Are you writing a book?
Get
professional help from an experienced book editor who can quickly and
accurately spot flaws, make helpful suggestions, and add the polish
your book needs.
It
doesn't matter if your book is just in outline form, in its first draft,
or ready for the world to see—send it to an editor first. Why risk
a rejection, poor reviews or slow sales?
Barbara
Munson specializes in editing non-fiction books, including history,
biography, autobiography, spirituality, personal finance, business and
sales, how-to, self-help, inspirational, travel, and personal narratives.
The
Basic Process:
1.
Contact Barbara by email or phone before sending her your manuscript.
2.
Discuss the goals for your book, what type of help you need for it and
your time frame. If you live nearby, a face-to-face meeting is recommended.
3.
Send the manuscript or sample chapters electronically (or by snail mail)
to Barbara.
4.
She will review the materials and get back to you with a proposal including
an estimate on time, costs and other issues.
5.
Depending on the length of the book and how much editing is required,
expect to get updates and final edited copy within a few weeks. If your
book requires substantive editing (reorganizing, rewrites, research),
add additional time.
6.
Barbara either will edit your book online (using “tracking”
in Word) or mark up a hard copy that she will mail back to you. The
method will be agreed upon ahead of time.
7.
Expect to pay half the fees up front and the final payment upon receipt
of the edited manuscript. Your initial meeting or phone consultation
is free.
8.
Ask Barbara about her additional services, such as writing book proposals,
query letters to agents, press releases, book review letters and promotional
copy for the back of your book. Also consider her “Self-Publisher
Consulting” package.
Helpful
Articles
Want
to save money on the editing process?
Read Editing on a Shoestring.
Not
sure what type of help you need?
Read Do You Need an Editor, Ghostwriter or Collaborator?
Recent Client List.
Editing
on a Shoestring
21
Money-Saving Tips on Working with an Editor
Freelance
editors are paid for their time either by the hour, the page or the
project. Some projects may take them 20 to 40 hours, or more.
You
do have options, though, to help minimize the financial crunch—without
sacrificing the quality of your book. One of them is to save on up-front
costs by learning how to be a savvy manager of the editing process.
Here are some ideas from a book editor's point of view.
1.
Decide what kind of editor you need. Do you want someone to provide
light editing (or proofreading), medium editing (sometimes called copyediting)
or substantive (content) editing?
2.
Find an editor who understands the genre of your book and who has
credentials or experience with other books in your field. Hiring a fiction
book editor to edit a self-help or history book, or vice versa, could
result in more time spent editingÑand larger fees. Get samples of other
jobs he or she has edited, or ask for the names of past clients you
may call.
3.
Discuss all fees with your editor up front. Keep in mind that the
editor is in business and should be treated as a business partner first
(even though you may end up considering him or her to be your “best
friend,” trusted confidante, and shoulder to cry on). Nail down
the fees for the job (or at least establish a range of fees you both
are comfortable with) before the editor begins working on your book.
4.
Pay by the hour or fixed price? Some editors charge by the hour
and others will quote you a set price for the project. Negotiation is
acceptable—and often an editor will prefer to receive a set price,
paid in installments, so you may be able to lock in a lower amount.
Your editor may even offer to handle additional tasks, such as finding
and coordinating with a printer, writing a press release or proposal
or helping with other book marketing jobs, in one set price. Priced
individually, the costs would be a lot higher.
5.
Explain precisely what you expect from your editor. For example,
if you want substantive editing help, saying, “Take a look and
tell me what you think,” wastes the editorÕs time and your money.
Instead, say, “My goal for the book is ______________. I'd like
you to tell me if I have accomplished this goal.” Or, “I am
considering moving chapter one to the end of the book. What do you think?”
Or, “I would like the book to be read by older teens and young
adults. Do you think I have used the right tone?” Or, “This
is about my grandfather. What do you suggest I do to make it of interest
to a general reader?”
6.
Before you turn over your manuscript to your editor,
do as much work on it as possible yourself. Use your computer's spell
check and grammar check. Have a friend review the manuscript and point
out anything that looks wrong. Try reading it out loud—this will
help you spot poorly constructed sentences and confusing areas. The
more you can polish the manuscript before you turn it over to your editor,
the less time it will take the editor.
7.
Give your editor the complete manuscript instead of one chapter
at a time. This will eliminate the extra time the editor will spend
rereading to ensure overall consistency.
8.
Point out special styles or phrasing you want the editor to leave
as is, for example, using lower case in a certain area and/or no punctuation.
Remember the poet, e e cummings? Make a list of any areas of concern
that you want the editor to pay particular attention to, such as photographs,
footnotes or a section with poetry.
9.
Discuss deadlines and stick to them. You'll have deadlines in the
process, too.
10.
View your editor as a team member. Keep him or her in the loop,
just as you would if you were in a work environment. For instance, if
you are going out of town for two weeks, and won't be available for
questions, let your editor know.
11.
