by Jodie Renner
With so many authors self-publishing these days, the best freelance editors are in high demand. So if you’re looking for a knowledgeable, experienced professional editor to help you make your manuscript the best it can be – and improve your overall writing skills in the process – be sure to take some care with how you seek out and approach them.
Due to the high volume of requests, sought-after freelance editors turn down many more writer clients than they can accept. So it’s important to make a good first impression.
Don’t Send a Rough Draft to a Freelance Editor
First, make sure your manuscript isn’t still in rough draft. Try to find time to hone your craft by reading writing advice by experts such as James Scott Bell, Donald Maass, and Elizabeth Lyon. (Also check out my three award-winning fiction-writing guides on Amazon.)
Then go over the manuscript several times, looking for issues you read about and those listed below.
Use Beta Readers First
Enlist 3-5 voluntary beta readers who read in your genre to give you feedback on what excited, confused, or bored them. Also ask where plot points, dialogue, or character reactions didn’t ring true or make sense for them. Here are 15 questions for your beta readers.
If grammar and sentence structure aren’t your strong suit, make the first volunteer you send your manuscript to someone who excels at English. It helps if they are willing to proofread it for typos and grammatical and spelling errors.
That way your other beta readers won’t be distracted by those kinds of errors and can get right into the story.
After you’ve received feedback from your beta readers, do some revising to address any of their concerns.
Then search for a qualified freelance editor for your book. Be sure to do your research and look for editors with good credentials and reviews, who edit mainly fiction and your specific genre. Google “freelance editors, mysteries” or whatever. Or go through an editors’ association like EFA or lists such as this Best Book Editors.
Beware that there are some scammers out there, posing as editors, eager to steal your money. Read their web content carefully, looking for mistakes or other red flags.
Research Websites for the Right Freelance Editor
Read through the editors’ websites to find out about their services, process, and requirements. What kinds of problems/issues do they look for? If it’s only grammar and spelling, you can get a sharp-eyed friend to do that for a lot less money or even free.
To make the most of working with a professional, choose someone who (first) looks for other, more important potential issues. Such as….
- a shaky premise
- a boring plot
- cardboard characters
- confusing viewpoints
- stilted dialogue
- insufficient tension
- slow pacing
- author intrusions
- too much explaining
- plot holes
- info dumps
- showing instead of telling
- convoluted or too-formal phrasing
Follow Those Submission Guidelines!
Once you’ve determined that the editor is up on current fiction techniques and industry expectations, be sure to read and follow their submission instructions.
On my website, for example, I specifically request the following from potential clients:
- The genre
- Total word count
- First 15-20 pages
- 10 pages from somewhere in the middle
- A brief synopsis (a few paragraphs to half a page)
- A brief description of each of the main characters
Without this information, I have no idea whether we’d be a good fit or I’d be the best editor for you. I can’t assess the level of work required to bring your manuscript up to industry standards or provide you with an estimate of my fees.
The quality of writing and the storytelling skills vary hugely from one manuscript to another, so of course the amount of work (time and effort) – therefore, the cost of editing – will also vary hugely.
10 tips for attracting a top-notch, in-demand freelance editor
How to get the best possible edit or critique for your manuscript:
1) Search for experienced, proficient editors who mainly edit fiction and who also read and edit your genre.
Most nonfiction editors are unaware of critical techniques such as story structure, point of view, showing instead of telling, authentic dialogue, and more.
A fiction editor who specializes in romances and cozy mysteries isn’t the best choice to help you add tension, conflict, suspense, and intrigue to your thriller, for example. Or vice versa – you don’t want someone who loves horrors and thrillers editing your cozy mystery or women’s fiction.
Editors of course don’t need to live in your region, but it’s usually best to avoid a British editor for an American novel or vice-versa.
2) Peruse the editor’s website to find out about their editing process and services offered before contacting them.
