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Here are 6 tips that will help emerging indie authors make informed decisions about their editing and writing process during NaNoWriMo (National Novel Writing Month) and beyond.
1. Understand the different types of editing
Regardless of whether an author’s doing their own editing or working with someone like me, I always advise them to make sure they understand the different levels of editing and the order of play.
The first draft of a book is unlikely to be ready for proofreading. Instead, focus on structure first – so how the story hangs together as a whole. Next comes stylistic line work that focuses on the flow and rhythm of prose. Copyediting comes after that. This is the more technical side of the work that looks at consistency and clarity. Only then is it time for the quality-control stage: proofreading. Writers who want to know more can watch a video, listen to a podcast episode or download a booklet. 
2. Top tools and methods for writers on a budget
To make the most of your budget, focus on the five Cs:
Community Take a look at the Alliance of Independent Authors (ALLi) and the Society of Authors. They’re two fine examples of organizations who are dedicated to supporting writers at different stages of their journey. Membership includes access to free and affordable paid-for events and resources. But they offer something else that’s incredibly valuable too – a network of like-minded people. Trying to make your mark in the publishing world can feel overwhelming, so being able to get advice and inspiration from others on the same journey is priceless. Content There’s a ton of useful – and free – guidance about the craft of writing online, so it’s worth budget-sensitive writers spending time digging around in the search engines. However, those interested in sentence-level guidance can visit my resource library as a first port of call. I also recommend The Creative Penn, a superb knowledge bank through which Joanna Penn guides aspiring authors on how to write, how to get their books published and how to make their work visible. I love Joanna’s genuine and approachable teaching style, and how she makes self-publishing accessible to everyone. Craft books Books are the most affordable way I know of accessing high-quality guidance. There are lots – too many to mention here – but I recommend fiction writers start with The Magic of Fiction by Beth Hill because it pays attention to structure and helps writers create a great first draft. My own Editing Fiction at Sentence Level focuses on line craft that helps writers refine the flow, rhythm, mood, voice and style of their prose. 
For non-fiction writers, Andy Maslen’s Write to Sell is an excellent tool for any content creator who wants to craft a compelling message, something that’s critical for authors when they’re promoting their books.
And Joanna Penn’s How to Write Non-Fiction takes authors step by step through the whole book-creation process – from mindset to marketing and everything else in between. Courses Love learning at your own pace? Online courses are an affordable and convenient way to study in a multimedia environment. There are lots to choose from. For starters, take a look at Joanna Penn’s business-focused author courses, and for craft-based tuition for fiction, try Narrative Distance: A Toolbox for Writers and Editors and Preparing Your Book for Submission, two courses from my own training stable. The National Writing Centre also offers online training that aims to build authors’ confidence. Some of their courses are even free. The NWC also partners with the University of East Anglia to provide more in-depth premium creative-writing courses that come with tutor support. Conscious language Anyone who’s aware of the events surrounding Kate Clanchy’s Some Kids I Taught and What They Taught Me will understand the importance of reviewing their work through the lens of representation. I’m not for a minute suggesting that a work of fiction or non-fiction has to follow a set of prescribed ‘rules’ about what can or can’t be written, but rather that writing means applying the same mindfulness to the words we put on a page as those that come out of our mouths. When we write, we’re building a relationship with our readers, even though we don’t know who most of them are. And so consciously considering whether our words are helping or harming is just good human practice – one that means our books function as we intend them to, whether that’s to teach or to entertain. For authors who want a little more guidance on this, I have a free booklet on inclusive and respectful writing. It doesn’t prescribe, just helps writers make informed decisions. 
3. Manage your first draft appropriately
The first draft isn’t usually something that should be sent to an editor. More often, the first draft is where the author lays down the story just as it comes.
