Actual prices for professional editing services found on the Internet and fair, industry-standard prices may vary wildly. If you’ve been shopping around for an editor lately, you might be feeling a little bit lost—and justifiably so. One editor may offer her services for just fifty bucks to edit your entire manuscript, while another editor’s prices could be as high as ten to twenty thousand dollars!

Okay, let’s take a step back from these seemingly nonsensical—and often arbitrary—numbers and break it down in simple terms. How much editing do you need, and what’s a fair price to pay for it? While there are dozens of editing methods and dozens more author requests, I’ll focus here on the three main objectives of a professional book editor.

Manuscript evaluation – an evaluation, or “critique”, of the entire manuscript. The editor’s objective is to thoroughly read through the story and offer specific feedback relating to the story’s content, flow, syntax, characters, and overall marketability. She may even offer ideas for improvement. The evaluation is often returned to the author in the form of a feedback letter with suggestions for moving forward.

Developmental editing – also called “content editing” or “heavy editing”, developmental editing focuses on things like structure, plot, and character development. You know the story you want to tell; a good developmental editor will show you how to tell it well. What developmental editing does not focus on is grammar, spelling, and punctuation.

Copy editing – for the final edit, copy editors proofread the entire manuscript to correct grammar and spelling, check for factual consistency, and fix any formatting issues. Their attention is on the Five Cs: Is the manuscript clear, correct, concise, comprehensible, and consistent? In short, the copy edit is the final polish of your manuscript.

The Editorial Freelancers Association (EFA) is the undisputed leader in evaluating the market and determining fair, industry-standard prices for professional editing services. You can find the EFA’s estimated costs for a manuscript evaluation, developmental editing and copy editing, in the chart below. Note that 1 ms page is equal to 250 words.

(Click on the chart for a larger view.)

 
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Remember that prices may be lower or higher depending on the editor’s skill and experience.  Basic supply and demand may also affect the cost of professional editing services.

So what does this mean for you and your manuscript? I’d love to discuss the specific details with you, including the length of your manuscript, your publishing goals, and the level of editing your story requires. I’m always happy to offer a sample critique or edit of your manuscript as well, so we can “try” each other out and determine how to proceed.

Feel free to email me at michelle@mjbookeditor.com for any questions or further discussion.

Happy writing!

-MJ

“The writer must believe that what he is doing is the most important thing in the world. And he must hold to this illusion even when he knows it is not true.” | John Steinbeck

Critiques are mostly honest (and typically free) overall impressions of a manuscript. The process of exchanging peer critiques has been instrumental to my growth as a writer, and many successful authors and editors would argue the same. But while the benefits of critiquing—and peer critiquing especially—are endless, they are not the end. If you think you don’t need an editor because you’ve already had your story critiqued, think again.

Here are some of the differences between a professional edit and a critique, and why your story needs both.

Critiques identify potential problems.
A professional editor fixes problems.

Before submitting a manuscript to a professional editor, many writers choose to have their story peer-critiqued (or beta-read) first. Betas are responsible for reading through sections of a manuscript or the entire work, and identifying potential problems. They offer reader reactions throughout, perhaps an overall evaluation at the end. They point out things that confuse them, or scenes they find unnecessary. They may suggest the author expand certain areas or add extra layers to a character or sub-plot.

An editor will also point out issues that may remain after the manuscript has been critiqued, but as a knowledgeable professional in her field, she has the insights and ability to help fix those problems. The author is not left with what to do, but suggestions of how to do it. Depending on the type of edit, the editor may even make the changes herself – with the author’s permission, of course.

Critiques address the big picture.
Editors see the whole and focus on the details.

As stated above, critiquers and beta readers aren’t typically looking at the details of a manuscript; their responsibility is to point out what works and what doesn’t, while giving an overall impression of the story. This kind of feedback is invaluable, but ensuring the happiness of your beta readers does not guarantee your novel’s marketability or likability with readers outside of your sphere.

Editors see the whole of the text, then key-in on the small details, checking their alignment with the novel as a whole, a single unit. After ensuring the novel is compelling and consistent and error-free, editors may then help with your synopsis, marketing, querying, and even publishing your manuscript.

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Critiquers are amateurs – mostly.
Editors are professionals – mostly.

Writers seeking feedback on their manuscript may turn to a number of people, typically other writers seeking feedback in return, friends and family who care about the writer’s project, or readers who just love to read. In most cases, these critiquers are amateurs. While they can certainly offer feedback based on their preferences, they probably don’t have enough exposure to the publishing industry to polish your manuscript as effectively as a professional.

