Tag Archives: content editing

On Editors: Find the Best Before You Invest

How do you find the right editor and what’s a fair cost?

greatbooksEditors have different systems of working and what they charge. Cost varies depending on their experience, the type of work needed and other factors. 

As an editor, the most difficult part for me is striking a balance between giving writers what they want and determining what they actually need. 

The Editorial Freelancers Association (the-EFA.org) provides a helpful approximate rate sheet of the range of fees for types of editing:

Heavy copyediting                       2-5 pgs/hr       $40-50/hr

Developmental/content editing    1-5 pgs/hr       $45-55/hr

So for a 300-page book (75,000 words), heavy editing is $3700 average, while developmental editing–what I do–is $5000 average.

Some editors will try to do both types of editing at once, but this is unprofessional and produces shoddy results. Many editors will provide whatever service you ask for, even if you need more extensive help, which obviously cripples your book in the marketplace. Self-publishers are notorious for this kind of cursory “editing.”

Can a new author’s book compete in today’s market? If it has any chance, it needs the careful insight and refinement professional editing provides, especially developmental editing. Such in-depth development is simply required to ensure it can reach a wide audience.

So while most new writers want basic editing, they actually need developmental editing or coaching. Obviously, such work is expensive. 

Many authors can’t imagine paying $5000 or more to ensure their book can compete. Is it worth that expense? It depends. Everyone has a story–but will you be patient and invest more and work harder than your competition?

That’s the all-important question. And I’ll only work with authors who understand that.

So when hiring an editor, first consider the experience and time he or she puts in, and consider what traditional, royalty-paying publishers put into editing their books (more on that here: The Cost of a Good Book by Brian McClellan). 

Years of editing experience matter, but so does an editor’s list of successful titles. The cost of a professional editor is made up for in how they prepare your book to stand up against all the others currently out there. Like any consultant, their market knowledge and expertise is a large part of what you’re paying for.

Also, what’s their specialty? A professional knows their market and has many successful books under his or her belt because it’s their special place of interest. 

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Roosevelt said that. I think.

You’re investing in yourself and your skill first and foremost. Your book, your readers, and your future self depend on how you respond. 

Do they conduct themselves professionally and what’s their workload like? Ask for an estimate and expect to pay for quality. Finally, set a budget and get the best editor you can afford.

So consider: 

  • Experience (years spent at publishers doing what?)
  • Helpfulness (read testimonials and endorsements, ask other authors)
  • Genre & specialty market interest
  • Professionalism
  • Work load

You can afford the most qualified editor. Believe in your book, create your budget, and your investment will pay off.

The best advice I can give you? The market for books is saturated. But the market for great books is inexhaustible. Commit yourself as unto the Lord and you will rise to the top. It’s a promise with a question: 

How bad do you want it?

If you invest wisely and patiently, a successful book is an inevitability. 

Remember, highly qualified editors are not after your business because they don’t have to be. Your book began as inspiration from God. If he gave it to you, he will give you everything you need to complete it. Does that mean easy sailing all the way? Or might it mean learning through the challenges  and growing in character? Could this journey be used to make you into the best possible spokesperson for your message? Might it refine and sharpen and prepare you to meet that hungry, hurting audience of readers who are eager for what only you know?

A pro edit is your uncontested best chance of not only selling well, but of gaining the experience required to produce top-notch books. And the lessons you’ll learn in the process are far and away the best training you will receive for your career.

The spoils will go to those willing to work.


Ready for editing or coaching? Browse my editing rates and begin to determine what sort of editing you might need. An evaluation might be best if you’d like advice or to know whether coaching or waiting might be a better option for you. I look forward to seeing if I can help.

Do You Need an Editor? The *Definitive* Post

There’s a misconception I’d like to put to rest.

Freelance editors are not expendable. Freelance content editors are the unsung heroes of publishing.

Though it sounds like I’m tooting my own horn, I’m not. And this idea may not make me popular among my industry friends and colleagues. Yet as publishing continues to change, I see too many good writers, mid-listers and professional authors being sold a steaming heap of monkey giblets about how to sell more books. And I think it’s high time we jumped this collection of clunkers with confidence.

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Wheeeeee!!! Craaaap!!!!

The unassailable history proves that word of mouth is what sells books over the long term. And despite publisher and traditional bookseller practices, long-term sales are what authors need in order to survive.

Check. (Thanks, Google.)

But what generates consistent and long-lasting word-of-mouth? Is it promotions, interviews, contests or other savvy marketing? Maybe killer content? Meaningful and enriching stories? Most professionals will mark “a good read at a good price” as the way to sell books best over the long-term–and little else besides.