Once that’s done, put the book away – just let it sit for a while – then revisit it and decide what’s working and what isn’t, what needs refining, amplifying or deleting. Perhaps follow Sophie Hannah and Jeffery Deaver’s lead and create detailed outlines that help keep you on track even at first-draft stage. You can read more about Hannah’s method in ‘Why and how I plan my novels’. If you do decide to work with an editor, invest time in finding someone who’s a great fit for you: someone who gets you and is engaged with what you’re doing with your writing. That person should also be offering the right level of editing (see 1. Understand the different types of editing). And tell them if you’re nervous about being edited; it’s perfectly normal to feel that way. Just bear in mind that they’re on your side and are working for you, for your book and for your reader! 4. Understand the difference between style, convention and peevery
I'm sometimes asked: 'What’s your biggest writing pet peeve as an editor?' My answer is: There’s no room for pet peeves in professional editing – or at least there shouldn’t be.
Do I have preferences? I do – everyone does – but that’s all they are and they have no business in the work that editors do for their clients. Our job is to focus on a client’s goals, the world of their story, and the readers who’ll come along for the journey. There are stylistic and grammatical conventions in writing, and a professional editor should understand those and be mindful of them, but editing requires a malleable mindset that respects voice and rhythm as much as anything else. It’s about sense and sensibility, not prescriptivism and pedantry. Listen right here to this collection of episodes from The Editing Podcast on language, grammar and style: 5. Recognize the pros and cons of being your own publisher
The main advantage of being an indie author is that you get to control everything.
The main disadvantage is … you get to control everything! You’re the publisher as well as the writer, which means you decide which books to write and publish, what the cover will look like, which levels of editorial help to commission, which channels to distribute your book through, what the price will be, what formats the book will be available in, and how your promotion strategy will play out. That’s a lot of work – work that costs you time and money. Publishers will do some of it for you. Still, that will come at a cost because you’ll be taking a royalty that’s likely lower than the return from selling direct. Being your own publisher isn’t everyone’s wheelhouse, but for those who want to be in control, there’s never been a better time to wear that hat because of all the technical solutions available to authors. Any writer can use Amazon. It’s the biggest bookstore on the planet. But you might want to sell direct via your website, too, because that’s your very own shop window. Platforms like Payhip and BookFunnel have made that possible, and it’s made it easy … not just for you but for your customers too. And for authors who are not only writing but also teaching about writing, there are multiple platforms that support that too – LearnDash (Wordpress plugin), LearnWorlds and Teachable for example. 6. Take control of cramped and communal work spaces
Having a dedicated work space means you're not shifting two large monitors and a hard drive off the dinner table every evening. For those working from home, having a place where your business ‘lives’ helps you separate writing from family life.
I realize that everyone’s situation is different, but I hope at least one of the following tips will speak to anyone trying to carve out a dedicated work space.
Summing up
There’s a lot to think about when you decide to become your own publisher – not just what you write but also who supports you during that process, the ways you’ll invest in developing your craft and how to manage the space in which your books are written.
You’re not alone. There’s a ton of help available to help you … whatever your budget and whatever subject or genre you’re writing in. These 6 tips barely scratch the surface, but I hope they at least inspire you to take the next steps of your indie-author journey with confidence. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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Every author deserves to work with an editor who’s a great fit for their book.
Commissioning editorial help means investing your money and your trust in someone you might never have met. It’s therefore critical that you choose the right editor. Below are 7 reasons why I won’t be a good fit for you. 
1. You’ve written an academic or non-fiction book
Fiction and non-fiction are different. Yes, there are conventions when it comes to spelling choice and grammar, but fiction often requires a nuanced approach that respects not just authorial style but character voice and environment too.
Specialist fiction editors deal with issues that a specialist academic editor won’t. For example:
And academic editors regularly tackle issues that fiction editors don’t. For example:
But there’s something else. Fiction editors need not only to allow non-standard variants in grammar, punctuation and syntax, but embrace them. Why? Because that’s where the magic can happen. I’m a specialist fiction editor. You don’t want me in charge of ensuring the references in your article on cross-generational sexualities, life course and ageing are formatted according to Harvard. Hire an academic editor instead. However, if you struggle with point of view, or worry your chapters lack suspense, I can help.
