|
Every professional editor is a business owner, and that role requires us to track the health of our businesses from one year to the next. Managing and analysing all that data can be a burden, especially if you’re more interested in words than numbers!
Fellow editor and Excel authority Maya Berger has created a tool that will make life easy. It’s called The Editor's Affairs (TEA). 
All the data in one place
When it comes to keeping an eye on the health of my business, simple has always been my goal. I’m an editor, not an accountant. Essentially, I want as much as possible in one place:
And when it’s time to submit a tax return to (in my case) HMRC and evaluate how things are going, I don’t want to be faffing around with several different apps and spreadsheets. Instead, I want to see the core data at a glance … data that will tell me the following: On a project basis:
On a business-health basis:
I don’t want to spend ages collecting and collating this data so it’s easy to access. I want summaries that give me a number – automatically generated by the data I’ve inputted throughout the financial year. Then, when it’s time to review my business and submit my return to the tax authorities, the numbers are ready and waiting for me. I’ve been tracking my data for years, and while I’m fairly proficient with Excel, I’ve been aware that there’s more I could do to fine-tune my process. However, like many editors, I have neither the time nor the will. So when Maya asked me to take a look at TEA, I jumped at the chance. 
The Editor's Affairs (TEA)
So what is TEA? It’s a one-stop-shop Excel spreadsheet with lots of built-in jiggery-pokery that does all the tricky formula work for you. All you need to do is input the project (and expenses) data as it comes in. Below are examples of some of the project data an editor can input, and the received data from TEA. Examples of data the editor can input
Examples of received data from TEA
5 reasons why TEA is worth it
So why is it worth investing in TEA? I identified 5 standout features that I believe make this a must-have tool. NOTE: The numbers and client information below are for the purposes of illustration only. I made them up because my business affairs are of no concern to anyone but me! 1. Making informed decisions when quoting TEA allows you to see the impact of the data you’re inputting on your business, and make informed decisions about how you should quote. Let’s take an example: John Smith asks me to line edit a 100K-word novel. I estimate I can edit at a speed of 1,750 words per hour, so I input that information along with the word count.
I decide I want to earn £40 per hour. I add that data to the row.
Now I can build my quote. I type 57 into the hours-worked cell.
For argument’s sake, let’s say I know that my client’s budget is £2,000. I can temporarily add this to the amount-received cell.
If I’m happy to work for £35.09 rather than £40 per hour, I’m good to go. If I don’t, I can negotiate with the client. The point is, I can play with the data I’m inputting and see the impact. And that means there are no surprises. I’m making informed decisions. 2. Collecting data for the future Less experienced editors might not yet have enough older data to know how long a particular type of editing will take, or whether Client A’s work tends to be speedier to complete than Client B’s. TEA helps us build that knowledge via accrued data that we can use later on. Another example … In April 2019, Jackie Jones asks me to proofread her 30,000-word novella. I have no clue how long it will take so I estimate a speed of 5,000 words an hour. I’m grateful for the opportunity because my business is new. I decide I’ll be happy earning anything over £20 per hour. TEA tells me my rate per 1,000 words will be £4 and it’ll take 6 hours, so I bill for £120. I get the gig and do the work. In fact, it takes me 10 hours. I input the new data.
But I’ve learned something. And when Jackie comes back to me three months later with another job with the same word count, this time I can input more accurate data, meaning I’ll earn my desired rate of £20 per 1,000 words. 3. Saving time and protecting the data At no time am I messing around with a calculator. All I do is input the raw data and review what TEA’s analysis cells tell me. That saves me time because TEA’s doing the maths for me. Plus, I can’t break the spreadsheet! TEA’s analysis cells are locked so I won’t inadvertently alter the complex formulae within. 4. Client analysis Some editors work for repeat clients – an agency or publisher, for example. In those cases, we’re not always in control of the price, and yet those clients can still be valuable because of the amount of repeat work they send us and the percentage of our overall income their business accounts for. Knowing who our most valuable clients are is essential if we’re to avoid knee-jerk reactions to rates of pay. If Publisher A pays me an hourly rate half that of Agency A but gives me five times as much work, I’ll want to think very carefully before canning that client because I don’t like their pricing structure. TEA’s Client Summaries Table does what is says on the tin. It’s here that we can see a list of our clients, the percentage their business contributes to our overall income, the number of hours’ work we’ve done for them and the total income received. Time for another example … Let’s say I’m scowling at the row on the Income sheet because I’ve yet to crack £15 per hour from Romance Fiction Press. Just above is an entry for John Smith, the indie author from whom I earned £40 per hour. Terrible rates, I think. Exploitative, disrespectful, unfair. I’m about to head off to a Facebook group with 10,000 editor members and have a bit of a rant. Then I’m going to tell that press where to stick it. But hang on a mo! What does TEA have to say? I nip onto the Summaries sheet and take a look at the Client Summaries Table.