Okay. So the question eventually comes down to: how do authors develop the most scintillating, wide-reaching material?

Now we’re ready, ladles and gent-lemons. The one way to writing good books (and my nomination for word of the year):

Refinement. 

Show me a “professional” who doesn’t take many drafts to develop their material and I’ll show you an amateur who isn’t creating their most widely-accessible work. (Duck and cover, people! I warned you.) And even after initial rewriting, refinement always requires some outside help, objective opinion, and more specifically, experienced, balanced objective opinion(s).

So is it hyperbole to say that finding these helpers may mean the difference between success and failure for every author?

I do this for the money, prestige and power. Said no writer ever.
I do this for the money, prestige and power. Said no writer ever.

There are many stages in an author’s development, but freelance editing is one I see too often overlooked. In fact, questions and misunderstandings seem to be increasing.

What do they really do? Won’t they ruin my story? Wouldn’t they change my voice? Why would I want someone to mess with my vision and challenge what I’ve worked so hard on?

Real, valid concerns. Actually, if writers weren’t asking questions like this, I’d be worried. There are no guarantees editing will help you (and any editor who offers that is playing you). Step back and recall how many badly written books have made it to the bestseller list without any apparent assistance from an editor’s red pen. Do books really need editing to sell well?

Literary-snobs shut your eyes: “Not really.” (support) (proof)

So if quality control isn’t a valid reason, what’s the point of hiring an editor? And who needs editing beforehand anyway, especially if you’ll be going through the editing during the publication process?

Freelance editors are a dime a dozen and the wrong one could be disastrous. To top it off, they’re crazy expensive. Let’s just get straight-up honest, here:

Do you really need a freelance editor?

First, there are critique groups. Good writers all use them. Beta readers. They can be hugely helpful, harsh and honest, professional friends.

Agents. The good ones do still content-edit quite a bit besides crafting astounding, profitable ideas out of thin air. They are often the first and only line of defense and author advocate before the infamous …

In-house editors. Despite rumors to the contrary, they do still edit. And they do a bang-up job of it too, if not as singularly as editors who aren’t required to handle multiple concurrent book-production schedules, new acquisitions, pub-board presentations, sales conferences, departmental requests for early materials and publicity pieces, and the thousands of other insipid and infuriating things in-house editors are literally bombarded with every day. And if you’re independently published, you’ll have your…

Publishing package editors. And in some cases, they’ll actually fix some words you missed. Just don’t expect them to do much content shaping, let alone character or plot analysis or smoothing. But, then, sometimes you may even have your…

Ghostwriters. These are the most evolved industry folks around. No way any “word shenanigans” are getting past these bad boys and girls of publishing.

So freelance editors. What’s really left for them to do with all these competent folks around?

I can’t speak for all my freelance editor friends, of course. But as an independent business, my goal is not to achieve “high quality,” or improve the story, or even to fulfill the author’s hopes of a completed project. My one purpose is to sell books. To do this, the author must see how they’re authentically surprising and delighting readers. That isn’t crass or unbiblical, it’s simply ambitious: it’s how the most influential authors are publishing today.

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I’m a seasoned editor and some say I’m rather good. So let me challenge you to consider who will help you gain the best perspective on your book. Is it:

Someone who knows you and may be tempted to put friendship first?

Someone with a lot of experience and even objectivity, but 25-100 clients they’re carrying simultaneously?

Someone you’ve been assigned and needs you “processed” as quickly as possible?

Or someone who is free to invest weeks of professional evaluation into suggesting improvements for readability and mass appeal?

Freelance editors exist because they love books. And yes, they love successful books, because time and again they find the core of their author’s message and bring it out more fully to compel readers to proselytize about their books.

A freelance editor is your greatest chance to extend your reach and expand your writing career. With the right freelance editor, you will find a fulfilling sense of empowerment from an insightful supporter who gets you and respects your process. And at the very least, you will find new angles and depths you missed in your own work, which, in the end, will provide more compelling angles to sell your work.

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So before you decide your next step, do one thing: run a simple search for experienced freelance editors. Ask them your questions and take a look at how hard they are working to balance author’s visions with reader appeal. And consider carefully the true value of investing in this powerful tool of education and insight you’re endeavoring to begin.

Could you use an unbiased coach and personal trainer in your corner?

Maybe the question isn’t, “Do you need a freelance editor?” Maybe it’s time the savvy authors recognized the better question is,

“Do you want to sell books?”