So you've written a manuscript and done some revisions. You're happy with where it's at, but you know there is still work to be done before it's publication ready. This is where an editor comes in.
Finding an editor can be a nerve-wracking process. There are a lot of options out there and it can be hard to figure out which one is right for you. Here are some tips to help you find your perfect editing match.
1. Find your genre match
Start your editor search by identifying the genre of your manuscript and narrowing your search to editors who specialize in that genre. If your genre is a hybrid, (e.g. mystery thriller or fantasy romance) look for editors who specialize in the genre that you feel is the backbone of the narrative. You can also look for an editor who specializes in your hybrid genre. It's not uncommon, for example, to find a fantasy editor who has a particular interest in YA romantic fantasy. In most cases, an editor who specializes in the primary genre will do a good job, even if there are aspects of other genres in the narrative.
Note: While a genre match with your work and your editor is always good, it is less important at the copy editing and proofreading stages than at the developmental stage.
2. Decide what kind of editing you need
Types of editing fall into two broad categories: structural and copy editing. If you're struggling with the narrative, you'll want a developmental/structural editor. If you need help with sentence structure, spelling and grammar, you'll want a copy editor.
Note: If you are looking for a copy editor, you'll need to specify the type of English you're working in (Canadian, American, British). It is important to work with an editor who is familiar with the spelling and grammar conventions you are working with.
3. Search for an editor
Once you have your genre and type of editing needed, it's time to start looking for editors. This can be done through a Google search, but I recommend starting with editor directories from editing organizations.
If you would like editors to come to you, most of these organizations have a job board where you can post for an editor's services. There is also the option of joining Facebook groups that are geared towards authors looking for editors. Most of these have a blend of authors posting projects for editing and editors posting when they have openings in their schedule.
Information to have on hand
Any editor you reach out to (or who reaches out to you) will need the following information:
Manuscript genre
Word count (page count can vary depending on the formatting, so this is the most accurate way to count the length of your manuscript.
Type of editing required: evaluation, structural edit, line edit, copy edit, proofread.
If you're not sure, ask.
Publication plans: traditional or self-published.
Other people who've worked on the manuscript (specific names are not required).
This includes beta readers, writing groups, other editors
If you are looking for a stylistic or copy edit, has the manuscript already been evaluated or structurally edited?
Deadline(s) (if applicable)
A style sheet (if you have one). This is particularly important if the manuscript is part of a series and not Book 1.
You'll only need to send this to the editor if you hire them, but knowing if there is one or not will likely affect the estimate.
Budget (if applicable)
What to Expect When Reaching Out to An Editor
Different editors have different ways of running their businesses. Some use intake forms or online booking software. Others make arrangements over email. A few will ask for phone/Zoom calls. All are valid ways of managing and booking clients, but just as not every method works for every editor, not every method will work for every author. Expect some back and forth when you first reach out. Get a sense of who the editor is and how they communicate. Do you feel comfortable with the way they conduct their business? Do you find it easy to understand their explanations? Do they seem to understand your work and what you're trying to achieve with your manuscript?
It is important that you feel comfortable with the editor you choose. Listen to your gut. Reach out to several editors at one. Editors are expecting this. Ask questions. How each editor responds to you will help you determine if they're a good fit for you. It is a good idea to ask for a sample edit. This can help you get a sense of how the editor works and lets the editor get a sense of what the manuscript needs.
Budget
I recommend reaching out with the details of the edit you are looking for and asking for an estimate instead of stating a budget upfront, even if you have a number you'd like to stick to. This will give you a sense of what the work you need will cost. The EFA has a great overview of rates for a professional edit (in USD). This can help you to set a realistic budget.
Note: Freelance editors are self-employed and many are required to charge tax based on the laws where they are located. Most editors will mention applicable taxes in their estimates, but if they don't assume tax will be in addition to what they quote.