Yes, John Smith is a more valuable client on a project-by-project basis but he’s not giving me anywhere near the same volume of work as Romance Fiction Press. Instead of ranting on Facebook, I need to use that time to plan a strategy that will bring in more John Smiths or better-paying publishers and agencies. Once done, I can phase out Romance Fiction Press. That might take a couple of years of intensive marketing. Until then, the press will stay. Perhaps I can negotiate a raise with them. Maybe there are efficiency tools I can introduce to increase my speed when I’m editing for them. And they pay on time, are pleasant to work with, and have given me loads of fodder for my portfolio that I can leverage on my website and in future marketing. The work is regular, too, and lands on my lap without my having to promote myself to get it. And that time saved is worth something. 5. Making tracking and tax less taxing There are two additional and extremely useful summary tables in TEA:
The totals are the figures you’ll report to the tax office. They’re right there in front of you – no hunting around in different apps and other spreadsheets. All the data filters through from easy-to-fill-in Income and Expenses sheets accessible via TEA’s tabs. 
How do I find out more about TEA?
Isn’t the name adorable? Using TEA is like having a cuppa! And it’s all about the editor’s affairs – our business affairs. The data the editor has to input is basic stuff that all of us have access to or can estimate with every new job or expense that comes in. The data TEA gives takes the stress out of scheduling, accounting and analysis. Every editor needs to understand the health of their business so that they can make informed decisions about who they work with, how much they charge and where the value lies. When accessing that data becomes burdensome, the temptation is to wing it. TEA means you don’t have to. Maya will be making TEA available for purchase in May 2020. For introductory rates or to learn more about customized versions for more complex accounting and analysis, check out whatimeantosay.com/tea. *** NOTE: I have no commercial stake in TEA, though I was given a free copy to experiment with in return for feeding back my experience of using it.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
2 Comments
Been asked to quote for editing or proofreading services? There are steps you can take to maximize your chances of securing the work. In this article and free booklet, you'll find out how to add value to quotations and move the conversation beyond price.
Few of us will bag every client who asks us to quote for them. Rejection is to be expected – we won’t be the best fit for everyone.
Perhaps the price or the time frame doesn’t work. Maybe the client has been in contact with an editor who’s a better fit in terms of skills and experience. Still, there are steps we can take to maximize our chances of turning a request to quote into paying work. Think of quoting as targeted marketing Every request to quote is a marketing campaign with just one recipient. We have an advantage once we’ve been asked to quote – we’re probably competing with five or six colleagues, not five or six thousand. Since the odds are so much better, it’s worth investing time in making the quote the best it can be. A couple of lines that include a price won’t cut the mustard – unless the client has specified that they want nothing more. Acquire relevant information Before we can reply, we need information – a word count, the type of editing required, the levels of editing that have already been completed, the client’s preferred time frame, and a sample. If that information hasn’t been supplied, asking for it is legitimate. A professional editor can’t quote without it. There are advantages too: it keeps the conversation going, demonstrates an understanding of the editorial business process, and creates a foundation for trust. Frame with solutions A potential client doesn’t want an essay – we do need to stay on point – but we can still frame our quotations in terms of solutions to problems.