Need help understanding grammar and punctuation in fiction?
I have a library of resources dedicated to helping fiction writers get to grips with different aspects of sentence mastery. Find out more about the following: 2. I don’t work on your novel’s genre
Some fiction editors work across genres, which is absolutely fine. I choose to specialise in crime fiction, mysteries, thrillers and suspense.
Despite genre tropes – recurring themes that readers enjoy and expect – there’s no formula to writing great fiction, which means there’s no formula when it comes to editing these books either. For example, character voice, story arc, plot, and authorial style are just four reasons why Ian Rankin offers a different reading experience to Harlan Coben, and why both those writers’ novels have a different feel to them from Margaret Atwood’s books. So why am I picky about genre? It’s simple. I have a fixed number of hours every weekday to devote to my job. I want to love every minute of working with an author. And so just as I choose to drink black tea because that’s how I like it, so I choose to specialize in crime, mysteries, thrillers and suspense. If you’ve written literary fiction, romance, young adult, erotica or historical fiction, I recommend you work with an editor who loves to edit those genres. That way, you can be sure they’re invested in your book in the same way I’m invested in everything from the cosy whodunit, to the hardboiled police prodedural, to the high-octane thriller. Of course, many novels are hybrids, for example:
I welcome the opportunity to work on hybrids because they still tick my suspense and thrill boxes!
Need help deciding whether to work with a subject/genre specialist?
For an overview of just some of the subgenres in the crime and thriller field, read: Crime fiction subgenres: Where does your novel fit? And if you need more guidance on working with a specialist, try a few episodes from The Editing Podcast’s Genre and Subject Editing Collection below. 3. You need help with plot and story structure
If you’re committed to getting your novel’s structure right before you do anything else, I commend you.
You clearly understand that there are different levels of editing, all of which serve a different purpose, and that big-picture work around plot and structure comes first. I’m a specialist sentence-level editor, which means I come in after that big-picture work’s complete. Line work focuses on the mood, rhythm and readability of your narrative and dialogue. It ensures your readers are captivated and love every minute they spend on the page with you rather than flicking to the end to find out whodunit. Editors like me focus on the following:
Need more help understanding the different levels of editing?
If you’re unfamiliar with the different levels of editing, watch this video, listen to the audio, and download the accompanying free booklet. 
4. You need the work done next week
Many professional editors get booked up fast and months in advance.
I recommend you start researching who you want to work with before you’ve finished writing so you know what their availability is. That way you won’t be disappointed. I'm usually booked nine to twelve months ahead, so unless a client cancels I won’t be available to help you next week. Bear in mind, too, how much time the novel edit will take. Two factors are length and complexity. These are ballpark figures, but I set aside the following for the types of editing I offer:
Developmental work might take an editor even longer depending on how much help a writer needs. If you’re working with several editors at different stages, you’ll need to build time into the overall schedule to review their work and implement their suggestions.
Want to understand more about how fast editors work?
For an overview of the factors that influence how fast an editor can work on a manuscript, listen to this episode of The Editing Podcast: How long does editing take? 5. You need a cheap editor
Every author has a budget based on what they’re prepared to pay and able to pay. Every editor has a budget based on what they want to earn and need to earn to make a living.
