
I don’t think my
book really needs editing …
I can’t tell you how many times I
hear that line when consulting with authors – both published and first-timers. Heck,
even editors need an editor. And some authors need more than one! Whatever for,
you ask? Let me name the ways …
Why do you need an editor? You’re knowledgeable in proper grammar and punctuation,
isn’t that enough?
In nearly all cases, no. You’re too
close to it. You’ve been teasing it, babying it, living it; and you know how
“love is blind”? Even “setting it down and picking it up again” an hour, day,
or week later, generally won’t allow you to see through the forest of familiar
words and phrases. Face it, you know what’s coming … and it doesn’t scare you!
Even you computer-savvy writers who
use Word’s spelling and grammar rules likely agree it isn’t infallible and can
ignore some important contexts. In a long piece like a book, you’re just asking
for multiple errors until someone who has never read it, won’t just “tell you
what you want to hear,” and has expertise in editing, can spot the anomalies
and inconsistencies—without silencing your voice.
And speaking of voice—in my own
writing I often break the rules—I have from high school, disagreed with some
syntax requirements, and at times, I simply make up a word. It’s allowed. It’s your book. The key is to do so consistently, throughout your book or
article, so it’s an obvious eccentricity.
My mother, father, sister, brother, pretty much everyone
in the family and my best friends, are all teachers, professors, or authors—they’ve
offered to do it for me. I don’t need a costly, independent editor.
Ah, contraire, m’dear! A couple of reasons
why these wonderful people should not be the only means of editing your book:
Love ‘em though you do, most likely
your family members, et al, are not trained to spot the intricate and sometimes
obscure, but important details that identify an accomplished author.
And do you really want to put them
in the vicarious position of utter honesty? An independent editor will be more
forthright and not worried that you won’t love them anymore if they tell you
the truth.
Chris Roerden covered it in her
contribution to John Kremer’s 1001 Ways
to Market Your Books (1993 edition), “Typos, misspellings, and other goofs
from bargain-basement copyediting [or untrained editing] diminish a book’s
credibility and embarrass author and publisher. Less obvious is the lack of
developmental editing, which can cause a book to miss its market. In a
developmental edit, a market-savvy editor guides an author in producing a more
saleable book.”
Two things about her quote: You may
need more than one editor; and a good
editor will “guide” your writing, not
rewrite your book.
How do I know what type of editing I need?
Aha, confusion reigns! And Confucius
say, “Research your editor.” OK, well maybe he didn’t really say that but I bet he would have if he were trying to
publish a book today! Types of editing also tend to blur more than a photo
taken with a shaky hand.
A proofreader often offers a tad
more, becoming a basic copyeditor. A copyeditor can be trained enough to
provide a little content editing … we are so multi-talented these days! So
knowing who does what is helpful, not only in selecting an editor for
expertise, but in knowing the going rate you should pay.
FIRST & FOREMOST: What “flavor”
is your book? Mmmmmm, PEANUT BUTTER! Great—now make sure your editor LOVES peanut
butter! She needs to know all about the sticky stuff—how it looks, acts and
tastes. An editor may be excellent in the mechanics of editing, however, if she
knows nothing about peanut butter, but everything about oranges, look for
another editor—the one with peanut butter stuck to the roof of her mouth. In
other words, make sure your editor is familiar and experienced in editing the
type of book you’ve written.
Taking that premise one step further—technical
tomes, historical stories, and perhaps SciFi novels, just to name a few—may
require special expertise that will cause you to fork out a few $$ more, either
for a specific topic editor, or for a general editor with related experience.
For many books and writings, a good
copyeditor, with “enhanced” skills, might suffice. However, for those authors
seeking to brand their concept and/or make a serious living from their books,
multiple editors are recommended. At the very least, a comprehensive content
editor, and a final-version copyeditor.
Editors’ warning and disclaimer: Even after two, three, or more editors and/or
friends’ read-throughs, mark my words—there will
be errors. You might whittle them down to only a couple of minor faux pas, but
not even the most elite traditional publisher has produced a book without
errors. We are, after all, human.

