As an author, making the decision to self-publish a book is a huge commitment, both in terms of time and resources. But making the decision to hire an editor for that project can be at least as big a commitment—maybe even more so. Although authors might need less professional guidance as they gain more experience and traction in the self-publishing world, almost all projects will, at some point, benefit from outside help. It might be major structural help in the form of developmental editing. Or, it could just be the small details that need work through the use of a copy editor.
…But when—and how—is the best time to seek that help?
Before hiring an editor, book authors should ask themselves three overarching questions. If the answer to any of them is “no,” it’s not time just yet to go the professional editing route—there’s still more independent work to be done first.
Question one: Do I have the full idea for my book on paper yet?
Developmental editors are there to serve two purposes (both of which are very different from the purposes line editors or copy editors serve; more on that in a bit). First off, they help authors organize their thoughts into a clear outline to convert into a book. Then, once the first draft of that book is complete, they’re available to take another look, to add clarity and flow to the ideas presented throughout the novel.
Depending on the author and the project at hand, sometimes a developmental editor is needed for both of these two steps, sometimes for only one, and sometimes for neither. Regardless, though, there’s one thing a developmental editor cannot do: Come up with ideas for you. Your self-published work is, after all, your piece.
If you’re facing writer’s block and can’t think of ideas, try other methods to clear your head, such as going for a walk or changing your work setting. But don’t expect anyone else to fix it and do your own brain’s job!
Question two: Have I done a full edit of my first draft on my own?
A developmental editor can, again, assist both with organizing ideas before a draft is written and clarifying them afterward. But in between those two steps, it’s in the author’s best interest to do a first read-through to maintain their originality and voice. Then the developmental editor can spend time on continuity, character, plot, and structure.
Yes, major structural changes might be needed afterward, which is where the developmental editor can be a useful tool (possibly, at least) once again. But those can—and should—wait until at least one round of self-editing takes place.
Question three: Have I considered the financial costs?
You’ve likely heard the saying “you get what you pay for,” and this very much applies to professional editing. Top-notch editorial jobs can be expensive, depending on the depth and extent of editing required.
As an independent author, it’s important to look at the potential fees you’ll need to spend for an experienced, professional editor, and make sure the service is worth the cost. At the same time, be mindful that editing services advertising for too low a cost are more than likely to be low quality, or possibly even complete scams—if it seems too good to be true, it probably is.
Also, take time to calculate exactly how much you’ll likely need to spend based on advertised rates, which are most often either per word or per hour. If, for instance, an editor charges $0.05 per word, the final cost will depend on the word count of the project, so be sure to add things up to budget accordingly. Rates by the hour can be trickier to anticipate, because an editor likely won’t know the hour count before actually getting into the project. So, take advantage of consultations, if they are offered, to at least get an idea of what kind of price tag you’re likely looking at before committing.
Okay, I’m ready to hire an editor. But what kind of editor am I looking for?
The word “editor” might seem like a “one size fits all” term, but that couldn’t be further from the truth. Developmental editors are very different from line editors, who are very different from copy editors.
At the developmental level, it is the editor’s responsibility to look, as previously mentioned, at big picture issues. This might include plot, characters (whether fictional or biographical/for a memoir), and organization of ideas. Oftentimes, this will necessitate the editor going back to the author and asking for at least some portions of the work to be completely re-written.
Line editing, meanwhile, takes a sentence-by-sentence approach, focusing on clarity and flow of ideas through sentence structure. Depending on the extent of the necessary changes, this also may require the editor to return to the author for input as to how he/she wants some sections to be redone.
Copy editing, on the other hand, is much more detail-oriented than developmental or line editing. By the time an author’s book is ready for a copy edit, it should be in relatively good shape in terms of idea organization and sentence clarity. At this point, the focus should mostly be on correcting typographical/grammatical errors, along with adherence to a style guide (AP, AMA, Chicago, etc.), if applicable.
Because these types of editing are so different, it’s the author’s responsibility to use critical thinking, and possibly external research, to determine which form of an editorial job their work needs and why. If, for instance, the author seeks out a copy editor during a stage where a developmental edit is still needed, it’s only going to lead to frustration and wasted time, both on the author’s and editor’s end.
By that same token, though, sometimes a professional development edit isn’t needed, and the author can skip directly to the line or copy editing phase. These are the types of judgment calls that are most effective when enlisting the help of trusted co-workers or colleagues to look at the book before reaching out to any kind of professional editor.
What type of timeline am I operating under?
Some projects are inherently more time-sensitive than others, and the necessary speed will likely impact what kind of editing is most appropriate. An experienced editor might be able to complete a light copy edit within a couple of days, or even overnight. But a deep developmental edit, even for a seasoned professional, is simply not an overnight job—it takes substantial thought, which translates to a substantial time commitment.
So, before finalizing any deals or making any monetary transactions, make sure you’re being realistic in terms of your needs. If you need a significant developmental edit for a project that has to be published too soon, it might not be feasible, which could mean instead focusing, at least for the time being, on how to make your project less time-sensitive. Also be aware that many respected editors could be pressed for time, so if speed is too much of a factor, keep an open mind in terms of your editing options.
How am I going to respond to constructive criticism?
Self-publishing a novel is a mentally and emotionally exhausting process; chances are, you’re essentially re-tailoring your life toward completing that project. When you get to the point where you’re asking for someone else’s input, you’re inevitably going to get some level of constructive criticism as feedback—a hurdle that will only add to the stress factor. Nevertheless, these comments should be viewed positively as they will enhance the quality of your book.
So, before hiring an editor, consider your psychological state, and whether you’re ready to deal with the emotional toll this will take. It may mean waiting a few weeks, or even months, after your first draft and self-edits are complete to ensure a full mental recharge.
All too often, would-be self-publishing authors simply abandon their projects because they are facing burnout and are too emotionally exhausted to make it to the finish line. Pace yourself accordingly, and only take the step of hiring professional editing help—and all the constructive criticism that comes with it—when you’re absolutely certain you can deal with it.
Final Thoughts
As a new author, once you’ve made the decision to reach out to a professional editor, choosing from all of the options out there can be intimidating. But the longer you’re in the independent writing realm—particularly if you’re mostly working in one specific genre—the more you’ll learn about the available editors in your field and area, and the more comfortable you’ll become with putting trust into a particular individual or group.
New authors should not be shy about reaching out to colleagues and other authors for suggestions regarding editors—whether a professional editor or author friend, a second pair of eyes is always the wise way to go!
By Anne Brenner