Sometimes there’s a good fit; sometimes there isn’t. Many editors (me included) don’t publish prices on their websites because each project needs to be assessed on its own merits. And so while I can’t tell you what it will cost to have your novel edited without seeing a sample, I can tell you that if it’s 80K words long, it’ll cost you way more than a couple of hundred quid. My line-editing speed is around 1,000 words per hour depending on the complexity of the work. That's why I said above that line editing a novel can take between 2 and 5 weeks. Now stack that up against what any working person needs to earn to feed themselves, pay their rent/mortgage, and meet their taxation and insurance responsibilities every month. The question is this: will someone who's willing to edit 80K words for £250 invest 80 hours on the project? If their average speed is similar to mine, they'll earn £3.13 an hour. That's not sustainable, which means corners have to be cut somewhere along the line. Unless editing is just a hobby and someone else is paying the bills. This isn't a hobby for me and I pay my share of family expenses, so if you're looking for a bargain, I'm not the right editor for you. Instead, try one of the marketplaces that specialize in freelance services at every price point.
Need more guidance on how to save money on editing?
If budget’s an issue, read about money-saving tips and tools in these two blog posts: 6. You want absolute perfection
I’d love to tell you I’m perfect but, alas, I’m only human.
Most professional editors take pride in ensuring that they’re highly qualified. And even when we’ve completed our foundational training, we continue developing our skills throughout our careers. Some of us are members of industry recognized bodies with professional codes of practice. For example, I’m an Advanced Professional Member of the Chartered Institute of Editing and Proofreading. That means I’m professionally bound to do my very best for you. What it doesn’t mean is that I can make your book 'perfect'. That's because there's no such thing. Stylistic editing is subjective, and when it comes to fiction, there’s always room to bend the standard so-called rules of grammar and punctuation because it’s in the prose’s best interest. A pro fiction editor can work with you to make your narrative and dialogue pop. Will a pedantic Amazon reviewer who knows nothing about literary devices agree with the decision to omit a comma in favour of polysyndentic rhythm? Possibly not. That doesn’t mean your editor made a mistake. It means fiction editors seek to balance sense and sensibility. If you're looking for an editor who's practically perfect in every way, ask Mary Poppins if she's available!
Still not sure about how ‘perfect’ a qualified editor should be?
Most editors include their professional credentials on their website so you can review and verify their professional training, affiliations and teaching materials. Take a look at my Qualifications page as an example. 7. Your best friend read your book so it just needs a quick proofread
If you best friend (or your mum or granny) has read your novel and thinks it’s ready for a final once-over, they might well be right … if your best friend (or your mum or granny) is a pro editor.
Your book will also be ready for a proofreader if it’s been through previous multiple rounds of editing – structural, line- and copyediting. And if you’re very lucky, or very experienced, or very brilliant, you might have nailed everything yourself and be on track for a final round of prepublication quality control. What you still won’t be ready for is a quick proofread. There’s no such thing as a quick proofread. Proofreading is meticulous work that focuses on every word, every sentence, every paragraph. It incorporates layout and consistency checks too. It’s the last stage of editing but not a fast stage of editing. Most editors can proofread faster than they can line- or copyedit, but I don’t know any who can whizz through a whole book in a couple of hours and be confident that they’ve caught most of what needs catching to a professional standard. And so if you’re looking for fast, I recommend you consider the following:
Both types of review will also give you a sense of how the editor works.
Want to know more about proofreading and sample edits?
To find out more about sample edits, and why they’re useful, read this blog post: What's a sample edit? Who does it help? And is it free? To find out more about what proofreading entails, and get your hands on a free checklist for use with print books, check out the following:
Wrapping up
There's a teacup for every saucer according to my podcasting pal Denise Cowle's auntie! She's right.
Sometimes a writer and an editor are a great fit; sometimes we're not. That's not a problem because there are thousands of writers and thousands of editors. Make sure you're working with one who's a great match for you. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
In this post, I outline the start of the author–editor relationship – from first contact, to initial discussion, to booking confirmation. My process is personal to my business but it gives you an idea of what to expect.
Helping them before they get in touch
I provide information about my rates and availability, which any potential client can access via my Contact page, BEFORE we start talking.
That means we're on the same page in terms of those two core deliverables right from the get-go. It saves me time, and it saves the author time. 1. The author makes contact
Clients are welcome to contact me via email, social media, telephone or my contact form. Most use the latter.