Whether they work for a Big 5 publishing house or individual self-published authors, professional editors have their hands in the publishing industry on a daily basis. Each editor may work on four to six manuscripts in a month; they may be presented with a dozen more, and they see what sells and what doesn’t. They keep a pulse on the market, the trends, what readers are asking for, in order to better serve their clients. Professionals won’t tell you what they think; they’ll tell you what they know.

Finding the right individuals to critique and edit your manuscript can be a daunting task. What questions do you have about the process? Maybe you need help finding beta readers, or your manuscript is ready for a professional edit. Send an email to michelle@mjbookeditor.com, and I’ll be happy to help you.

Happy writing!

-MJ

“The most original of authors are not so because they advance what is new, but more because they know how to say something, as if it had never been said before.” | Johann Wolfgang Von Goethe

Next week’s blog: How much should you pay for a book editor?

Last week I talked about what you should look for in a fiction book editor once you’ve finished your manuscript and are ready to shop around. There’s another side to that though. Preparing yourself to work with an editor takes time and consideration. And the more prepared you are, the more time you’ll save right off the bat—not to mention money!—and the more efficient both you and your editor will be once you start working together.

Here are some things a good book editor may (should!) expect from you, the author:

1. Have your first draft completed.

I can’t stress this point enough. Remember King’s advice? Write the first draft with the door closed; rewrite with the door open. That door should be kept closed, not just to separate your first-draft work from the eyes (and opinions!) of your friends and family, but from professionals as well. For your own peace of mind, and to make sure the first draft gets finished at all, wait until it’s done before asking for advice—anyone’s advice.

Having your first draft completed is also the first display of respect you can show to your editor. Upon submitting it to an editor, your manuscript should be reflective of your highest ability, your strongest effort, to save both your time and hers. Completing the manuscript is also the surest way to maintain the “organicness” of your project. The more your editor has to alter or add, the more your work becomes a reflection of her style, not yours.

2. Be open-minded.

If she’s any good, the book editor you choose may have some pretty good ideas for your manuscript. She may also challenge you at times. Maybe your main character’s motivation doesn’t quite “work” or the genre and style do not sing well together. Maybe the narrator’s voice has a tendency to shift from scene to scene, or perhaps the structure of the story needs some tweaking.

Maybe the central conflict is, I hate to say it…boring.

Your editor should criticize gently, with enough knowledge of the craft and the industry to offer sound advice. Stay true to your story, but be open-minded to new ideas, and be ready for your editor’s criticism. Yes, your manuscript should be the product of your best work when you submit it; no, that doesn’t mean it’s perfect.

An open dialogue with your editor, and a mutual respect for one another, is absolutely vital if you’re going to work well together. Pay attention to how she communicates with you in the very beginning, and listen to your gut. Is she someone who’s opinion you can trust?

3. Prepare to rewrite.
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So you finished your first draft. Congratulations, your job is done!

Well…not quite.

After your editor returns to you with all that lovely criticism we talked about, it’s your turn to work again. Your manuscript may be ready to publish with just some minor tweaking here and there, or it may be in need of a complete overhaul. Be prepared to be just getting started.

At a lecture this week, Marcus Zusak discussed his most recent novel, The Book Thief, which was his fourth work and a huge success—to say the least. But even for an experienced, successful, full-time author, it took him several drafts and over three years to finish the manuscript. When asked if he had any advice for new authors, Zusak said, simply, “Don’t be too hard on yourself.”

Writing a book takes an enormous amount of time and effort, but whether your book becomes a bestseller or just a favorite among your friends, I think we can all agree: In the end, it’s totally worth it.

Unsure about whether you’re ready for an editor or not? Send me a message at michelle@mjbookeditor.com, and I’d be happy to have a conversation.

Happy writing!

MJ

“Courage is grace under pressure.” | Ernest Hemingway

You’ve finally finished the rough draft of your manuscript. Yes! Is there any better feeling in the world??

That rush can be fleeting though if you find yourself shopping for editors, without a clue of what to look for, or what to expect. Will she take the time to really get to know your characters? How involved will she be in your story? Is she qualified? Can you afford it?

To help you get started, here are three things you can expect from your book editor. Remember that these are basic expectations. Meaning: if you find an editor who doesn’t possess these three qualities, then she is not an editor worth your time, your money, or your partnership. You can insist on these:

1. A good editor knows her stuff. She can spot errors because she knows the rules of composition, and she knows how to break them. She combines detail-orientation with creativity to look at your story from a mile above it, as you have had to do. A good editor watches the industry, too. She’s a reader, and she knows what sells.

2. A good editor understands writers. And while writing is a one-man job, editing doesn’t have to be. She empathizes with you because she’s been in your shoes. This shows itself tangibly in her patience with you, her understanding of your process, and the working friendship that develops between the two of you. She is more than an editor – she is a partner.