Scope of the edit
This is the specifics of the work you want the editor to do. If budget is a concern, this is the place to negotiate. While editors are unlikely to lower their rates to fit an author's budget, they might be able to provide a less intensive edit. For example, if you are looking for a big-picture edit on a tight budget, a manuscript evaluation is usually cheaper than a structural edit.
The scope of the edit necessary is dependent on several factors including:
How solid the story structure is
How clean the manuscript is
What draft the manuscript is
The experience of the author
If the manuscript has been previously edited
Intentions for the manuscript (self-published/traditional publication)
If you are unsure of the scope of the edit required, ask the editor to assess your manuscript. They'll be able to give you an idea of what is needed.
Timeline
If there is a firm timeline for your manuscript, state this in your initial email. This will save time for you and the editor if their schedule doesn't align with yours. Keep in mind that it is not uncommon for editors to be booked months in advance, so reaching out early increases your chances of booking the editor you want.
Sample edits
Sample edits are a great way for the author and editor to get a sense if they are a good fit. Never be afraid to ask for one. Some editors charge a small fee for a sample edit and some editors offer them for free. Sample edits are usually between 500 and 1500 words. This is decided by the editor. Expect to send the editor your full manuscript for the sample edit. They will want to assess the full work and find a portion that is representative of what they can do for you.
A common question from authors is how is their work protected if they send it for a sample edit. The answer is simple. Copyright kicks in as soon as a narrative is on the page; there is no need to register it. This means that even unpublished, your work is protected by law. In addition, there is no value in an editor "stealing" your work. It is unpublished and therefore untested in the marketplace. Its primary value at this stage is to its author, not others.
Contracts
Most editors will require something in writing to book an edit. This could be a formal contract or something more informal through email or a registration form. Always have something in writing before starting an edit. Not only does this protect both parties legally, it also makes sure that author and editor are on the same page and understand what is required of each of them.
While contracts can become quite complex and will vary based on the type of work being done, they should include the following at a minimum:
Names of the author(s) and editor(s)
Addresses of both parties (for tax purposes)
Title(s) of works to be edited
Word count
Scope of the edit
Timeline for the edit
Cost of the edit (including any deposits, cancellation fees, details for any bonuses or refunds)
The contract should include the upper range for the cost of the edit and steps the editor will take if it looks like the edit will end up costing more than estimated
Payment instructions (including deadlines, method and penalties for late payment)
Cancellation parameters
Deposits
Most editors will require a deposit to book an edit, especially for book-length manuscripts. Deposits range from 10% to 100% of the projected edit cost and are usually non-refundable.
Payment plans
Not all editors offer payment plans, but this can be a way for authors to spread out the cost of a major edit. Most editors who do offer payment plans will require monthly payments. These usually do not include the deposit, which is often non-negotiable.
Note: Payment plans must be worked out before the edit starts and written into the contract.
Guidelines for Communicating with an Editor
Respect an editor's work hours or response deadlines. If they say they work 9 - 5 on weekdays or will take 2 - 3 business days to respond, give them that time before following up.
Querying multiple editors at a time is ok.
Ask questions. If you are unclear about something, ask for clarification.
If you have been communicating with an editor and decide to hire someone else, let them know, especially if they have already sent you an estimate or done a sample edit. This lets the editor know that they can move on to other queries or work. It also keeps the door open to work with that editor in the future. Even if you have chosen a different editor for your current project, you might need someone else in the future.
Respect any deadlines that the editor sets out for submitting manuscripts/drafts. Missing these can affect the editor's ability to complete the edit on time.
Keep lines of communication open. If something comes up and you can meet the manuscript submission deadline, let the editor know. If you will be unable to make you payment deadline, let the editor know ASAP. Life happens and most editors understand this. There is a much better chance of the editor being understanding and working with you on accommodations if you give them notice. These can be awkward conversations, but avoiding them can make things worse.
Once the edit is returned to you, take some time to digest it before you reach out to the editor for questions. The feedback and markup can be overwhelming and responding immediately and emotionally isn't beneficial. Asking clear, rational questions will get the best response and provide you with the best feedback to improve your manuscript.