Do your homework, rather than just contacting the editor and expecting them to explain all about their process and services to you, a potential client whose work they haven’t seen and may not want to or be able to take on. Check their testimonials/reviews and maybe contact some of the authors mentioned to discuss their process with that editor.
3) Follow their submission requirements
Also provide as much information as possible about your book when you first contact them.
If you just contact them and say, “How much do you charge to edit a book?” there’s a good chance you may receive no response or a quick rejection.
When you first contact them, include:
- Title
- Genre
- Target readership
- Total word count
- Brief synopsis (in third person, present tense)
- Brief character descriptions
- Your first 2-3 chapters
Formatting: Attach your ms in a Word doc in Times New Roman, 12-point, justified on the left only, double-spaced, paragraphs indented, no extra space between paragraphs, and one space between sentences. For more, See Basic Formatting of Your Manuscript.
4) Indicate why you’ve contacted this freelance editor in particular.
Perhaps you noticed they edit your genre, you’ve heard good things about them, an author you know recommended them, or you’re impressed by their credentials and testimonials. Show that you’ve done your research and have concluded that they are your best choice/fit.
5) Ask for a critique or sample edit of at least 4-5 pages.
Be willing to pay for it if necessary. It’s money extremely well spent and will save you headaches down the road and could also save you a lot of money in the long run.
Sometimes I can’t do a sample edit because the manuscript needs significant big-picture or structural changes before it’s ready for a copy edit. For example, maybe the Prologue and first chapter should go – or at least be condensed – before a copy edit. Other editors may just work on it anyway, ignoring their misgivings. To me, it’s like asking a painter to paint the outside of a house that needs major structural repairs first.
Another service you could request is an initial critique and edit of your first 10-50 pages. This can be a real eye-opener to authors who didn’t realize how many different aspects of their story need work. Then you can use that information to improve the rest of your manuscript and get it edited at a lower cost because the rest won’t need as much work, which will save you a lot of money overall.
6) Be open-minded about the possible state of your manuscript.
Even if you’re an accomplished nonfiction writer, if you’re relatively new at writing fiction (or are changing genres), you may be unaware of issues in your writing style or fiction techniques that need to be addressed.
Your story may still need some or a lot of big-picture advice, even developmental editing, as well as content and stylistic editing, then rewriting/revising before it’s ready for the final copyediting stage.
An experienced editor will be able to tell quite quickly what level your story is at in terms of the editing process and where they should begin. So if you want a final product that can compete in today’s marketplace, it’s important not to be adamant that it “only needs a light final copyedit or proofread.”
7) Tight deadlines do not produce the best results.
Proficient editors are often booked weeks or months in advance, and some/many juggle more than one manuscript at a time, so start contacting editors well before your manuscript is ready, and leave ample time for the process once it’s begun. If you tell the editor you’re under a tight deadline and need the whole 90K edited and ready to publish within a month, don’t be surprised if they turn it down, especially if it needs a lot of work and input back and forth.
My editing is interactive, with sections going back and forth several times before moving on to the next section, so most of the time delays are because the author is too busy to go over the edits and consider my suggestions and accept or reject any changes I make.
I also ask for payments in instalments as we go along. That way, if things don’t work out for some reason, nobody owes anybody anything.
8) Don’t forget your social skills.
Be friendly and appreciative. If I have two queries for editing similar manuscripts, I’ll choose the pleasant author over anyone who’s terse or noncommunicative, as we’ll be working closely together for months.
9) The writer-editor relationship requires commitment on both sides.
Be sure to express your willingness to apply yourself and do any recommended revisions and even consider deleting or rewriting weak scenes.
If you tell the editor you don’t have time to revise those scenes to make them stronger and more compelling, it speaks volumes about your work ethic and motivation and the ultimate success of your project. That can be discouraging to the editor, who may feel that he/she cares more about your story than you do.
