Working With an Editor – part 1

In the past I have had many readers critique my children’s book manuscript.  Most of these have been fellow writers — either chapter-by-chapter in a critique group or as a whole by beta readers or critique partners.  Sprinkled in there were a handful of professional critiques won in contests, on just my query or the first few pages of my manuscript.

The difference between professional critiques and those by fellow writers sharing the trenches with you are important.  Fellow writers in groups or with whom you swap chapters or manuscripts are often motivated by the promise of receiving a critique in return.  The natural state of most writers is to want to receive feedback on their own writing rather than give feedback on someone else’s.  For most writers, giving feedback is the cost you pay to get feedback. Which means that most of the feedback you get from fellow writers could be tainted by the expectation of something in return.

Not so with an editor you pay.  An editor already knows they’re going to get paid before they begin reading.  They don’t have to impress you with how much they like your book to get something.  Editors don’t have an agenda. They’re professionals doing a job.

Also, finding a fellow writer who is willing to read and give detailed feedback on your entire manuscript is hard. Which means you’re often forced to settle for whoever offers. Which means you get a lot of readers who don’t really know your genre or your audience. If they don’t read books similar to yours, they’re not going to recognize the common tropes or get the jokes.  They won’t know when you’ve broken the standard conventions of the genre, or strayed too close to something already written.

Professional editors, however, are different.  They make their living by understanding the market.  In some cases, they specialize, in which case they know even more about the genres they represent.  Also, depending on the editor, you can pay for specific types of editorial services.  Typically, these include Proofreading, Copy Editing, and Developmental Editing.

• PROOFREADING looks for formatting, spelling, and grammar issues, as well as typos and missing words, but does not usually focus on the big picture.
• COPY EDITING focuses on awkward sentences, rough transitions, repetition and clarity.  Sometimes this type of editing will include fact-checking and overall consistency.
• DEVELOPMENTAL EDITING includes overall feedback on plot, structure, character, pacing, dialogue, world-building and writing style, in an overall critique letter.  This type of editing will not catch typos or grammar mistakes.

Some editors may offer all of these or individual packages.  Which means that prices will vary.  Read the fine print.  There are editors for pretty much every price range.  I’ve gotten quotes from under $200 to close to $2,000.  With more expensive editors you usually get more of a commitment — more back-and-forth, multiple passes, all levels of editing. A relationship.  With the least expensive editors, you get a single pass, one type of editing.

As with any service you pay for, do your research.  Ask questions.  Look for testimonials (or complaints). Stalk them on Twitter. If they freelance, find out what their day job is.  Their level of experience.  If they are worth their salt, they will take a cursory look at your manuscript and consult with you before charging you a dime; tell if they are a good fit.

I did all of these things when I hired my editor.  Next week I’ll discuss the reasons I chose the editor I chose and how the consultation went.

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