FOR EDITORS, PROOFREADERS AND WRITERS

Not sure where to invest your editing budget prior to contacting a literary agent? Here’s some guidance to set you on the right path. 

Most of the writers who ask for my help have elected to self-publish. Our conversations don’t leave me feeling conflicted. The writer has a problem and we focus on whether I can solve it, when they want me to do this, and what it will cost.
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But every few months or so, the discussion becomes complicated and my initial response is novel-length. Why? Because my writer wants me to copyedit or proofread prior to agent submission.

If you’re a writer or an editor (especially a beginner) who’s feeling flummoxed, here’s some direction.

Here are four things that writers and editors should be mindful of at the outset:
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• Not all editors are the same: editors have different skill sets and specialisms.
• Not all authors are the same: writers have different budgets, goals and preferences.
• Opinion abounds about whether writers should hire editors. And while there isn’t  consensus, some overarching good-sense guidance prevails.
• Right/wrong or yes/no isn’t the best approach. Instead, I recommend that writers make informed decisions based on a solid understanding of editorial process, and that editors make informed decisions based on professional integrity and a solid understanding of authorial intention.

An editor, broadly speaking, is someone who helps prepare written material for publication. However, that prep doesn’t happen in one hit.

Think of it like a Sunday roast – if you start cooking the carrots at the same time as the meat, you’ll end up with a tender joint and a pile of orange mush … or sweet veg and something that belongs in a field not on your plate.

The editorial process is not so different – there are lots of things to do but the order and timing of each stage is critical.

If you’re a writer and you’re considering hiring an editor prior to submission, think first about what’s worrying you and what might scupper your submission:

1. Do you struggle to punctuate dialogue according to industry standards?
2. Do you tend to overwrite?
3. Are you worried that your characters aren’t sufficiently well drawn?
4. Is standard grammar a sticking point?
5. Is your plot difficult to follow?
6. Is your narrative point of view confusing?
7. Do you have problems with formatting the different elements of the text consistently?

All of the following are types of editor but their intentions (and the outcomes) are different:

• Developmental editors – stage 1: They focus on the big picture and help to shape the book (e.g. plot, structure, characterization, pace, narrative point of view)
• Line editors – stage 2: They focus on the sentence-level picture and help to smooth the narrative and dialogue (e.g. clarity, flow, character voice, readability)
• Copyeditors – stage 3: They are also sentence-level masters who focus on correcting the text (e.g. spelling, punctuation, grammar, consistency)
• Proofreaders – stage 4: They’re the last line of defence and provide a quality-control check (e.g. spelling, punctuation, grammar errors and non-standard or inconsistent layout)

Some editors offer all of these services, some only one or two. Those who offer multiple stages might do a couple at the same time (e.g. line editing and copyediting) but I know of none who offer all four simultaneously.

Let’s revisit our list of seven problems and match them with an editor:
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1. Punctuating dialogue: line editors, copyeditors and proofreaders can help
2. Overwriting: line editors can help
3. Characterization: developmental editors can help
4. Grammar: line editors and copyeditors can help
5. Plot: developmental editors can help
6. Head-hopping: developmental editors can help (and line editors if the problem is infrequent)
7. Layout: proofreaders can help

Bear in mind that editors customize their services – what one person includes in a copyedit might be restricted to another’s line edit. Don’t be afraid to ask for specifics so that you have a mutual understanding of what’s included.

It’s all very well for experienced agents and editors to say you need X but not Y, but that doesn’t necessarily help the author.

• Many beginner writers don’t yet know what their sticking points are. You can’t fix something that you don’t realize is broken.
• The severity of the problem is a complicating factor. A small scratch and a gaping wound are not the same thing.

Imagine the writer decides not to commission a copyedit because they’ve heard it’s the big picture that counts, not a few typos.

Fair enough, but what if we’re not talking about a few typos? What if we’re talking about a novel that has a wonderful plot, is beautifully paced and features enthralling characters but, line by line, the narrative is overwritten and so fraught with grammar, spelling and punctuation mistakes that it’s frustrating and unpleasant to read? All the good stuff is buried beneath the blunders.