10) Learn to work with Track Changes
If you’ve never worked with Track Changes and comments in the margin, I highly recommend you familiarize yourself with this process before contacting a busy editor, who may not have the time to coach you on it.
Do ask whether the editor only does one pass, or will they do go through it again after you’ve made revisions (using Track Changes). I may be the exception in that I work in sections of 2-6 chapters and do one full edit, then send it to the author for revisions, and they can “accept” or “reject” my changes or suggestions. Then I do another full pass and send it back with additional suggestions. After that, I only look at changes clearly indicated through Track Changes.
The other advantage to working in sections is that if the author is making the same small mistakes, they have time to fix future chapters before I get to them, which then allows me the time to look for other, deeper issues.
By Jodie Renner (@JodieRennerEd) independent fiction editor and author of writing guides
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What about you, Writers – do you have any questions or suggestions? And Editors – do you have any tips to add for writers who are seeking out an editor?
Freelance Editor Jodie Renner
Jodie Renner is a freelance editor who specializes in fiction. She’s also the award-winning author of three writing guides. Her series An Editor’s Guide to Writing Compelling Fiction includes FIRE UP YOUR FICTION, CAPTIVATE YOUR READERS, and WRITING A KILLER THRILLER,.
She also has two clickable time-saving e-resources, QUICK CLICKS: Spelling List and QUICK CLICKS: Word Usage. She has organized and edited two anthologies. Here’s her Website, Blog – Resources for Writers, Facebook, Amazon Author Page.
JODIE RENNER’S EDITOR’S GUIDES TO WRITING COMPELLING FICTION:
Are you looking for techniques to really bring your fiction to life for the readers, so they feel they’re right there, on the edge of their seats, struggling with the hero or heroine? Staying up late at night, worrying, glued to the pages? Award-winning freelance editor Jodie Renner provide specific advice, with examples, for captivating readers and immersing them in your story world.
“A handy compendium of techniques that will also serve as a checklist for authors who aspire to write page-turning fiction.”
– James Scott Bell, author of Super Structure: The Key to Unlocking thePower of Story
“Jodie Renner’s books are packed with practical writing and editing advice. Get ready to improve your manuscript today.”
– Steven James, author of Story Trumps Structure: How to Write Unforgettable Fiction by Breaking the Rules
“Want to write solid, marketable fiction? Read this book. Regardless of your experience level, Captivate Your Readers gives you clear and concise tools that will help you create a believable story world and spin a good yarn.”
– DP Lyle, award-winning author of the Dub Walker and Samantha Cody thriller series
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Featured Photo: Maxwell Perkins, Thomas Wolfe and friends. Wikicommons.
Thanks so much for inviting me to be a guest blogger again on your exemplary blog, Anne! I hope writers who are interested in seeking a really good editor for their novel will find my tips helpful.
Brava to the editors of the world. Because of them, more people are readers. Because of them, good writers look great.
Thanks, CS! It’s such a satisfying feeling to help authors bring their writing skills up several notches and increase their chances of getting published and reaching lots of readers. And it’s so great to be appreciated by people like you!
Jodie—Thanks for a super on-target how-to guide. Especially helpful for new or inexperienced authors who are unaccustomed to working with a professional editor!
Thanks, Ruth. I’m hoping these tips will help indie authors find the most qualified editors and send them a package that invites the editor to take on their manuscript.
Good stuff, Jodie. Super informative! Question – What’s the best fee compensation structure that works well for both writer and editor? I don’t mean the actual dollar amount but whether it’s by word count, time, manuscript flat rate, etc. BTW, good Sunday morning to Anne & Ruth!