Once they’re in play, the conversation’s no longer about price; it’s about a relationship. If the client’s looking for the cheapest editor, yes, this tactic will fall flat. If they’re looking for a good fit, it will give us an edge. Linking to or attaching useful resources builds empathy and trust. Here’s what I included in a request to quote in addition to a price (the writer had included a sample):
Other information
Each of those resources complemented a short paragraph outlining problems I’d identified in the sample, and would fix if I were to secure the project:
And the great thing is, I can use these resources over and over. Yes, it took time to create them but they’re evergreen. Every author I send them to gets value from them. But every time I send them, there’s value for me too: a return on my initial investment in the form of an increased likelihood of securing the job. A client who trusts The writer thanked me profusely ‘for such a thoughtful reply’. I got the gig. And they agreed to wait 12 months and paid the deposit promptly. I can’t prove that those resources nailed it for me, but those words – ‘such a thoughtful reply’ – tell me the client reacted emotionally to the empathy I’d shown. Creating that kind of content is time-consuming but the job need be done only once. After that, the resource can be used in myriad ways: marketing, quoting, linking to in reports. When the quote’s rejected If we don’t get the gig, should we ask why? I don’t think so. It annoys me when I decline a service or product and am asked to give reasons for my decision. It’s my business, end of story. Receiving feedback is useful for editors, of course, but we’re asking people who have chosen another editor to spend their valuable time engaging with us. Why should they? They have other priorities that don’t involve us and we need to respect that. If a quote is rejected, move on and focus on improving your next quotation.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
In this episode of The Editing Podcast, Denise and Louise discuss the order of play for the different levels of editing, and some ideas about how you can keep costs down.
Click to listen to Episode 9
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary of Episode 9
Listen to find out more about:
Editing bites
Other resources
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
Music credit ‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License: http://creativecommons.org/licenses/by/3.0/
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this episode of The Editing Podcast, Denise and Louise discuss how to choose the right kind of editor to suit your publishing needs.
Click to listen to Episode 5
Can we ask a favour of you? Would you rate and review us on iTunes, please? It would mean a lot to us. Thank you!
Download transcript
Prefer to read rather than listen? No problem. You can download the transcript from the show by clicking on the button below.
Summary of Episode 5 ...
Editing bites
Ask us a question The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button. Denise and Louise
Music credit 'Vivacity' Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and an Associate Member of the Crime Writers’ Association (CWA). Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
This free booklet offers one example of how an editor or proofreader might approach testing which pricing model works best for their editing and proofreading business.
I discuss how and why I collect data, and the macro and micro insights I've gained that have helped me to grow my editorial income stream.
Hope you find it useful! Click on the image above to download your copy.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Every professional editor and proofreader wants to attract best-fit clients who are prepared to commit to a contract of editorial services. For the most part, bookings go smoothly – cancellations, delays, and failures to pay are unusual. Still, editorial business owners need to protect themselves ... just in case.
This article doesn’t seek to offer you a model contract or set of terms and conditions (T&Cs), though you’re welcome to look at mine for inspiration: Terms and conditions.
Instead, I want to explore some ideas about how to develop your spidey sense, and use language and tools that will repel those who’d let you down. What does ‘delay’ mean to you? The concept of the delay is nonsense to an editorial business owner. If a client asks you to proofread a book, tells you the proofs will arrive with you on 10 May, and requests return of the marked-up proofs a week later, and you agree to take on the job, those are the terms: proofread to start 10 May; delivery 7 days later. You’ll schedule the project accordingly, and will decline to work for anyone else from 10–17 May. If two weeks ahead of the start date you’re told ‘there’ll be a delay’, you’ll likely have no work for 10–17 May unless you can fill that space at the last minute. Moreover, you will be booked for another project during the period when the project will become available. To my mind, that’s not a delay. You can’t magic additional hours out of thin air. That’s a cancellation of the project terms that were agreed to by both parties. 
Make sure your T&Cs reflect this. Don’t use the language of delay if it means nothing to you. Have a cancellation policy and make it clear that confirmed bookings are for an agreed time frame, and that failure to meet the agreed date will invoke that cancellation policy.
You might decide not to invoke it as a courtesy, but having it could reduce the likelihood of having to make the decision. Is ‘deposit’ a strong enough term? The word ‘deposit’ should be strong enough as long as the refund terms are clear. Still, you might want to couch your language along the lines of what editor and book coach Lisa Poisso calls ‘real money’. I don’t refer to deposits in my terms and conditions. I call them booking fees. A fee is a payment. It’s the language of money. ‘Deposit’ as a noun has a broader mass-of-material meaning; as a verb it means to place something somewhere. Maybe, for some people, it has a softer feel to it. 
