarding the cost of editing. It was actually a disconnect between what I was contracted to do (and my editing process) vs what they thought I should be doing. However, regardless how you look at it, everything comes down to the cost and value of the editor's time.

I see it time and time again. There is this expectation for the editor to do more work than they have time allotted for and to be paid the same amount of money for that "more" work. This results in a devaluing of the editor's time. Believe it or not, this is the Number 1 gripe among editors.

We want to be of value to our clients, but we also have to make a wage that will actually pay the bills. So, many editors will develop practices that assist them to get through the workload faster.

Today, I want to discuss what my editorial process is like—how I do things.

My process is based on over five years of experience of working as a developmental editor. It is about ensuring that I provide the best value for money while at the same time keeping the number of hours required to do the job to a minimum.

Please note that every editor is different, so my process is not necessarily the same process as another editor.

The Stages of Editing

When I tell people that I'm a freelance editor, it's quite common for people to assume that I spend my days just looking at spelling, punctuation, and grammar. I don't get this reaction from just the general public either. Many writers, especially new writers, also make this assumption. However, editing is so much more.

Editing falls into three main categories:

developmental, which encompasses the rewriting process and critiques;
copyediting, with the line-edits and of course famous punctuation-and-grammar concept;
and proofreading, which occurs after a manuscript is typeset for publication, looking for any errors that were either missed or introduced during the typesetting process.

Each stage is necessary for the production of a publishable book.

The initial drafting of a story is a solitary practice. However, during the different editing phases, it's vital for every writer to seek out those extra sets of eyes to provide objective input. The who and the when will depend entirely on what stage your manuscript is at.

The stages of editing are the same for both traditional and self-publication, it's just the players that may change.

Writing relies on a reader’s knowledge

If you read through various blogs about writing, there is a common theme: Don't treat your readers like they're idiots. This is 100% true, because your readers will have experiences and knowledge that they bring with them, interpreting your stories with that eye. But are you taking full advantage of that preexisting knowledge?

The acclaimed science fiction writer Ray Bradbury wrote many novels and short stories that were printed in the 1950s and 1960s. His readers had survived World War II, bringing with them the knowledge and experiences they had from during the war, including the colloquial terms. Readers of today can still enjoy his stories, but there will be elements we will miss because the subtext is meaningless without the World War II experience.

Today's readers of 2001: A Space Odyssey laugh at how far off-base the predictions regarding space travel and artificial intelligence were. But it was written in 1968, one year before Neil Armstrong and Buzz Aldrin landed on the moon. Had the space program continued at the rate it was back in the late 1960s, not stopping at the moon, then we would likely already have a colony on Mars today, changing some of the meaning of that book and movie.

While we are hopefully crafting our stories in such a way that they are timeless, there will always be a partial reliance on preexisting knowledge to understand some subtext. It's time to look at how much hidden subtext is buried within your own writing based on the experiences and preexisting knowledge of your current readers.

Sample edits are at the editor’s discretion

A few months back, I was approached by a writer to do a developmental edit, which isn't anything out of the ordinary. I am a developmental editor, after all. But there was something in that initial communication that really didn't sit well with me.

I've written about this before, how those initial communications with a writer will tell me what type of client you're likely to be. And this one…

The email dripped with entitlement and superiority, making me question whether this particular writer was even ready to hear criticism about their writing.

It was a random email that seemed to have come out of nowhere with a file attached (an OpenOffice file, no less). There was zero information about the manuscript—no genre, no word counts, no synopsis, no summary. Just negative commentary, saying that they were unable to find my prices on my website for developmental editing (which is odd, because I know for certain that they are there—and in an easy-to-find location too). But there were also the following lines in the email.

"After I receive my sample back, I will wait for a week until I'll let you know if I'm interested or not.

Thank you for your time, and I wish you best of luck!"

So… Zero information about the project and this underlining demand for a sample edit. To top it off, there's the attitude that suggested a person who thinks editors are just waiting around for clients to give them the privilege to edit the writer's work.

Did I mention how those initial communications can tell an editor about the type of client you're likely to be?

Had this particular writer approached things just a little differently, they would have likely gotten more than just my boiler-plate quote and the comment that I don't offer free sample edits.