Consider a written contract. Not all editors routinely provide contracts,
but if you want one, they will be happy to oblige. The contract should
include expected timeframe, fees and responsibilities of the author
versus the editor (e.g., who is responsible for checking that final
proof from the printer?).
12.
Make every change to the manuscript that the editor suggests, unless
you feel strongly it should not be changed. The editor is a professional—the
best person for the job. If you are not sure why your editor red-marked
an area of your manuscript, ask.
13.
Determine whether your editor prefers on-line or hard-copy editing.
If you send your manuscript electronically and the editor has to print
it out to work on it, that costs time and money. Who will make the corrections
to the actual digital file? You could save money by making them yourself,
but don't miss any changes or notations the editor has indicated! In
general, an editor will charge more to edit online.
14.
Avoid making changes after you have sent the manuscript to the layout
artist. If you have planned and organized
your book well, and you and your editor are satisfied with it, avoid
the temptation to “add just a few more paragraphs.”
15.
Let the editor know what style manual you used, if any, in preparing
your manuscript. Share your thoughts on such style considerations
as the serial comma, capitalization and use of italics.
16.
Communicate with your editor often. The more input you can provide,
the better the outcome.
17.
Ask about indexing. An editor often will take on this task.
18.
Who does your editor know? An editor with an extensive Rolodex can
be a goldmine, if you need suggestions for printers, graphic designers,
literary agents, publishers, booksellers, media contacts, etc.
19.
Are you going to need help with marketing and promoting your book
or researching the competition? Select an editor based on those needs,
as well. You may find that your editor is more knowledgeable about the
book industry and marketing than an outside consultant, and may charge
lower fees for those services.
20.
Don't switch editors midstream. If you are unhappy with your experience
with an editor, try to work it out before running to another editor
to “fix it.” The problem may be just a lack of communication.
A second editor will probably have to start the editing process at the
beginning!
21.
Think you're ready for a proofreader? You aren't, unless your book
is in its final form, i.e., it has been formatted and is ready to go
to the printer.
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Do
You Need an Editor, Ghostwriter or Collaborator?
The
Different Roles of a “Word Specialist”
Ghostwriting
The
writer drafts and writes the manuscript, and you provide the materials
(background information, audio or video tapes, notes, books written,
journals, etc.) and interviews. Also includes additional research by
the writer when necessary. No byline given to writer.
Coauthoring
or “As told to...”
This is a shared creative process. You draft it and provide input throughout
the process, as needed, as well as materials (see Ghostwriting above).
You may or may not participate in the writing. Includes byline of both
parties.
Collaborating
Similar to coauthoring, but the research, creative input and writing
are done by both parties. Includes bylines of both collaborators. Comprehensive
revision When your manuscript needs a complete overhaul, I rewrite.
Byline for writer is negotiable. The level of work done is more extensive
than a content edit.
Content
Editing
When your manuscript requires editing and some rewriting help. Entails
substantial work on a manuscript, which may involve suggesting more
effective presentations. This level of editing also focuses on eliminating
wordiness, triteness, confusing statements, vague generalizations, mixed
metaphors, gaps, redundancies, jargon or overuse of slang, use of passive
voice (if requested), and ensures coherence, consistency of tone and
focus, logic, and manuscript organization.
Copy
Editing
A light edit compared to content editing. Focuses on word choice, transitions,
and overall fluency as well as correct and consistent style in spelling,
punctuation, hyphenation, capitalization, grammar, numerals, and abbreviations.
Proofreading
For that final pre-publication check performed on the galley after a
manuscript has been typeset, in readiness for printing (self-published
books). The proofreader corrects typographical, spelling, punctuation
errors, and typeface variations or inconsistencies as well as page format,
and overall clarity, consistency, and accuracy.
Manuscript
Assessment
Perfect for those who may be two or three chapters into a manuscript
and need an objective assessment of whether or not they're on the right
track. This one-page assessment evaluates setup, style, tone and organization,
and provides an initial gauge of the marketability of your theme, concept,
or idea.
Manuscript
Critique
If your completed manuscript won't sell, or if you'd like a professional
opinion before you submit it to an agent or publisher, a detailed, objective
analysis includes a typed three- to four-page report that addresses
both strengths and flaws in your manuscript. Particular focus is given
to all of the above items in Manuscript Assessment, with extensive suggestions
for improvements. The critique does not include proofreading, editing
or rewriting.
Manuscript
and Marketing Analysis
This includes a thorough reading of your manuscript and an analysis
of the marketability of your manuscript. Advice on any similarities
of your book to books currently in print as well as related upcoming
titles. In addition, the review will address all of the problem areas
listed in Manuscript Critique, and give general recommendations on rewriting
and suggested resources on the craft of writing.
FEES
A personalized estimate for writing or editing your book can only be
given after a discussion with you about your goals and plans for the
book, and a review of sample pages, if editorial services are requested.
The fees depend on many variables, including length of the book, how
much work and time will be involved, and the book's genre and potential
for success.
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