Of course, anyone required to pay a deposit knows full well that the financial definition is being referred to. Nevertheless, using the language of money – a fee – might well encourage time-wasters to think twice.
The following might also work for you:
What you charge upfront is up to you. Some editors charge a 50% booking fee rather than a flat rate. Some require one third to secure the booking, another third just before editing starts, and the remaining third upon completion of the project. You can define your own model. Do you have a booking form? You and a client can agree to your providing editorial services via email, and emails count contractually. But how about requiring a specific additional action, one that reinforces a sense of commitment? Asking someone to fill in a booking form that confirms they have read, understood and agreed to your terms and conditions, including your booking fee and your cancellation policy, means they have to make a proactive decision to commit. When it comes to filling in a form and ticking boxes, a non-committed client is less likely to feel comfortable than a good-fit one because it feels more formal. You can create a PDF booking form that you’ll email manually, or create the form on your website. My choice is the latter. I include it below my T&Cs. That way, the booking and the terms are closely linked. Here’s a screenshot of mine. Notice the boxes that must be checked in order to confirm the booking. 
Is ‘booking form’ a strong enough term?
Even if someone is prepared to fill in a form and check some boxes, agreeing to a contract might make them think twice. That has a more legally binding feel about it; it’s more formal. And it might be the thing that repels someone who’s going to let you down. My T&Cs state that the booking-confirmation form is an agreement to the contract of services between me and the client, and the phrase ‘Contract of Services Agreement’ sits under the under the title of my booking form. 
Are your terms and conditions detailed enough?
In the main, your website should be client-focused. It should make the client feel that you understand their problems, are able to deliver solutions, and understand what the impact of your solutions will be. Your brand voice should sing out loud. In my case, for example, that means using a gentle, nurturing tone. However, when it comes to your terms and conditions, forget all the touchy-feely stuff – this is where you and the client get down to business. It’s in everyone’s interests to know what’s what. That might mean that your T&Cs are rather dull and boring. No matter. It’s the one place on your website where you’re allowed to be dull and boring! I feel like chewing my own arm off when I read my T&Cs but I don’t want any of my clients in doubt about what I’m offering and what they’re getting. Think about the following:
A non-committed client will be repelled if your terms put them at risk. A good-fit client will feel reassured that they’re dealing with a fellow professional who takes the editing work as seriously as they do. Are the basics front and centre? Many editors place links to the detailed contractual stuff in their website’s footer, which means the T&Cs are almost invisible. Even a good-fit client probably won’t see or read your T&Cs during their initial search for editorial services. That’s the case on my website. If it’s the same for you, consider placing the basics front and centre. I’ve created a box on my contact page that spells out the non-refundable £250 booking fee I charge. 
Will it put off some potential clients? Absolutely. But if someone can’t afford that booking fee or doesn’t dare take the risk of making a payment because they’re unsure whether they’ll honour the contract, they’re not the right client for me.
Spotting red flags Developing your spidey sense can reduce the likelihood of becoming entangled with those who’ll back out of confirmed bookings or fail to pay. 
Though there’s no foolproof way to protect yourself from non-committed clients, there are red flags you can look out for:
Summing up I hope these tips help you avoid non-committed clients and safeguard your business. Even if you implement some of my ideas, there are no guarantees unless you ask for 100% of your fee upfront. However, rest assured that most clients are honest, committed and trustworthy individuals who are a pleasure to work with. As for those who blow you out, a few are scoundrels. Others aren’t but are thoughtless and haven’t taken the time to understand the emotional and financial impact of cancellations and non-payment. Others have got cold feet. And some have been struck by unusual or extraordinary circumstances like bereavement. Most don’t mean to cause distress or place editors in financial hardship, even though those are two very real potential outcomes. By using real-money language and action-driving tools, we can build stronger bonds of trust with those who are serious about working with us, and repel most of those who aren’t.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
This article shows you what it might cost to get your novel line edited, copyedited or proofread. However, the short answer is: it depends ...
This post headlined in Joel Friedlander's Carnival of the Indies #94
I’ll look at each of these points in turn, then offer you some ideas of what you can do to reduce the financial hit.