There are soooo many things wrong with this particular opening communication, the most important of which is the assumption that all editors will provide a free sample edit when a client demands such.

But sample edits are at the editor's discretion. And of those editors who do offer free sample edits, not all of them will edit any old sample you send them.

It's time to get down to the realities of sample edits.

“Am I wasting my time writing?” the client asked.

Some time ago, a prospective client reached out to me regarding their manuscript that they were still writing; they were approximately a quarter of the way through the first draft. They were seeking quotes for editing (which is hard to give without having a full manuscript to consider), but more specifically, they wanted to know if I thought their story would be good enough to get published. (They actually asked this in their initial contact email.)

Let's ignore the fact that the story wasn't written yet, because any story that isn't written can't be published. I knew what the writer was asking. They wanted to know if I thought their writing style was good enough to be published.

That particular question is incredibly difficult to answer, because there are so many factors involved—and many of those factors are subjective.

So, I evaded the specific question (yes, evaded), and carried on like I do with any other prospective client under normal circumstances. I gave my thoughts about what I saw in the writing sample and proposed a path forward.

For this writer, I suggested that they just write. I would be more than happy to work with them on any story that they wrote (I liked their natural writing voice), but unless they wanted mentoring or coaching, there wasn't much I could do to help them until they had a finished manuscript. I suggested they finish their manuscript, get some feedback from other writers and edit their story to the best of their ability, then come back to me for a manuscript assessment. It was the most cost effective option for them.

But they really wanted the answer to their question, and their persistent email trail would not let it rest. "Do I have enough to make the grade and get this [story] published or am I wasting my time?"

As a writer myself, I understand the motivation behind such a question. We spend so much time pouring our heart and soul into our writing, and we want to know if we have a shot at breaking into this business with the manuscript that we're working on.

But for the first time, I had to push back and challenge a prospective client about their motivations for writing.

Blogging is an SEO game

Once upon a time, when the internet was new, writers from around the world took advantage of this new platform to get their writing out there. Bloggers were born, each of them with their own opinions about the way the world works.

If you were a frequent blogger back in the day (and we're talking in the order of 20 to 30 years ago now), you could amass a decent size following within a matter of months, just like any newspaper columnist could. They had the right angle, they were using the right distribution channels, and they hit the new technology medium at the right time. However, today, the internet is a completely different beast.

Gone are the days of having a fresh take that would capture the imagination right from the starting gate. Today, bloggers are competing against others with the same views (or opposing views), trying to be heard in the sea of noise. For bloggers just starting out today, your audience consists of you and you alone. For some bloggers, even their mothers won't read their blogs.

So, why do content marketers keep pushing this idea that writers need to have blogs? Well, it has to do with the impact that blogging can have on SEO rankings.

Let me explain.

Editing software can never replace an editor

Editing software will never replace the trained eye of an editor.

I'm an editor, so of course I'm going to say that. But I'm not saying it because I want to keep my job. Sure, there is a desire to always have money coming in, but it's more than that. I make this statement because I honestly believe it—as a writer.

When talking about editing software, I'm talking about the different apps like Grammarly, ProWritingAid, Hemingway, AutoCrit, and one I recently discovered, Fictionary.

I will be the first to admit that these programs have their uses. For a writer who is floundering in the dark, they might add a little direction. But for the writer who really doesn't know their craft, these programs can do more harm than good.

For any writer wanting to learn their craft and take their writing to the next level, nothing will replace the eye of another human being.

It's time to talk about all those automated programs that are floating around and point out the flaws—and why they can't replace a human editor.

The Camera of Point of View

It's not surprising that a conversation about writing eventually turns to a conversation about point-of-view (POV). Exactly how the narrative shapes the perspective of the story will have a direct impact on the reader's experience.

The POV is not just about understanding which character will act as the narrator. Yes, that's part of it, but the POV also has a depth of perception that defines how much the reader knows about what is going on.

Classifying the POV isn't as straightforward as saying that a passage uses first, second, or third person. It's much more than that.

Today, let's look at an overview of the different narrative POVs that you might find within fiction, include a few examples, and possibly provide some insights into what effect the different POVs might have.