Working with a Freelance Editor: Tips and Tactics for Success

By Linda Nathan

Published by Logos Word Designs, Inc at Smashwords

Copyright 2012 Logos Word Designs, Inc - All Rights Reserved

Table of Contents

Introduction

Understanding Your Situation

Determining Your Need for a Freelance Editor

Finding and Assessing Your Editor

How Much Should You Pay?

The Other Side: What You Bring to the Relationship

How Do Editors Choose Clients?

Logos Word Designs, Inc. contact information

About the Author

What others are saying about Linda’s services

Introduction

You’ve written the Great American novel, and it’s ready for publication. But no one else seems to think so.

Maybe you’ve tried everything - you’ve read the writing books and used the gimmicks, talked to agents and editors at conferences, entered contests, joined critique groups, badgered friends and family (Mom loves it), and even considered self-publishing.

You are wondering, what do I do next?

Have you considered hiring a freelance editor?

Popular author Austin Boyd (The Pandora Series, Zondervan; Mars Hill Classified Series, NavPress) is an example of the good fruit that can come from the right relationship with a freelance editor.

After nine years of writing, Austin had 250,000 words, 900 pages, and no takers. He’d studied nearly 30 writing books and run his manuscript by anyone willing to read it. Yet he was no nearer to publication. He finally hired Hawkeye Editing, Inc. and Logos Word Designs, Inc. for a combined package of evaluation, consultation, editing, rewriting, and agent/publisher submission services. After two comprehensive reviews, two substantive edits, and three years of hard learning by doing, Austin had five interested publishers. His third techno-thriller in 18 months came out in 2007, and he’s begun another series with Zondervan. He’s earned all of his investment back and made a profit. What’s more, he’s fulfilling his heart’s desire: being a full-time writer.

Now of course not everyone is an Austin, but you may find yourself in the same state he was in, yet be afraid to make the same leap.

Finding answers to some of the following questions may help you resolve that problem.

How do you know when you need a freelance editor?

How can you determine that need?

How do you find the right editor?

And how can you get the most from the relationship?

Read on.

Understanding Your Situation

The disappearing slush pile. Most traditional publishing houses no longer accept unsolicited manuscripts, although some of the smaller presses do. And publishers think in terms of money. If they think your manuscript looks unprofessional, they won’t waste their time. Yet a professional intermediary between unpublished writers and the marketplace—similar to those who have arisen in the legal and medical fields—can help unpublished writers succeed, whether they are considering traditional publication or self-publication. Such a person can help ensure that your manuscript is nearly 100 percent free of errors in content and presentation and prepare a professional proposal package aimed at the correct market.

Editors A to Z. Freelance editors come in all shapes and sizes. They offer services ranging from simple copyediting to the complex assessment of long-term writing career needs and goals. They have different abilities, personalities, and training, and they often specialize in different areas. One editor might have 10 years of experience editing textbooks for a university press and not understand fiction at all. Another may specialize in medical nonfiction or technical manuscripts, and yet another in Christian fiction. Some will evaluate your manuscript or help walk you through the self-publishing process.

So what does an editor do? Someone asked me once what an editor does. When I explained that there are a number of levels of editing and what they are, she looked shocked. Many people think of editing as just checking for grammar and punctuation. Important as these are, even more important is the editor’s ability to understand your concepts and to clarify them. I once received an editing project from an international scholar concerning a technical aspect of philosophy. Although I had only a passing knowledge of the field, I knew enough to know that even small errors in editing the grammar and punctuation could alter the article’s philosophical subtleties in major ways. I told the writer this, but he said to go ahead anyway, so my conscience was clear. The moral: Don’t expect an expert in editing gardening books to grasp the nuances of your treatise on Calvinist theology!

Levels of editing

Simple proofreading covers basic grammar and punctuation issues.

Light copyediting fixes issues of grammar, punctuation, syntax, usage, and style and corrects awkward sentences. You should receive a style sheet.

Substantive editing (also called content editing) clarifies and strengthens your meaning, as content gets evaluated for overall clarity and accuracy and rewritten to improve readability and information flow.