My contact form is basic because I want authors to be able to start a conversation with me as easily as possible. The biggest stumbling block is usually the time frame because I’m booked up months in advance. Establishing when they’d like the editing or proofreading carried out is therefore essential, as is the word count. It’s those two pieces of information that will guide me on best fit at this point. I include a dropdown menu so that authors can quickly choose the service they’re looking for: a full line and copyedit, a mini line critique or a proofread. I ask for a little information about the project, too. This is where an author can tell me about the genre of their novel and provide a brief summary of the project. I also ask for a name and email address – nothing more in terms of personal details. An underpinning principle of GPDR compliance requires business owners to collect only necessary data. For me, the name and email is enough to enable me to reply to the query. 
Screenshot of contact form
2. The project discussion
Now the author and I begin to talk. The focus at this stage tends to be on time frame, the type of editing required, and the price (subject to seeing a sample). There might be a little back and forth as we get to know each other and agree the terms of the editing project.
If the author sent a sample with their email, I’ll review it before responding. This is the perfect opportunity for me to check that the service they’ve asked for is a good fit for what I think the text requires. It also gives me a chance to get a feel for the writing style ... to see whether I can get under the skin of the novel and give the story the sentence-level pop the author’s seeking. A sample helps me work out how long the editing will take too. With that information, I can determine the fee. If you want more information about samples, Denise Cowle and I cover this topic in Episode 6 of The Editing Podcast. I sometimes include links to useful resources on my website if I think they'll help the author decide whether I’m a good fit for them. You can access everything on offer via my Author Resources page but the 3 tools I most often refer to during this discussion phase are:
3. Booking the editing project
Once the author and I have decided we want to work together, and agreed a price and completion date, it’s time to confirm the booking.
I ask them to read my terms and conditions (which are designed to protect us both), then fill in the booking-confirmation form (scroll to the bottom of the T&Cs web page if you want to have a look at it). Receipt of that form triggers me to send an invoice for the booking fee that will secure the author’s slot in my schedule. 
Screenshot of booking-confirmation form
4. Preparing for the edit: styles and files
There’s an Author Style Preferences form next to the booking-confirmation form in which clients can register any decisions they’d like me to adhere to during the editing or proofreading process. These aren’t set in stone and can be changed at any time before the editing begins.
Authors are welcome to send me their book file at any time once the booking has been confirmed. My only stipulation is that it arrives 24 hours before editing begins. This gives me time to check that the file can be opened and edited.
I hold the files securely in my Dropbox account, which is protected via two-factor authentication. 5. Reminding the author about the start date
I like to give my authors a little nudge at least a week before the start date. Editing will usually have been booked many months earlier and I might not be top of mind if the client is busy with other commitments. A nudge costs nothing and is invariably appreciated by time-poor authors.
If I’ve already received the book file, the reminder is simply a courtesy to let them know I’m about to start working on their project, and to check that the file hasn’t been revised in the meantime. Otherwise, it’s a reminder of the date by which the author needs to deliver the file. Summing up
Editors work in a variety of ways. The process I’ve outlined here might look very different to my colleagues’. Still, it gives you an idea of what to expect when you get in touch with me.
If you have any questions, feel free to drop me a line. In the meantime, help yourself to the free stuff in my resource library. You don’t even have to hand over your email address to access them – just click and grab. About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
If you're a first-time writer, working out which editorial services you need help with and what you can do yourself can be tricky. Is proofreading enough or do you need additional assistance? A key question is: How does your reader dance?
This free PDF booklet covers the key issues. In it, you'll find guidance on:
Visit the Books and Videos page in my resource library to download this free booklet. 
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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.
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. Editing prior to submission: First principles
Here are four things that writers and editors should be mindful of at the outset:
What problems do editors solve?