On the flip side, let’s imagine that a writer decides to make sure the book’s in tip-top condition at sentence level but the characters are one shade of grey and the plot’s plopped.

In both cases, there’s just too much for an agent to do. And that’s why the yes/no approach to the question of whether a writer should seek professional editorial help prior to submission is problematic.

Agent Steve Laube sums up the issue nicely:

So how do you find out whether you’re 90% there? I had intended to visit my Sunday Roast metaphor but Jane Friedman says it so much better:

I couldn’t agree more. Recall the types of editors I listed above in ‘What problems do editors solve?’. I deliberately staged them because there’s a hierarchy. The hierarchy isn’t based on importance but on logic.

There’s no point in having a line editor and copyeditor tighten up your narrative if the point of view is a catastrophe; nor is it worth spending hundreds of pounds to ensure that your dialogue is punctuated according to industry standards if the characters giving voice to those words are under-developed.

With that in mind, start with the big picture – a manuscript evaluation, critique or a mini developmental edit.
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This kind of work involves a specialist editor reviewing your book and identifying strengths and weaknesses. It’s not a full-on fix but it will show you how to move forward so that you can improve the book before you submit. As editor Sophie Playle points out:

​Sarah Davies of Greenhouse Literary concurs:

If you’re an experienced writer, that might be enough. If the evaluation identifies major problems, you might decide to invest in a full developmental edit, but at least your decision will be informed.
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Editor and writing coach Lisa Poisso offers three additional reasons to hire an editor prior to submission:

Literary agent Rachelle Gardner has the following advice on mindset:

Gardner’s referring to big-picture work here – developmental editing. She nails two important points:
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• Editors are not ghost writers. They have to work with what they’ve got.
• Approaching the editing as a learning experience means that you see it as a long-term commitment.

​And here’s Nicola Morgan (Write to be Published, p. 179):

Gardner and Morgan remind us that if you hire an editor for book one, submit and get a publishing contract, you’ll need to do it for your next book, and the one after, and so on. Over time, you’ll become less dependent on an editor as your novel craft grows, but it won’t happen in one book.

So, let’s take a quick breather and summarize:
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• There are different stages of editing.
• Not all editors specialize in all stages of editing.
• An editor works with what they have – you’re still the writer.
• The relationship will likely need to continue for future submissions while you’re learning.
• Remember the order of play – big picture first, sentence polishing later.

Talk to more than one editor so you can get a feel for what’s on offer and whether they’re a good fit. An editor will need to know the following:

• Any problems that you’ve already identified
• That you’re looking for a publishing contract and wish to submit to agents
• Your book’s genre
• What other levels of professional editing the book has been through
• Whether you’ve worked with publishers and agents before

This information will help the editor work out whether their services are appropriate for you.
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• Any editor worth their salt should be able to answer the following questions:
• ‘What levels of editing do you specialize in?’
• ‘Do you have experience of my genre?’
• ‘What style manuals and reference guides do you use?’
• ‘How many books have you edited, and have you worked for publishers?’
• ‘Have you worked with other authors who are submitting to agents?’

Answers to these questions will help you to work out whether their service offering matches your goals.

Should editors work with writers submitting to agents even though a publisher will likely take a book through the editing process? It depends.

If you’re a specialist developmental editor who understands story craft and what makes a book attractive to agents and publishers, then yes, absolutely. You can be part of that learning process that Gardner and Morgan discuss, someone who helps the writer put their best foot forward in a competitive market.

What about if you’re a sentence-level specialist like me? I think we need to tread mindfully.

• Does the writer understand the different stages of editing?
• Is the structural work complete (either because the author is experienced and able to do it themselves, or they’ve hired professional support)?
• Have you seen a sample? Is the book comfortable to read, line by line, even though there are spelling, grammar and punctuation errors and inconsistencies?
• What are the author’s preferences?

I don’t take a yes/no approach to this. Sometimes I accept the work and sometimes I advise the author to take another path. Here are four short case studies featuring writers who asked me for copyediting prior to submission.