Developmental editing involves developing a manuscript from its initial concept, reorganizing it, and bringing it to its completion.

Rewriting assistance brings the editor alongside of you to help rewrite your work line by line. It’s a great hands-on way to learn, and I always find it a lot of fun because I love to write as well as to edit.

Ghostwriting. This isn’t really editing. Someone else does your writing under your name while consulting with you, but it does represent the final level in receiving outside assistance.

Now let’s look at how to determine whether you need a freelance editor. Then we’ll examine factors that affect the relationship.

Determining Your Need For A Freelance Editor

Goals. Analyze your goals, strengths, and weaknesses as a writer. What is your motivation? Your long-term objective(s)? Understanding your needs and purpose is the first step to fulfilling them. And in the case of writing for publication, far more is involved than just excellent writing. You must also consider business, promotion, and platform.

The big picture. What are you seeking in terms of a writing career? Just writing your family memoirs? Or are you hoping to be the next Tom Clancy? How far ahead are you looking? Are you going to self-publish or do you plan to commit to getting the best royalty publisher? Do you understand how tough and competitive the marketplace is? Do you know how to write a proposal and find an agent? Do you know where your book fits in it? Are you committed to the long haul?

Areas. What areas do you focus on in your writing? Romance fiction or techno-thrillers? Business? Technical writing? Apologetics? The more specifically you can assess your work, the more you will understand the type of help you need. You might want to look for an editorial consultant that can provide an evaluation and give you the overview you need.

What do you really need? A mentor? An editor? Or a writing class? Do you need personal tutoring instead of, or in addition to, editing? Some editors do this; others don’t. Maybe you really need a brush-up class on grammar and punctuation. An editor won’t help that much if your basic grasp of these topics is weak. Consider taking a class at a writers’ conference or at your community college. If you do get an editor, try to find one that can move along with and stimulate your growth as a writer.

Business vs. writing. Do you need to learn more about the business of writing rather than writing itself?

Platform. Do you need a consultant to help you build your public platform?

Objectivity. Or do you just need an extra set of eyes to view your work from a fresh perspective?

Are you Teflon or touchy? Are you willing to take the heat of a detailed critique of your writing and to work with (and pay) another person to improve it?

Finding And Assessing Your Editor

Finding Your Editor

Internet research. The Web offers a wealth of opportunities, so you might want to start your search there. Search with such key words as freelance editor, freelance editing, editorial association, book editor, and book doctor. Also check out the following sites.

Editorial associations. An editor that is a member of an editorial association may be a better risk because such associations usually vet their members. It’s a good place to begin, as you can often do a search for a particular type of editor. You also can view membership lists, contrast credentials and experience, and get contact information.

Editorial Freelancers Association – This is a national organization of professional editorial specialists with an extensive membership list you can review. They vet their members carefully. I have been a member for many years.

The Northwest Independent Editors’ Guild – This is a regional guild for members in the Pacific Northwest. You can view members’ credentials and experience and select one here, or check your own region of the country for other guilds. They too vet their members. I have been a member for many years.

The National Writer’s Union – The NWU is a trade union for freelance and contract professionals.

Referrals. Check online writers’ resources for possible referrals. Join the discussions on writers’ email lists and in chat rooms.

References. Ask fellow writers if they can refer an editor to you. Be careful to check out any referrals.

Writers’ conferences. Ask around at writers’ conferences for referrals.

Christian market writers:

Start with Sally Stuart’s excellent Christian Writers’ Market Guide, which has a large section on editorial services. Logos Word Designs, Inc. is listed there. Kathy Ide’s service at http://www.christianeditor.com also links Christian writers with Christian editors.

General market writers:

National Directory of Editors & Writers: Freelance editors, copyeditors, ghostwriters, technical writers and proofreaders for individuals, businesses, nonprofits, and government agencies. Elizabeth Lyon. ISBN 1-59077-069-2.

Writers Net Directory is an Internet directory of writers, editors, publishers, and literary agents. http://www.writers.net/

Preditors & Editors’ online guide to publishers and publishing services offers recommendations in some cases: http://www.anotherealm.com/prededitors/peesla.htm

Libraries. Check with your local library for other places that may list editorial assistance.