3. A good editor steps back. Always remember that it is your manuscript, not your editor’s. She knows her place, and you should too. Expect your editor to combine her subjective opinion with objective advice, but in the end, every final decision is yours. The story is yours, and only you can decide to change it.

***

So you’ve done your research, and you think you’ve narrowed it down, maybe you’ve even found “the one”. Here are a couple ways you can be sure:

1. Always insist on a sample edit. Just as you have your own writing “style”, your editor will have a style of her own as well. For both your sake and hers, ask her to send you a sample edit, and that means you should be ready to share a sample of your writing with her up front. A sample edit is the only way to find out how you and a prospective editor might work together. Notice how long it takes her to complete the sample – a day, a week? See how involved she gets in your story, in your characters. How thorough is she? Did she miss any errors in the line edit? Do her comments open up a dialogue between the two of you?

In other words, is your editor good at what she does, and do the two of you have working chemistry?
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2. Agree on a fair price. A full-length edit can range anywhere from $100 to more than $5,000. This price is based on simple economics. The better an editor, the higher her demand will be, the higher the cost of her services. Your editor may have a standard rate, or she may customize her rates for different projects. Don’t allow a prospective editor to bully you into breaking the bank, but remember that a detailed edit is also an investment… after all, your end goal is to sell books, right? Or if not to sell, then at the very least to help make your book the absolute best version of itself it can be.

And as is true with anything, is true with editing: You get what you pay for.

Finding a good book editor can be stressful. Remember to just take it one step at a time, do your research, and ask lots of questions.

Ready to start a discussion with a prospective book editor? Email me at michelle@mjbookeditor.com, and I’d be more than happy to chat with you.

Happy writing!

MJ

“I write for the same reason I breathe – because if I didn’t, I would die.” | Isaac Asimov

The first thing I did when I started to get serious about writing, when the written word had become more than just a hobby, more than just something I liked to admire from the sidelines from time to time, was come to the realization that this was a craft and that I would need to learn. That it doesn’t necessarily come naturally, and even if it does, why wouldn’t I do everything I could to learn how best to improve? Why wouldn’t I take my natural ability, combine it with some professional insights and education, to be the absolute best writer I could possibly be?

(Okay, that’s all a bit of a lie though. The first thing I did when I started to get serious about writing was… freak out.)

Once I got over my little freak-out, and after a few deep breaths and a steaming-hot cup of chamomile, I got some sense and put my thoughts in order. (I mean, I called my friends first to apologize for my bout of temporary insanity; they were very forgiving.) Yes, this would be one of the most challenging endeavors I thought I’d ever face. There would be a lot to learn, and I would have to work really hard. But no, this was not beyond my capability. I could do this.

But how?

The first thing many new writers (should!) do, is take some advice from the experts. Don’t assume you know it all. Don’t assume you can’t improve. I didn’t.

The expert I’d chosen was the king of fiction himself, Stephen King. If you haven’t read his book On Writing, and you really want to get serious about your craft, pick up a copy and read it. Now.

I’m serious. Do it now.

Then you’ll know what I’m talking about when I repeat this golden sliver of advice: Write the first draft with the door closed; rewrite with the door open. It might as well be his mantra for the entire book. At least, that’s the thing I took from it.

For a new writer, that advice can be a pretty tough pill to swallow. When I finally read King’s book, I was already chest-deep in a story I was just flying through. My creative juices were spilling out of me, and the first draft—as far as I was concerned—was absolutely perfect. It didn’t matter that it wasn’t finished. It didn’t matter that it was full of plot holes and POV-slips and under-developed characters, or that it lacked enough research to actually make any sense. That unfinished first draft was perfect, and I had to share it with everyone I knew—and even some people I didn’t.

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Because, obviously, King’s advice did not pertain to me.

Needless to say, I was quickly put in my place. The feedback I received was so discouraging, I completely gave up on the project. Even to this day. Now it sits in some distant digital file on my computer. Sad and alone, abandoned by its creator.

There’s another side to that coin though. After that experience, I am now super private with my writing. My standards of perfection are exponentially higher than they were when I first got started, and I’ve seen what happens when I get discouraged. It isn’t pretty. My writing improved, but my ego took some time to heal. I finally got to a place where I was able to share my writing again, and I did so with confidence because I made sure the first draft was finished first.

I might even be ready to shake off the digital dust from that story I’d abandoned so long ago.

Are you a new writer who’s hesitant to open the door? If the timing is right, I’d love to help you. Maybe you’ve been discouraged in the past; I’m here to encourage you. Maybe you’re not sure what your next step should be; I’m here to guide you. Let me be the first set of eyes to look at your manuscript the moment you’re ready to open that door.

And let us polish it together.

-MJ

“Writing is not life, but I think sometimes it can be a way back to life.” | Stephen King, On Writing