Case study A
The sample was beautifully written (to my copyeditor’s eye) – engaging from the get-go. I could see clearly how I’d amend the minor spelling, grammar and punctuation errors but they in no way impeded the book’s readability.

I would have loved to copyedit that book but I cautioned the author to hold off, do some research into her chosen agents’ requirements and consider a critique first. She took my advice.

Case study B
The sample was gorgeous – moved me to tears, in fact. However, English was the author’s second language and the book was severely impaired at sentence level. I was able to identify how I’d smooth and correct the narrative but advised her on the order of play and recommended higher-level editing first.

She insisted that the structural work was complete, that she’d gone as far as she wished, and that she’d self-publish if she was unsuccessful in securing representation. I did a sample edit, we agreed terms and I spent a blissful month line editing and copyediting for her.

Case study C
The sample was problematic – I couldn’t get under the skin of the thing. The writing seemed flat, like a textbook rather than a work of fiction. The spelling, grammar and punctuation needed a little work though the errors didn’t impede readability.

I could have copyedited that book but it wouldn’t have made any difference – even though I’m not a developmental specialist, I knew the book wasn’t agent-ready. I gently advised the author of my concerns and suggested some structural-level options (and colleagues who could assist him).

Despite my advice, he expressed a preference to go ahead with copyediting. I declined, wished him well and walked away.

Case study D
The sample was strong – the author had worked intensively with an agent to knock the book into shape. He was looking for a once-over to check for howlers, sloppy punctuation, gaping plot holes and a general tidy-up.

His agent had recommended he commission a copyeditor to give him the best chance of securing a publishing contract. I didn’t hesitate to quote.

Even self-publishers can benefit from agent submission. The Alliance of Independent Authors (ALLi) partners with Toby Mundy Associates (TMA) agency to sell translation and other subsidiary rights for self-published authors.

Says Mundy:

​Even if you're self-publishing, the right agent will be able to help you with specialist support.

There’s no right or wrong when it comes to an editor and an author working together prior to submission.

What’s crucial is that the decisions made are informed – based on an understanding of the different levels of editing and the order of play. That applies to authors and editors.

Authors need to focus on the big picture first, then follow up with sentence-level work if the problems are severe enough to frustrate an agent or a publisher.

Editors need to be transparent about their specialist skills and mindful of the author’s preferences, but also be prepared to walk if they believe that their input would be without purpose.

Think you might like to revisit this advice? Visit the Books and Videos page in my resource library to download this free booklet.

Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
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She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.

• Get in touch: Louise Harnby | Crime Fiction & Thriller Editor
• Connect: X @LouiseHarnby, Facebook and LinkedIn
• Learn: Books and courses
• Discover: Resources for authors and editors

​Lisa Poisso explains how an editor or book coach can teach you new ideas and techniques, and help you begin the journey of mastering novel craft right from the get-go ... if you're prepared to embrace a growth mindset.

I don’t know what I’m doing, and I’m not very good. Will you fix my book? If this sounds like the way you tiptoed into your first professional edit, you’re due for a new mindset. An edit is a creative opportunity begging to burst open and drench you with new ideas and techniques.

There’s no better time to reach for growth than when you’re first starting out. You’ll hear a lot of publishing types claim that debut authors need to put in their dues. Write, they tell you, and fail. Write more, and fail again. That’s the apprenticeship process – or so they say.
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But it doesn’t have to be that way. Hiring an editor or writing coach can be a smart way to accelerate your learning curve. It’s all about the way you and your editor approach your edit. Are you feeding your writing with a fixed mindset or a growth mindset?

If you’re a first-time author, your debut novel isn’t likely to hit it big. You know that. Editors know that. So you might tell yourself that there’s no sense in paying for a professional edit until readers start buying your books and ‘it really matters'.

The problem is this: if your book isn’t very good and nobody wants to buy it, when will it really matter?

Enter a new mindset about developing your craft.

The fixed mindset, a term developed by Stanford University professor Carol Dweck, keeps your feet stuck to the same two dusty patches of dirt you’ve been standing on for years. With a fixed mindset, you accept that you possess finite abilities capped at a specific level. Editing is about propping up your shortcomings and repairing your inevitable mistakes.

