Frequently Asked Questions

Congratulations! First thing’s first, give yourself a pat on the back. Finishing a book-length manuscript is no easy feat, and you’ve earned the right to relish the moment.

Once you’re done relishing, you have a decision to make about how you want to get your work into the world. Today, authors typically get their books published in one of three ways:

• Through self-publishing platforms such as Kindle Direct Publishing, Apple Books or PublishDrive

• Through a contract with a traditional publisher

• Through a hybrid press that charges authors for its publishing services

Which path you choose will affect your next steps. If you plan to self-publish, you’ll need to select a platform, polish your manuscript and get it formatted for print. If you hope to be published traditionally, you’ll need to craft a query letter to send to prospective agents with your manuscript.

In either case, some writers choose to work with a freelance editor or proofreader to fine tune the draft before taking next steps. Authors working with a hybrid press may also be asked to work with an in-house developmental or copy editor.

Writers absolutely do edit their own manuscripts (or outsource the job to friends and family), especially if they want to minimize costs. For hobby writers who aren’t hoping to make money or advance their career with their project, this can be a perfectly fine way to go.

Some independent authors opt to self publish to avoid the hassle and ownership constraints of traditional publishing, but still want to produce and market a high quality trade book. In this case, working with an editor helps ensure your book reflects your vision before hitting the press. Working with an editor can also be helpful for authors who want to refresh or fine tune a rejected manuscript for resubmission to agents or publishers.

Other authors just want to learn how to improve their writing, and they need a little support to get there. From my perspective, that’s the biggest benefit of working with an editor: The chance to receive personalized feedback from a trained professional.

Developmental editing, line editing and copy editing happen at different stages in the publishing process. Definitions for these terms can vary, so I created this cute little graphic (below) to lay out how I see the different phases of editing.

Before your book reaches the desk of a professional editor, it should ideally go through several rounds of revision based on feedback from beta readers. A beta reader is ideally someone in your book’s target audience who gives general feedback on their experience reading the manuscript. You’re ready for this phase if you have a completed draft and have done one or two passes of self-editing.

Beta readers don’t necessarily need to be trained editors since the goal is to get a feel for how your audience might receive the book. Manuscript evaluations, on the other hand, are usually offered by professionals with at least some editing experience who can offer thoughts on the structure, story and mechanics of your work. Some authors opt to start with a manuscript evaluation to get a sense of where the text is at before moving forward with editing.

A developmental edit also focuses on these concepts, but at a much deeper level than a manuscript evaluation. A good developmental editor analyzes the text to identify concerns with big picture elements such as the setting, pacing, character development and dialogue. I think of it as making sure the foundation of your book is strong.

If it’s a fiction book, that means the characters have personalities, motivations and arcs, the plot makes sense, the concept works and the structure lends itself to the story. If it’s a nonfiction book, that means the text has a clear goal and target audience, the information is organized and easy to understand and the writing voice is authentic.

Any concerns with the content should be squared away before moving onto the next phase: Line editing and copy editing. Line editing is about the language and the flow of the writing — the way the phrasing, word choice and description add to (or detract from) your story. Copy editing focuses more on grammar and clarity, ensuring that elements like names, dates and locations are treated consistently throughout the text. I tend to perform line and copy editing in tandem, but some editors would couple copy editing with proofreading.

Proofreading and formatting are the final steps before publication to make sure the book is error and typo free (to the degree humanly possible, of course). Once the proofread is complete, your book is ready to hit the press or platform.

Which type of editing you need will depend on your writing background and the stage of your project. Some manuscripts may need significant developmental editing but little to no line and copy editing, or vice versa. If you’re unsure what type of editing you need, many editors offer free sample edits or consultations to help you decide which services are the best fit.

(Note: I don’t offer proofreading services, but I can point you to editors who do. Let me know if you’d like a referral.)

Each editor approaches their work slightly differently, so I’ll give you a rundown of my personal process. Before I start to work with the text, I ask each author to fill out a questionnaire telling me a bit about their writing background and any specific concerns. I read the manuscript from start to finish two times, focusing specifically on the big picture and content of the book. As I read, I leave comments in the margins with feedback, thoughts and suggestions — things like, “Great use of dialogue here!” or “I’m having trouble understanding the character’s motivation in this chapter.”

Then, I create a Book Map, which is a visual way to break a book down scene by scene. The Book Map allows me to track the plot, use of point of view, settings and any other elements that are important to this particular text, as well as visually see where issues with pacing, dramatic arc or structure may stem from.

Next, I compile my insights from the read-throughs and Book Map into a detailed editorial letter (typically 15+ pages) highlighting what works, what needs work and how to make it work. The letter outlines specific suggestions and proposed next steps for revision.

Finally, I schedule a 45-minute Zoom or phone call with the writer to discuss my feedback and answer any lingering questions or concerns they may have.

Some writers are looking for someone to work with them chapter-by-chapter as they write. This is a much more intensive service that would fall under literary coaching or book coaching rather than developmental editing. I offer coaching on a limited basis; get in touch to find out if I have room in my schedule.

Sharing personal writing is a vulnerable thing, so finding an editor you trust and feel comfortable with is essential. You can find editors on many social media platforms, from LinkedIn to Twitter to TikTok. In addition, The Editorial Freelancers Association and ACES: The Society for Editors both maintain directories of working editors for hire, and you can often search by location if you prefer to meet someone in person rather than remotely.

Many editors offer sample edits or free consultations to help you decide if their approach is a good fit and I recommend shopping around. It’s important to be honest and upfront about your needs so that the editor can provide you an accurate quote for their services. Maybe you struggle with constructive feedback, or maybe you want a brutal, no hold barred opinion. They need to know that from the get-go.

The cost of hiring an editor can vary widely depending on the editor’s background, experience and services. The Editorial Freelancers Association publishes this handy rate card using survey responses from professionals in the field to give you an idea of the median price point. You’ll likely find some editors charging more than the EFA’s rates, or much less (especially through referral services like Upwork and Fiverr). My advice is that more often than not, you get what you pay for.

My rates range from a minimum of 1.5 cents per word for a manuscript evaluation to 4 cents per word for a comprehensive edit, depending on the complexity of the project and the condition of the prose. I also offer either a free sample edit or a free 15-minute consultation to prospective clients. To reserve a spot in my schedule, I ask that clients pay a deposit upon booking, with the remainder of the balance due when I deliver the edited manuscript to you. I’m also happy to negotiate a payment plan for clients who need to split their balance into multiple payments.

Be sure to ask about my discount for members of the Alliance of Independent Authors.

This concern is certainly understandable. Giving someone free rein over your carefully calculated words can feel overwhelming.

A good editor is always aware of maintaining the author’s unique tone and voice, and that requires understanding the difference between editing and rewriting. If this is a significant concern for you, make sure to bring it up with your editor before finalizing your contract.

My personal philosophy is that every note I give you is a suggestion, and nothing more — you always have the final say in any cuts or changes to your manuscript.

Absolutely not! This FAQ focuses mostly on book-length manuscripts, but I offer line and copy editing for many types of projects, including newspaper and magazine articles, marketing materials, website content and personal statements. Get in touch to get a quote for your project.