Assessing Your Editor

Selection. After you’ve completed your search, select the two or three editors that interest you the most and assess in detail their training, credentials, services, pricing, and anything else that concerns you.

Clients. Who are the editor’s clients? Ask for references if not listed on a Web site. Check out a few.

Experience and focus. Look for years of experience and types of editing. Do the types of publications edited match your area of search? For instance, a novelist wouldn’t necessarily want a technical editor.

Is the editor also a writer? Some are; some aren’t. An editor who also is a good writer can be a tremendous benefit.

Is the editor published? What types of publications? Do they fit your search? An editor who is also published must have some writing skill and grasp of the publishing process as well as editing abilities. This can be a big plus for you.

Memberships. What organizations does the editor belong to? Professional editorial associations, such as the Editorial Freelance Association, have stringent membership requirements.

Free initial consultation. Is the editor willing to talk with you? Logos Word Designs, Inc. offers potential clients a free half hour phone consultation.

Work relationship. Is the editor a person you can respect? Do you feel like you can work with this editor? Would you feel comfortable paying this person to handle your work and give you advice?

Assessing Your Editor’s Services

The Fair Practice Code. Integrity, honesty, and professionalism should be qualities high on your search list. The Editorial Freelancers Association requires members to abide by the Fair Practice Code. This link is also a great place to learn more about what editors do and how they think.

http://www.the-efa.org/res/code_TOC.php

Services. What services does the editor offer? Do they match what you need? Can you find an editor who will help you determine what you need? Many don’t provide consultation about your publishing path or provide rewriting assistance. These are important issues.

Investment. What exactly will you get for your investment? Are you and the editor clear about the details? Logos Word Designs always provides a written agreement detailing all work agreed upon and the specific fee structure.

Personal service. Will the editor do the editing personally or give it to someone else?

Discussions. Is the editor open to discussing your work after she has finished and returned it?

Editorial reports. Will you receive an editorial letter or evaluation of your work? What will it cover, and how long will it be?

Electronic vs. hard copy editing. Most online editing these days takes place using Word’s track changes and comment features. Mastering these features can help speed up your editing process enormously. Many editors won’t take hard copy anymore.

Completion time. How soon will the editor finish your project? Does the editor meet the deadline? Inform you of unexpected delays?

The Written Agreement—You did get one, didn’t you? Whoa, stop! Don’t even consider working with an editor who doesn’t provide a written agreement. And read it carefully. After all, that person will critique your lifeblood. And take your cash. Do some research on what makes a good contract and feel free to suggest changes. Make sure you understand everything clearly.

My only client disaster happened because I trusted our long-term previously positive relationship and didn’t provide a written agreement when he sent me a big rush project. Yes, we were both under stress, but I did tell him several times over the phone what I was doing and thought he’d agreed. Moreover, he said three or four times that he knew it would be expensive but that he was sure it would be worth it. He’d always trusted me, but this particular time he claimed I’d never said it, claimed he’d never said it, accused me of lying and cheating him, and refused to pay $1,000 of a $1,500 fee. Now I always provide a written agreement (even if it’s just in an email) no matter how rushed the rush.

My own agreements always include such basics as the manuscript’s name and word count, specific services, how I compute the fee, the payment method, the completion date, termination rights, arbitration rights (if appropriate), confidentiality, and any other relevant items. These vary individually of course.

Sample agreement. See a sample agreement at the Editorial Freelancers Association’s website. http://www.the-efa.org/res/sample_agreement.php

Recommended: The Writer’s Legal Guide by Crawford & Lyons.

Assessing Your Editor’s Recommendations and References

Clients. Who are the editor’s clients? Do they fit your search?

Testimonials. Are testimonials available?

Acknowledgements. Does the editor have any books she’s edited in the bookstore? Is her name on acknowledgement pages in published books?

Publishers. Has the editor ever worked for a publisher?

Editing sample. Is the editor willing to provide an editing sample for you? (While this can help the writer, it may not be worth the editor’s time. Many editors charge for the time it takes to provide a sample edit. They argue that clients don’t require dentists, doctors, and other professionals to provide free samples of their work!)