Hi Garry. I can’t imagine doing a manuscript flat rate, as manuscripts differ vastly on the amount of work needed to bring them up to industry standards and appeal to readers of that genre. Often during the editing process, writers end up adding whole scenes or even chapters (and deleting other scenes). I’m bad at timing my work, so I prefer to charge by the word. To ascertain my fee per word, I do a sample edit of at least 4-5 pages, and send that to the client with my tentative fee for the whole novel (as new scenes could be added, so add to the word count). But sometimes the first several pages aren’t ready for a copy edit, so I give the writer some free advice and links to articles on my blog and others on point of view, openings, adding tension, dialogue, and so much more. Then, when they’ve revised their opening, I can do a sample edit for them.
And Happy Sunday to you, Garry! Enjoy this beautiful autumn!
This post is a great resource for editors to share with their prospective clients! A little education and expectation setting can go a long way to a smooth and effective relationship.
Great info in your reply(s), Jodie. Very clear that there’s no one-size-fits-all.
Thanks, Garry. Yes, freelance editors vary considerably in their background, specialties, skills, approach, and editing process, so it’s always a good idea to ask in advance. Or just ask for an edit of the first chapter or two before deciding whether to continue on with that editor or not.
Great suggestions! Thank you for a very detailed description of the process for finding a good editor.
You’re most welcome, Patricia. So glad you found my tips helpful.
This is great advice for how a writer can prepare their manuscript and themselves to snag a great editor. I had the GREAT privilege of working with Jodie on my recent historical fiction manuscript. She is absolutely the cream of the crop. Before I decided to contact her, I knew I wanted an editor who would be thorough, with an eye for accuracy and detail. Jodie did not disappoint, and I am excited to work with her again in the future.
One thing that comes up often in my writers groups is the emotions that accompany a rigorous edit. It’s often difficult to read critique on your precious words and ideas. One thing I have found helpful is to read through all the suggested edits, close my laptop and come back to work though it later. That way, I was able to work through my emotional response and then later work with the manuscript with an objective eye. It was also super helpful to do more than one pass, as sometimes it took me a few times to wrap my head around the new changes.
Thanks so much for dropping by and commenting, Christy. I loved working on your fabulous historical fiction! Can’t wait to see it in print!
Your idea about reading through all of the editor’s comments and changes first and then taking a break (I recommend several hours at minimum, to a day or two) is an excellent one! A walk, shower, nap, or sleep between reading the suggestions and tackling the revisions is a must. Thanks for that great additional tip!
Excellent advice, as always, Jodie. This should be required reading for every aspiring writer!
I especially appreciated #9. It’s a relationship and has to be cultivated like any other relationship. It’s important to be open and honest with each other in order to produce the best product, but that can be hard. When it works, it’s a great benefit to the author.
So true, Kay. Thanks for stopping by and commenting!
That’s one of the reasons I edit in sections, with payments in installments as we go along. If the relationship is strained for some reason or things aren’t working out as hoped, the process can be halted at that point, and nobody owes anybody anything.
I also highly recommend an editing “date,” where the editor is hired to do a detailed critique and edit of the first few chapters or 10-50 pages. Then, after that, the author can evaluate the extent to which the editing suggestions and changes enhanced their work to appeal more to their target readership.
Thanks again.
Thanks for sharing these tips, Jodie!
As a developmental and line editor I rarely do copy editing, as it doesn’t fit my mental mechanics and natural analytical ‘bent’, and wanted to mention that along with finding an editor fluent in your genre, it is important to look for an editor skilled in the level of editing their work currently requires.
I receive many queries a year from authors who have never had even an assessment performed on their material, yet are looking for a copy edit.
Part of learning about writing is being able to identify and confirm that you have written an actual story and not a soap opera, have followed basic structural rules of storytelling, have created characters that show growth, understand that every scene must have a reason to exist that forwards the story — and some other things…
Part of finding your perfect editor is identifying what level of support you need at this point in the creation of your book.
I appreciated your tips on how to approach an editor as well. I tend to interview writers requesting my services in order to determine where they are in their writing experience – generally meaning – what they have done with their manuscript so far.