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:
Editors, and their intentions and outcomes
All of the following are types of editor but their intentions (and the outcomes) are different:
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.
What kind of editor fits?
Let’s revisit our list of seven problems and match them with an editor:
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. ‘But I don’t know what my problems are’
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.
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:
Finding out whether you’re ready – the order of play
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. 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:
The right mindset to working with an editor
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.
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:
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.
Summary so far ...
So, let’s take a quick breather and summarize:
Finding the right editor – what to tell and what to ask
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:
This information will help the editor work out whether their services are appropriate for you.
Answers to these questions will help you to work out whether their service offering matches your goals. Through the editor’s lens – mindful pre-submission support
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.
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. But I'm an indie author. Why is agent submission relevant?
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.
Summing up
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. Free booklet
Think you might like to revisit this advice? Visit the Books and Videos page in my resource library to download this free booklet.
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
If you’re at the beginning stages of your writing career, you’ll still be navigating your way through the world of publishing. And you probably have a ton of questions. One of those will likely be: What kind of editor do I need to help me get my book ready? The natural follow-up to that is: How do I find that person?
2 approaches: Search and refinement
I offered guidance on what kind of editor to hire and when in ‘The different levels of editing. Proofreading and beyond’. Today, I’m focusing on how you should source that person.
So as not to muddy the waters, I’m assuming you’ve already decided what kind of help you want: developmental, copy/line editing or final prepublication proofreading. If you’re still not sure, I’ve included a PDF that summarizes the different levels of editing at the bottom of this article. Now let’s look at how to find the right person. My recommendations fall into two categories:
Search #1: Professional associations
Your national editorial society is a great place to start, for four reasons:
Being able to target your search means higher-quality results for less of your valuable time. Woo hoo! The UK’s professional editorial association is the Chartered Institute of Editing and Proofreading (CIEP) and there’s a global list here: Professional societies and associations. A limitation of national professional editorial societies is that they’re national. There’s absolutely no reason why you should source editorial help from someone in your own backyard. Many editorial pros work with clients from all over the world. Search #2: The internet
The internet is the biggest and most amazing directory on the planet so it’s a brilliant place to search. Your perfect-fit editorial pro is out there, just waiting for you to touch base.
There’s a problem, though: the internet is the biggest and most amazing directory on the planet so it’s a terrible place to search. Your perfect-fit editorial pro is buried, waiting for you to dig her out. Go too broad with your keywords and you might miss her. Go too narrow and … yep, you might miss her. Of course, you might find her, too. As Google sometimes prompts us: are you feeling lucky? And there’s something else to bear in mind – and I say this as someone with page-one Google rankings for the term ‘proofreader’, so it’s not a case of sour grapes – being high up in Google doesn’t mean the proofreader or editor is necessarily the best fit for you; it means they’re an effective marketer. And, conversely, just because someone’s website is ranked highly for niche long-tail keyword searches doesn’t mean that another person who didn’t pepper their website with those particular terms isn’t worth considering, too. That means you need to do a lot of Google legwork to find the best fit and to get a really good batch of potential people to work with. I’m not saying don’t use the internet. Its global nature is an appealing feature, one that the national editorial societies can’t compete with. I’m saying recognize its limitations. It’s amazing but it’s crowded, so you’ll need to invest some time to make it work for you. And that’s why I’ve given professional associations the number-one slot in this list of search options. Search #3: Your network
If you’ve developed a solid network of fellow writers, that could be a super resource from which to get recommendations. Bear in mind, however, that the best fit for your writer pal is not necessarily the best fit for you. It’s a small resource given the size of the decision.
You might be writing in a different genre, or you might need help with a different level of editing. Some professional editors specialize in one or two levels (e.g. proofreading and copyediting; or developmental editing and manuscript evaluation). Others offer all of the levels but still feel most comfortable in one or two. So tap your network for advice, but back it up with other searches. Search #4: Social media
Social media platforms can be useful. They’re global but they have their limitations:
Again, back up with other searches. Here's a summary of the tools you might use to search for an editor or proofreader: 
Now let’s take a look at how you might refine your initial searches.