Difficult Editors

So you’ve got an editor ... but where do you turn if you feel the relationship is failing?

Maybe the critique is unfair or wrong or just plain inaccurate. This is where you should have done your homework about the editor before signing up. At some point you have to place your trust in this professional you’ve hired. If he tells you “ain’t” ain’t proper, accept it. But if he tells you he checked your facts and cows can fly over the moon, think again.

First, do what you can to salvage the relationship. Editors are human, too. They have bad days and good days, headaches and stomachaches. You might remind them of their irascible Aunt Matilda or that last deadbeat client. Maybe they just worked all night filling in the last comma and hyphen on a boring textbook and can’t see straight. “Do unto others as you would have them do unto you” is a good rule to follow. Be fair, patient, and kind to the editor who is probably doing her best. Do everything you can to communicate clearly. Don’t withhold payment for work fairly done but pay promptly. Check your contract to see if there are any relevant clauses.

But if it still doesn’t work ... Assess how much you’ve sunk into it and how profitably you can withdraw without burning bridges. Forgive. And move on. There are many more editors.

Epilogue: How editors deal with difficult clients. Hot chocolate—lots. Long walks in the woods. Hair pulling. Discussions with other editors about the best way to handle the situation. Prayer.

How Much Should You Pay?

Standard hourly rates. Although standard rate ranges do exist for writers, editors, and other communication specialists, these rates often vary by location. For instance, a New York City editor may charge more for the same work an equally skilled editor on the West Coast can do.

The industry standard page. When editors charge a per page rate, they base it on what is called the industry standard page. This is a double-spaced manuscript page in a standard 12-point font with one-inch margins and a header. It has approximately 250 words/page. That count determines the fee. For example, say your manuscript has 3,450 words. Dividing by 250 gets an industry standard page count of 13.8 (or 19) pages, which is then multiplied by the page rate. It is very important to be aware of this so you understand your charges.

Does it reflect what you get? The rate your chosen editor may request should reflect his experience, skill, and references.

Variations. Editors vary in how they charge. They may require one-half in advance and the remainder upon completion, or, for large projects, one-third in advance, one-third at the halfway point, and the remainder upon completion. Some provide payment plans and accept credit card and PayPal payments. Payment methods depend upon the editor. Feel free to ask.

EFA chart of rate ranges. See the Editorial Freelancers Association’s helpful chart of rate ranges at http://www.the-efa.org/res/rates.php

The Other Side: What You Bring To The Relationship

An investment. Only you can decide how much time, talent, and money you are willing to invest in your writing, but I recommend you have a ballpark figure in mind when approaching an editor.

Your attitude. The editor is only a person who most likely will respond best to kindness, clarity, and patience.

Clarity. Examine your work before you send it and make sure to mention everything you are looking for to the editor. Be up front with your expectations. Don’t come back at the end of a project with: “But I expected such and such...” when you should have made it clear at the beginning. A good written agreement should spell out all issues.

Payment. Freelance editors have numerous horror stories of deadbeat clients and those who try to get the most work for the cheapest rate. You can negotiate with an editor, but please respect the editor’s expertise and final decision about the fee. Don’t withhold payment or be late with your payments. Freelance editors especially sometimes have tight cash flow. If you’ve signed a contract with the editor, she will be in a strong position to pursue payment.

How Do Editors Choose Clients?

“Gut.” When I was researching this issue, many editors responded to my question “how do you choose clients?” with “often by gut feeling!” (One editor quipped that “it can be a ‘gut-wrenching’ experience.”) What that means is, they may not like the person, don’t want that particular deadline, dislike the topic, or are not conversant with the topic.

Samples. Most editors want to see a sample of the work or the entire manuscript in advance. I prefer to see the entire manuscript, as it’s often difficult to determine the amount of work needed and a fee just from one or two chapters. Content density can differ greatly in different parts of the manuscript.