Some capsulated, general
editing descriptions:
*Proofreading
A simple, final sweep only for
glaring errors and typos, needed before sending to your editor. (This is something
your knowledgeable family, friends and colleagues might want to help with, too).
This step eliminates "most" of the typos and obvious misspellings. (See
disclaimer above; it's so difficult to get every last one.)
*Copyediting (a.k.a. Mechanical or Line Editing
Follows “house style” (for
traditional publishers and good, author-originated publishers); ask what that
is and agree on variations specific to your book. In addition to proofreading
steps, reviews hyphenation, consistent use of tables, lists and formats,
abbreviations, grammar, syntax, and basic word usage.
*Manuscript Editing
Broad term used for
any book or manuscript editing service.
*Content Editing
Closely related
to Substantive Editing (below); add
paragraph structure, pattern of the text and overall flow. Non-fiction books
and novels with complex plots especially benefit from this type of editing.
*Substantive Editing
More involved than copyediting with
elements of Content Editing; again generally follows the line-by-line method
and often includes organization and arrangement of existing content, rephrasing,
an eye for ambiguities, and offering comments toward simplifying. This level
might also include target market review, as today’s books reflect the new topic
branding.
*Developmental Editing
Tends to be a writing coach and
teacher, often working with an author who may not be a terrific writer, but has
a great story or knowledge to share. Most often begins working with the author
at the beginning and guides her all the way through, as an integral contributor.
*Format Editing
Are your lines on straight? This
type of formatting ensures your book is consistent with your headings, page
setup, and overall “look” of the text (especially beneficial for independently
published books when you are frustrated by Microsoft’s complex word processing).
Note: Please do not submit your
book to an editor in chapters as you go—even
if they say, “Well, OK.” They don’t mean it … trust me. It is harder on both of
us … too piecemeal to easily maintain a cohesive hold on the flow.
How do I find a reputable and knowledgeable editor?
With the Internet as their
billboard, they’re everywhere! Key words are “reputable” and “knowledgeable.” Best
way? REFERRALS. Ask other authors who write in
your genre about the editor they used and if pleased with the results.
Some additional tips if you have to research:
~ Ask for references.
~ Request sample edits on minimum of a couple
pages, up to a chapter of your book, so you will know if you’ll be happy with
their style.
~ Do they have an organized and detailed
website? (A good sign that they will be meticulous with your book, too.)
How much should I expect to pay for editing?
At this time, 2¢ to 4¢ per word (up
to approx. 5-10¢) is average for proofing, copyediting and content editing; and
escalates from there. Some editors charge by the page. Be wary of those who
charge by the hour—although in their Common Rates for Editorial Services, the Editorial Freelancers’ Assoc. gives a
comprehensive list of average rates, generally by the hour. They also, however,
include what the (average) estimated time should be; this is when you
definitely want references to validate your editor’s competence and integrity.
It’s still recommended to pay by the word or page. (Copyediting is averaged at
$20-$50/hr., at 2-10 pgs./hr., as of 2009.)
Tip: Always create an
agreement between you and your editor, to clarify not only the $ amount and
length of time allotted, but specific type of editing expected and what you
prefer they don’t do.
What can I do to make
my book better?
Create a style sheet – it doesn’t
need to be as involved as an editor’s, but it will certainly help keep you on a
straight course while writing your book. You may want to indicate:
~ how
you treat lists
~ what
words are unusually capitalized
~ technical
terms
~ specific
formatting requirements
~ word
list (i.e., email vs. e-mail/all hyphenated words)
~ what
style reference books are used
~ any
uncommon word treatments; unusual figures of speech
A sample style sheet can be on this website: Editing Style Sheet-sample
And stay informed about changes in
grammar and punctuation styles—changes are not always obvious, but can take you
by surprise. A few years ago, I realized my edition of the AP Stylebook needed
updating—I soon learned we were no longer to insert two spaces at the end of each sentence … sheesh!
Having your book professionally
edited is the angel-white icing on your devil’s food cake!
Resources:
My Book’s Published—Now What??? (Infinity
Publishing) By John F. Harnish, multi-book author and VP of Author Services,
Infinity Publishing.
Para Publishing / Dan Poynter, links
to suppliers to the publishing industry— great hand selected resources.
Happy writing!