I need to know what their perceptions are regarding editing, what self-editing steps have been taken, what their writing educational background is, and oddly enough, can they ‘wing’ a synopsis. All of this can tell me what they will/can understand, what terminology I can successfully use in our communication, and importantly, what they expect to gain from this experience.
I’m so glad you mentioned beta readers, though that does assume that the writer has managed to acquire such helpful associations. Many writers who approach me have heard of beta readers but haven’t a clue on how to find one or confidently incorporate one into their prep schemes. Your questions for beta readers are great! And the prep work provided by a good reader is invaluable.
Sorry to go so long — passionate about editing (my excuse for long windedness) — but loved seeing your advice. Thanks to Anne and Ruth for inviting you!
Thanks so much for your spot-on, articulate comments, Maria. I often give some quick developmental advice to writers who contact me and refer them to articles or books for specific fiction-writing techniques they seem to be unaware of, areas where they need to hone their skills. (I ask for a synopsis when they contact me so I can also check for any obvious weaknesses in the premise, plot, characterization, or style.)
I do occasional developmental editing of a whole manuscript, but prefer to stick with line editing, copy editing, and proofreading. I do offer advice on plot, characterization, point of view, wordiness, info dumps, author intrusions, showing instead of telling, stilted dialogue, inconsistencies, discrepancies, pacing, or anything else I notice as I go along. But I won’t do “just” a proofread on a manuscript as I find too many other big-picture issues that need to be addressed as well.
Unfortunately, most of the fiction writers who contact me don’t realize that their novel could really use a developmental edit or big-picture structural changes. And some are adamant that all it needs is a light copy edit and/or proofread, when it obviously needs so much more. I decline to work with those writers.
I really like your idea of “interviewing” potential clients to see their level of awareness of what might be involved and their commitment to the task ahead of them.
Thanks again for taking the time to offer those excellent insights on the whole process!
You opened the door — I just walked in! :o))) Thanks again for sharing.
Superb tips, Jodie! Nice to “see” you here. 🙂 A new picture book writer recently asked me if I “bother with an editor” or just edit the MS myself. She seem stunned to learn professional writers need editors. Long story short, rather than take the time to work with an editor, she uploaded the MS to Amazon the following day. What a shame.
Thanks for dropping by and commenting, Sue. Great to see you here too!
When writers tell me they probably don’t need an editor, I suggest they read the Acknowledgments pages of bestselling authors, where they often thank 5 or 6 or more editors who helped them prepare the book for publishing — from developmental and structural editors, through line editors, copy editors, and proofreaders. And that’s after several beta readers and special consultants had offered advice. That’s a big reason why their books hit the NYT bestsellers lists!
Of course, indie authors can’t afford all those levels of editing, but one thorough edit (several passes) by a professional editor who reads and edits your genre is a must!
Thanks again, Sue. 🙂
All of this was well said and true. Most of the editors I know and work with are often booking two months in advance or further.
Excellent piece!
Thanks so much for your kind words, Jonas. Great to hear from a successful, prolific author who’s also an editor! 🙂
This is a thorough and wide-ranging post on the topic of freelance editors—as I would expect from Jodie. I’ve had the pleasure of working alongside her for several years, and have learned so much. Jodie’s books are on my editing and writing reference shelf, with e-copies on my computer, and like this post, they are in-depth yet at the same time friendly and accessible. I’ll be definitely adding this post to my list of excellent information sources for writers whom I work with as an editor, and also for young writers I work with as a tutor 🙂 Thank you, Jodie!
Thanks so much for your kind words, Norma! So nice to hear from a fellow editor and colleague. And thanks for the plug for my fiction-writing guides! So glad you find them helpful for your writing, editing, and tutoring. 🙂
Thank you Jodie for your splendid, no-nonsense guide to choosing the right freelance editor. Very helpful. Very instructive. You write as you edit — clear and concise and right on target!
Thanks for your kind words, Jim. Great to hear from another talented author and editor. I’m glad you found my tips useful! 🙂