Deadlines and subject matter. Sometimes a deadline is just too soon, or the subject matter doesn’t fit the editor’s area of expertise or interest. One editor said she wants to feel energized by the project. Another said that she rejects as clients those who won’t face the time and money involved to clean up minutia, such as typos, style issues, fact checking, and other small details, but who also expect her to cover all the big picture issues - all for low pay of course. (Such projects sometimes require numerous passes through to catch everything - effort that the author may not understand but that is essential for a polished manuscript. If you have concerns in this area, talk to your editor in advance.)

Pure desperation. Some editors desperate for money may take any project. This is no problem if the editor is right for you. Just be sure to check out references and other criteria listed above.

“Flakiness.” A number of editors I interviewed mentioned this quality. Here’s an example of someone who contacted me that fits that description. While I was hesitantly considering his strange theme, he phoned me four times within 10 minutes. Since I was screening my calls, I listened to him on the answering machine. He sounded like he was on heavy medication, rambled in a nearly incoherent manner, and repeated himself. My husband, who works in a psychiatric crisis unit, was listening with me and definitely advised me not to take on this client! Another man contacted me late at night with a bizarre story about a crime that he needed to expose as soon as possible. But of course he didn’t have any money.

Is there a “dream client”? One client has consistently said to me, “Throw it to me, I’ve got my Teflon suit on.” And he means it. If he suffers behind the scenes, I don’t see it. He even decided I hadn’t billed him enough one time and sent me a check for another $200! Yes, there are dream clients!

Hopefully you are now on your way to finding your editor. You know how to have a good relationship and how to be a “dream client”! All the best in your writing journey!

CONTACT INFORMATION

Logos Word Designs, Inc.

“Author 911”

Solutions for Authors

Editorial and publishing services

For more information about past projects and the publishing world, visit the following:

http://www.logosword.com

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Email: editor@logosword.com

(360) 599-3429

Fax: (360) 392-02160

About the Author

Linda Nathan is the president of Logos Word Designs, Inc., which has been providing professional writing, editing, and editorial and publishing consultation services since 1992. She offers over 30 years of combined professional experience in the following fields: academia, administration/management, arts & entertainment, business, education, health and social sciences, journalism, law, fiction and nonfiction (Christian and general market), publicity, public speaking, and teaching. Linda is the published author of one book and numerous articles and other materials. She holds a B.A. in Psychology from the University of Oregon in Eugene, where she also did graduate work in Interdisciplinary Studies.

Memberships: Editorial Freelancers Association, The Northwest Independent Editors Guild, American Christian Fiction Writers

Linda and her husband Richard, who holds an M.A. in Religion in Church History, often consult together with authors on a variety of projects.

What others are saying about Linda’s services

“Linda Nathan was the answer to my calling, a dream come true for me. As a first time author, Linda managed the entire project for my book, Secrets of Voice-over Success… She had so many powerful skills and so much integrity and dedication with everything she did, I called her ‘Linda with the Midas touch.’”

Joan Baker, author, Secrets of Voice-over Success (Sentient Publications, 2005), Vice President, Public Relations, Push Creative, Inc., New York City. Nationally acclaimed voice-over actress and educator

“Linda has turned a caterpillar into a butterfly! I can enthusiastically endorse Linda as the right place to turn for fast, pointed help with editing that is always on the mark, and worth every penny…”

Austin W. Boyd, author, The Pandora Series (Zondervan, 2011); Mars Hill Classified Series (NavPress)

Execustaff currently has a staff of 17 outside editors. Linda Nathan has consistently provided exceptional copyediting and thoughtful comments to the authors and publishers that we support in college textbook preparation. We have come to expect and request that all of our editors follow her lead when preparing their edit work for us… Linda has been, and will continue to be, the first choice of our production staff for copyediting.

Jerry HayesExecustaff Composition Services

"Linda Nathan of Logos Word Design, Inc. is blessed with wonderful editorial skills. She has a keen eye for proofreading and correction, ensuring proper grammar, sentence structure, and punctuation. Her excellence in writing mechanics is combined with creativity, imagination, and wisdom, enhancing over-all composition. She sees the forest AND the trees and makes the good better. I recommend her without reservation."

Dennis L. Price, Ph.D., author, Chasing the Fourth Horse (Essence), an apocalyptic novel about nuclear waste terrorism