I’ve worked in almost all the different aspects of publishing. Editor, writer, agent. Seen and done almost all there is. And it’s always fascinating when I hear writers talk about editors as though they’re these mean, rigid despots who just want to ruin their books. That is SO not who I, or the other editors I’ve known all these years, are like. We don’t want to ruin anything. We want to help. But when we try to do that, all too often the reaction is angry, frustrated writers who can’t believe we’re suggesting the changes we are.
So how do you keep an editor from “ruining” your book? Well, first and foremost, realize the editor is for you. As in on your side. As in looking to help.
Second, make sure you hire the right editor. If you’re writing fiction, has this editor worked with novelists before? In your genre? Do they have recommendations from clients (not friends) that they’ve worked with in the past? If you’re writing nonfiction, same questions! Has the editor worked on your genre of nonfiction before? Any recommendations from satisfied clients?
Third, make sure you are CLEAR about what you want from the editor.
C—Communication
* At what stage do you want to hear from the editor?
*How often during the evaluation or edit do you need an update?
*Make the schedule crystal clear. What is your drop-dead due date for finishing the edit? Do you want the manuscript to come to you as each chapter is edited, or when the whole thing is done? How much time do you need to review the editing?
L—Limits
Are there things you don’t want changed? Make that clear right up front. In fact, put together a style sheet to send with the manuscript outlining any elements that need to be as they are. Is there dialect that has to be the way you have it, or terminology specific to a character’s job? For example, to the world in general, widows and orphans are to be cared for. But to typesetters? Widows and orphans must be eliminated! Mwahahaa– Um…never mind.
E—Expectations
What if you think the only problem with your book is the character development, but the editor comes back and says your basic craft needs a lot of work? It’s helpful to tell the editor up front what you think the issues are, but that you’re open to what they think needs to be revised. But be sure you are open.
A—Analyze
Ask the editor to send you 5 edited pages before she jumps into the full edit. That way you can see her editing style. Does she show you want she’s suggesting by rewriting a line? Does she just make suggestions in comments? Does she use Track Changes? Let her know what you do and don’t like about the sample edit. This way you both can be sure that the edit will be done in a way that best suits you.
R—Remuneration
The best way to deal with the money side is to have a work-for-hire contract in which you outline not just the fee, but the following as well:
*Pay schedule. Are you paying 50% of the fee upfront, and 50% on completion? Or paying the whole thing upfront? A lot of this will be dependent on what the editor expects, but even then you need to get it in writing.
* Kill fee. How much will you pay if you receive the edit and don’t think it’s done as you both agreed it would be. I shouldn’t have to say this, but I will: be fair! Remember, it’s not just that the editor has spent time evaluating and working on your manuscript. She also didn’t accept other jobs so she could do your job. Just like writers, freelance editors often live month to month. Your editor may be counting on the fee for your project to cover the bills that month. You need to take all of the editor’s side of things into consideration.
* Financial Change. What happens if your finances change in the middle of the project? A job loss, a car breaking down, illness and/or unexpected medical expenses?
* Schedule change. What will you do about fee if you realize, halfway through, that you need more revision time? If you’ve agreed that half the fee will be paid on completion, then asking for more time will affect the editor’s bottom line. You need to have an agreement up front about whether or not the fee must be paid at a certain time, regardless of if you need more time.
So the key, then, is being sure you’re CLEAR with the editor right up front. That will make the process easier on both of you. And who knows? You might even find you enjoy the edit.
(Yeah…what can I say, I make things up for a living. <wink>)
Best Selling Books Sixty Years Ago
Hi Karen,
You mentioned a couple of points I never thought about. Thanks for this post!
My editor saved my bacon when I used some short Portuguese phrases. The ones I’d found were “school formal” and not what the average person would say. It turns out shed lived in Portugal for 11 years. I adore my editor!!
I agree with your comments about setting your expectations with your editor. However, I would add one more caveat about hiring an editor. Make sure the editor is familiar with the style of genre you write. If they mainly focus on action/adventure and fantasy, that person may not understand the nuances of writing romance. Of course they’ll still be able to catch your grammar errors, but may not be the most helpful with the craft itself.
As an editor, I agree with all that you’ve said. Before I agree to work with a client, I do a three page free sample edit. That way, I can determine the level of work that needs to be done, and the client can see what my editing style is. When we agree to work together, we sign a contract. It’s as much to protect the client as it is to protect the editor. As Karen said, all the expectations are laid out up front. And yes, you may panic when you get your edit back. Before you lash out at your editor, take a deep breath, let it simmer for a couple of days, then work on one element at a time. Often, you’ll find that the editor’s suggestions really do improve your book 😉
What great suggestions here, Karen. I’ve never worked with an editor, so it’s good to know things to consider if (probably WHEN) I do.
Thanks for sharing your wisdom!
Thanks Karen! I am new to this, and I will be looking for a editor soon so this post has been very helpful.
Reviewing books for other authors on Goodreads makes me appreciate your job even more, Karen. I see first hand the importance of an editor’s work. I use “ly” adverbs… I know… I do… but when I see them used over and over in someone else’s novel, I understand why you ask authors to eliminate them. I find it hard to overlook the glaring grammatical errors and review the underlying plot. It is difficult to differentiate between the two. I admire your gift. Keep up the good work.
Karen, How interesting to me as a writer that everything you said about working with an editor also applies to me as a dissertation consultant, from the flip side. I have followed that model ever since I began offering full-service consulting and substantive editing on dissertations and books, except for requiring an advance; and I’ve been “burned” several times. One client died after I had edited his whole book, but before he paid me, and his heirs ignored the claim. Another who signed a contract just disappeared when she received the bill for the work I had done, and another who is a former colleague always pays–eventually. Maybe writers should just assume an advance will be required, and I need to rethink my contract. Thanks! 🙂
It also helps if the editor shares the author’s sense of humor, or at least recognizes it as such, and doesn’t try to turn a lighthearted story into a weighty drama.
The next time I hire an editor, I’ll ask him/her to tell me their top 5 favorite books and writers, to see if we’re compatible in style and humor. I’ll also send them my most “me” piece for a sample edit.
My editor didn’t “get me.” She didn’t get my humor, quirks, beat and rhythm. In quite a few sentences, she edited out the humor and beat, by removing words and/or rearranging them.
I’ve never hired an editor before. Now I know.