As indie publishing soars into new heights and successes, writers are looking more and more to freelance editors to help them create works of merit that will stand out in the market. Whether this process is seamless and productive or fraught with difficulties relies on the relationship established between editor and writer—at the outset and throughout.
The writer-editor relationship—like any relationship—works best when communication between parties is transparent and clear. What ultimately drives misunderstanding—or its corollary, harmony—is “expectation” and how it is met. Clarifying expectations on both sides is paramount to creating a professional and productive relationship with few hitches.
Indie authors often come to editors with unclear and, at times, unreasonable or unrealistic expectations on services. Many writers know very little about the kind of editing we do and the different levels of effort (time and associated fee) required. They do not understand the difference between “copy-editing” and “structural editing”, particularly as it pertains to their own work. In fact, many indie writers don’t even know what their MS requires. This is because of two things: 1) they can’t objectively assess their own work, particularly in relation to market needs; and 2) many authors have not sufficiently considered their “voice” or brand and matched it to a relevant target market. Both of these will influence how the writer comes into the relationship and the nature of their expectations.
It is best to be “up front” with everything, from understanding a writer’s work and market expectations to establishing your fees, your time, and the nature of your services. This is why a savvy editor will ask for a one to several page example of the author’s writing prior to offering their services and finalizing the nature of a potential relationship. Such an exchange may, in turn, include a sample of the editor’s work for the writer to assess. This exchange helps clarify the process for both parties.
A savvy editor will want to establish with the author the following things prior to taking him/her on as a client and embarking on the actual editing task:
- The nature of the writer’s work: a writer’s work should harmonize with the editor and achieve a good fit; e.g., I edit fiction and non-fiction; however, I do not edit horror, because I simply can’t relate to it and don’t care for it. More on this below.
- The author’s expectations and target market: this is key to establishing the kind of editing required for the author’s piece. Is it good enough to just copy-edit or will the piece require substantive edits to succeed in the identified market? This often requires open and frank communication between editor and author.
- Nature and time of submission: on which the schedule is based.
- Schedule and deadlines for deliverables: based on the editor’s realistic timing (including other work) and the nature of the editing job (to be established by some reliable means).
- Nature of communication: form and frequency; partly to ensure that the writer does not abuse the communication stream with a barrage of emails, e-chats, phone calls, etc.)
- Nature and cost of deliverables: e.g., use of track changes; inclusion of summary letter; follow up meetings, etc.
- Mutual agreement on fees, fee structure and payment details: what, how and when.
- Inclusion and nature of contract: this may include an NDS, if desired.
By clarifying these, you and the author create a new set of realistic agreed-upon expectations.
Fitting Writer with Editor
The right fit for editor and writer includes more than harmonizing genre, writing style, and content. The fit includes personality. A professional editor and colleague of mine recently shared on our list-serve about his experience as both a freelance and publishing house editor. The editor shared that a majority of writers responded to his edits with comments like, “finally, someone who just comes out and plainly tells me what’s wrong!” However, others complained: “why are you so mean?” The editor admitted to using humor liberally in his assessments and was described by one of his clients as “playfully harsh.” While the work of this editor is no doubt impeccable, the added humor may not be a good fit for some writers, particularly those who are not highly confident in their work.
Knowing your own brand of editing and being up front with it is part of achieving a good fit with a writer and can avoid huge headaches down the line for both of you.
Toward Honesty & Moral Integrity
I and some of my editing colleagues have run across several cases of indie writers who have come to us with “already edited works” that they believed only needed proofing or minor edits, but in fact called for substantive editing and story coaching to fulfill market requirements. The previous editor had either done a poor job of editing or the author had done a poor job of incorporating the edits. Either way, I was now in the position to inform this author, who had already spent several thousand dollars on edits, that his work required more than a “trim job off the top” to meet the standards demanded by the market.
My colleague suggested that it is unethical to copy-edit a manuscript that obviously requires structural editing or has serious “story” problems. I’m inclined to agree. The key lies in the expectations of the author and his/her intended market. This is where the editor’s knowledge of “matching work to market” becomes a critical part of the relationship with the author, whether you take him/her on as a client or not. I talked more about this in a previous article on Boldface, “The Moving Target of Indie Publishing: What Every Editor (and Writer) Needs to Know.” Honesty is best. Following the path of moral integrity may not put food on the table; but it will maintain your reputation as an editor of quality, which will keep the roof over your head.
Below is a mock email of a general response to a writer’s inquiry for help on their MS:
Thank you for your interest in my editing services. I am still taking on clients and would be happy to help you.
In your initial letter, you included a brief description of your story. It sounds intriguing and interesting. Science fiction is my passion (I’ve published nine SF books so far).
Before we proceed, I need a few things from you to ensure we are a good fit and to help me do the best I can for your project. First, can you please send me a short sample of your work (2-3 pages) and a very short summary. From this I’ll be able to confirm the kind of editing that best suits your project. For the kinds of editing/coaching services and associated fees please refer to this page on my website: xxxx.
Can you also answer the following questions?
- (If they haven’t included the genre or a short premise, I ask them for one).
- How do you intend to publish this book (traditional, indie, self-publish)?
- Who would you say is your intended audience and market?
- Is this book a stand alone or part of a trilogy or series?
- Is the book complete (first draft or more)? If not, how much is written?
Based on this, I will suggest the kind of editing (and coaching) required to best fit your needs. This may be one or a combination of the following: 1) an evaluation/assessment at $xx/page; 2) copy-editing (with some substantive editing) at $xx/page; or 3) story coaching at $xx/hour. As outlined on my webpage (xxxx), I provide digital commentary (line by line) in your manuscript (in Word through track changes) accompanied by a summary letter with recommendations. You can find examples of what I do on this page of my website: xxxx.
Once I’ve determined what services best suit your work and you are in agreement with the service and fees, I will draw up a contract for you and I to sign. The contract will stipulate a reasonable schedule that you and I can agree on for the process and deliverables.
Once the contract is signed by both of us, I would ask that you send me your material along with Paypal payment for the first half of the agreed total fee by the date marked in the contract.
I look forward to hearing from you.