Remember that edits are suggestions. While some are less so than others (a sentence really should end with terminal punctuation) ultimately, it's your name on the cover. Especially at the developmental stage, take what feedback works for and toss the rest. But keep in mind that the editor is as interested as you in making the manuscript the best it can be. They will have put a lot of work into the edit, so give all their suggestions careful consideration. Make sure you have a good reason for anything you reject.
While crediting your editor in the acknowledgements is a nice gesture, it is not necessary. In some cases, an editor may ask to not be credited. Respect this decision.
Testimonials and referrals are incredibly beneficial to editorial businesses. If you are happy with an editor's work, offer to write a testimonial they can use on their website or post one on their LinkedIn page. Ask if they can link the testimonial to your website, book page or social media. If you know other authors who you think would be a good fit to work with the editor, pass along the contact or make an introduction. That said, don't feel pressured to provide a testimonial. You can always politely decline.
Things to Watch Out For
Most people who are advertising their editing services are going to do a good job with your manuscript. A big part of the choosing will come down to finding an editor who can meet your timelines, budget and who you feel comfortable with.
That said, editing is an unregulated profession and as a result, some "editors" are looking to make a quick buck taking advantage of authors. Here are some guidelines for determining if the editor you're reaching out to is a professional.
Green light
The following are signs that an editor is a legitimate professional who will do good work for you.
They are a member of a professional editing organization
If you found them through an editing organization directory or job board, you can assume they are a member
Their website/social media have testimonials from authors who have worked with them
Bonus points if these testimonials are linked to the website/social media of the person who gave them
They have completed an editing program at a reputable college or university
This also includes editing programs/seminars through professional editing organizations
They have been certified as an editor
They are active in author/editing groups, provide helpful information to questions posed and contribute meaningfully to the discussions
They have a blog/newsletter that you find helpful
Note: The number of the above criteria that an editor fulfills is not a reflection of the quality of the editor. It is simply the result of different ways of running an editing business.
Proceed with caution
If the following are true, it doesn't mean that the editor isn't good at what they do and that you shouldn't hire them if they feel like a good fit. But it's worth asking some extra questions.
Prices are significantly lower than other editors for the same work
This could be because they are a newer editor building their portfolio, they don't rely on editing as their main income, they need the work or they live somewhere where the cost of living is low. All are legitimate reasons for a good editor to charge below market rates.
No contract is offered
No deposit is required
They don't ask any clarifying questions
If you've provided the Information to have on hand, clarifying questions might be unnecessary
They offer to do a big picture edit at the same time as a copy edit
This is not the same as a single editor doing the big picture edit, returning it to the author for revisions and then doing a copy edit
They refuse to do a sample edit
Some editors who don't do sample edits because they are booked and don't have time to do so
Red flags
If the following are true, you can cross the editor off your list.
They advertise unrealistic turnaround times. The EFA provides a rough guideline for how long various edits take.
This is not the same as an author asking for a tight turnaround and the editor agreeing to it.
They appear on the Writers Beware List
They avoid answering questions you ask or their answers show a lack of respect
They make big promises
This includes guaranteeing traditional publication or a best seller. No one can promise this, not even a publisher. This also includes a promise of finding 100% of errors.
They contact you out of the blue offering their services
Their emails/website/blog have lots of spelling and grammatical errors
Feels like a red flag, but isn't
The following can feel like red flags but are simply a sign of the way the editor runs their business. Most of these are an editor's way of setting boundaries in their work.
Charging for a sample edit
This is something that takes time out of an editor's day and their ability to do paid work. They have every right to charge for it.
Refusal to do phone/Zoom calls or in-person meetings
Setting a limit on the number of followup questions
Summary
Hiring an editor is kind of like dating. Ask questions, get to know them, their style and how they communicate. Trust your gut. If something feels off, then look for someone else. You want an editor who is excited about your work, who sees its potential but provides good feed back on what needs to be done to realize that potential.
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