You’ve found 37 developmental editors or copyeditors or proofreaders … whatever you need. All of them look great – they all have experience; can spell properly; are well educated and professional; and have a keen eye for detail and the appropriate training and qualifications. How are you going to narrow that down to something manageable? Refine #1: Genre experience
One way is to look at their portfolios, which tell you whether they’re used to working with books in your genre.
A portfolio does not an editor make, and it shouldn’t be the sole determiner of whom you choose by any means. It will, though, give you a feel for who’s used to working with writing like yours. Refine #2: Best versus best fit – samples
Best versus best fit is worth considering when it comes to choosing third-party editorial help. At proofreading stage, you need precision; it’s all about quality control. At the earlier stages of editing (e.g. copy/line) emotional engagement will come into play.
It’s therefore a good idea to ask for a sample (either free or paid for). A sample will allow you to see who ‘gets’ your writing. Sentence-level tweaking is subjective to a degree (when it comes to suggesting minor recasts, for example) and it may be that five editors all spot the same typos and grammar errors but handle the wordiness rather differently. It’s not about right or wrong, but rather about responsiveness. Refine #3: Endorsements
A third narrowing-down technique is to look at what other writers say about a proofreader or editor. Take a look at their testimonials. Have other writers been prepared to publicly endorse the editorial pro? Have mainstream publishers stuck their necks out and praised the work?
Testimonials aren’t a foolproof way of determining excellence; like portfolios, they give you a glimpse of what the editors have done, whom they’ve worked with and the impressions they’ve made. They’re just one way of evaluating what’s on offer. Summing up
So that’s it – a potted guide to finding a proofreader, copyeditor or developmental editor. I wish you luck with your search and with your writing journey!
Here’s the information on the different levels of editing I promised. Just click on the image to download. 
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Developmental editing, line editing, copyediting, proofreading ... what on earth is the difference and what's best for you when self-publishing?
A potted guide to the different levels of editing ...
If you’re a beginner writer and you’re planning to self-publish, you’ll be thinking about getting your book fit for market.
Some of you might not realize that there are different levels of editing. And even if you do, you might be fuzzy about what distinguishes each service or what it’s usually called. No shame in that, believe me – even among professional publishers and independent editors the terminology differs. Consensus be damned! The irony that this lack of clarity and consistency exists in a profession that prides itself on, well, clarity and consistency isn’t lost on me or my colleagues! The basics
Think of the editorial process like a play with several acts: writing, drafting, sourcing feedback from beta readers, self-editing, developmental editing or manuscript evaluation, line editing, copyediting, proofreading, publishing. The elements in bold are what we’re focusing on today.
Basically, there are two levels of work going on – the macro and the micro.
MACRO
This is where developmental editing (also sometimes called content editing, substantive editing or structural editing) and manuscript evaluations (sometimes known as manuscript reviews or editorial critiques) are to be found. It’s big-picture work that looks at the novel as a whole. Editors who specialize in this level of service focus on how your book works – stuff like structure, plot, flow, point of view, characterization and pace.
MICRO
This is where line editing, copyediting and proofreading are to be found. It’s sentence-level work that looks at the text on a line-by-line and word-by-word basis. Editors who specialize in these levels of service ensure your readers don’t trip up. Standard grammar, spelling and punctuation are focal points, but at copyediting and line-editing levels, clarity and readability are in play, too. Basic proofreading is usually the final prepublication check to catch any snafus that have been missed during the previous rounds of extensive professional revision. What terms should you use when sourcing editorial help?
There’s a question! My advice is that you explain what you want rather than worrying too much about what it’s called. This is because different editors define their services in different ways. So what should you do?
Key points to remember
About Louise Harnby
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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