But editors can help you achieve so much more. Your editor can show you how to structure a compelling story, beef up the elements that drive your plot, solidify your language, and polish your writing voice. You’ll make strides it might have taken years to struggle through on your own.
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But that won’t happen unless you decide that developing your craft is worth the time, money, and effort. It won’t happen until you agree that you’re ready to grow.

A first novel is a learning experience. Authors call them ‘practice novels’ or ‘trunk novels'. They write their hearts out and then lock the results deep inside a file cabinet or trunk. The results aren’t all that different from the canvases artists create to experiment with and practise new techniques. They’re not meant for public consumption.

Good on you for finishing your first manuscript. A complete novel is a tremendous achievement – but it’s unlikely that this first effort will become a bestseller. So start writing the next one.

If you really want to make a go of this writing thing, you’ll need more than one good idea in a lifetime, right? Whip up the next concept and get it simmering. Meanwhile, seek feedback on the first manuscript from a writing partner or critique group. Give yourself the space to learn as you go rather than pinning all your hopes and ambitions on a single beginner’s effort.
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And then when you’ve finally written something your test readers and critique partners are giving you good feedback about, consider a professional edit.

You could keep plugging away for years, feeding book after book to your writer’s trunk. You might gain some confidence and make some incremental progress. But without professional feedback, you might not be able to figure out which parts of your story work and which don’t. You might not be able to spot what passages show a distinctive authorial voice and what parts are still mushy.

At some point, it’s time for professional eyes. Send your manuscript to a few editors for a professional assessment. You’re not hiring anyone yet; you’re not paying for a critique or evaluation. All you want is that initial handshake. Every editor performs some sort of brief survey of new projects to help them decide if the project and type of work required falls within their wheelhouse.

Ask the editor to flip through, take a peek at a few spots, and see if your work is ready for editing. What strengths and weaknesses do they spot? What kind of editing do they recommend? Would they take you on as a client or do they have other recommendations?

If the results are encouraging, use the feedback you’ve gathered to help you choose a compatible editor. It’s time for some editing.

Even a routine, production-oriented edit is a learning experience. But when you hire an editor who enjoys working with authors bent on growth and improvement, an edit becomes something else altogether: an intense, one-on-one workshop in storytelling and writing.
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I like to compare your motivations for an edit to the motivations you create for the characters in your story. Your characters’ external, conscious motivations wrap around their secret, unconscious motivations – and the same goes for you.

​Polishing your manuscript for publication might be your conscious motivation, but with a growth mindset, you’ll come to realize that the real value of an edit lies in the substantial leaps you can make toward mastering your craft.
 
Professional editing is no guarantee that your novel will be publishable in the end. But if you’ve chosen a qualified professional, you can count on acquiring invaluable insights into your writing technique. You can count on a growth experience.

I’m constantly astounded by the number of new writers who don’t believe that writing is worth the level of commitment any serious hobbyist would give their hobby.

A recreational cyclist can easily drop thousands every year on bicycles, riding gear, event and travel fees, club and periodical subscriptions, and more. A collector of anything? The expenditures are obvious.
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But when it comes to writing, people somehow feel guilty about spending money on classes or craft books or editing to help them develop their passion.

​Just think how conflicted they must feel if they’re also harbouring hopes of getting published. Somehow, they have to go from beginner to professional with no help – and at no cost.

Is a professional edit still worth it even if your book never gets any bites from an agent or sells more than 50 copies on Amazon? If using your manuscript to spring to a new level of skill ignites your creative jets, you’re ready to invest in yourself. You’re ready to turn a growth mindset into growth. It’s that simple.

See you on the other side of the edit.

With over thirty years as a writer and editor, Lisa Poisso has edited and coached developing journalists, content writers and bloggers. She's worked as a journalist, magazine editor, managing editor, corporate communications manager, content writer, foreign language and j-school tutor and communications consultant.

Now, she works exclusively with emerging authors and publishers of fiction, teaching theory and practice and helping writers discover strategies and technique that they can use for the rest of their writing career.