First of all though, a quick word on whether you should bother and, if you do, what type of service you should invest in. Do you have to work with a professional editor? Not at all – it’s your choice. That’s one of the biggest benefits of self-publishing. You get to stay in control and decide where to invest your book budget. However, I absolutely recommend that your book is edited ... by you at the very least, but ideally by a fresh set of eyes, and even more ideally by a set of eyes belonging to someone who knows what to look out for. And the reason for that recommendation is because 99.99% of the time, editing will make a book better. We can all dream about first-draft perfection, but it’s pie in the sky for most, even those who edit for a living. I’m a professional line editor, copyeditor and proofreader, and today I wrote a guest blog post for a writer. I wrote, and then I edited ... first for content, then for flow, then for errors. I found problems with each pass. That’s not because I can’t write. It’s not because I can’t string a sentence together. It’s not because I didn’t edit properly in the first round. The reason I found problems is because writing is one process – editing is another:
And the different types of editing attend to different kinds of problems and have different outcomes. Trying to do everything at once is like trying to mix a cake, bake it, ice it, eat it, and sweep up the crumbs all at the same time. Breaking down the writing and editing processes into stages is a lot less messy, and the quality of outcomes is much higher. Still, that has a cost to it, and it’s a cost that the self-publisher will have to bear because there’s no big-name press to bear the burden for them. 
Cost of editing: the individual editor
The independent editing market is global and diverse. Editors specialize in carrying out different types of editing. Some specialize by subject or genre. They have different business models and varied costs of living. And that means that despite what you might read in this or that survey, there is no single, universal rate. Neither is there a universal way of offering that rate:
My preference is to charge on a per-1,000 words basis, subject to seeing a sample of the novel. If you're interested in what I'm currently charging, take a look at the rate card on my contact page, my services page or in the footer of any page on this website. If I’m asked to work on a novel serially, the price goes up because of the additional challenges involved and the economies of scale that are lost. So it depends on the parameters of the project. Some editors charge more than me, some less, and some the same. My colleagues live all over the world, and fluctuations in the currency-exchange markets mean that comparisons will yield different results from day to day. 
Cost of editing: industry surveys and reports
Some professional organizations suggest or report minimum hourly rates for the various levels of editing. They’re ballparks, nothing more, for reasons outlined below the table (fees correct as of July 2019).
ARE THESE RATES REALISTIC?
Do these figures bear any relation to what individual editors charge? Sometimes but not always. Most organizations recognize that these reported prices don’t always reflect market conditions, and they’re right to do so. Many editors and proofreaders, myself included, aim for rates at least 30% higher. Why? Because that’s what it takes for our businesses to be profitable. Editing and proofreading aren’t activities we do in our spare time. They’re careers that enable us to pay the bills. If we can’t meet our living costs, we become insolvent, just like any other business owner. The problem with these ballparks is that they don’t reflect the speed at which an individual works, the complexity of each job, the time frame requested, or the editor’s circumstances. An additional problem is that how these organizations define ‘proofreading’, ‘copyediting’ etc. might not reflect an author’s understanding of what the service involves, or what an editor has elected to include. And then there’s the age-old issue of currency-exchange rates. What might seem a high rate to you one day could turn into something quite different the next, and not because the editor’s or the author’s life has changed, but because of Trump, or the Bank of England, or a hung parliament here, or a banking crisis there. Bear in mind that independent editors are professional business owners, and just like any other business owner they are responsible for tax, insurance, sick pay, holiday pay, maternity/paternity entitlements, training and continued professional development, equipment, accounting, promotion, travelling expenses, pension provision, and other business overheads. 
Cost of editing: turnaround time
The table below gives you a rough idea of the speed at which an editor can work. Again, we’re dealing with ballpark ranges because the true speed will depend on the complexity of the project and how many hours a day the editor works.
Experienced editors have years’ worth of data that enables them to review a sample of a novel and estimate how long a project will take based on the level of editing requested.
The figures in the table above represent a working day of around 5 hours of actual editing. Additional time will be spent on business administration, marketing and training. Here’s how costs might begin to creep up. Imagine you ask your editor to copyedit your 80K-word novel. The editor estimates the job will take 50 hours, or two weeks. You need it in one. If you want to work with that editor, they’re going to have to work 10 hours a day, not 5. That means they have to pull 5 evenings on the trot in addition to their standard working day. That evening work is when they spend time with their families, recharge their batteries, catch up with friends, support their dependents, carry out the weekly food shop, help their kids with the homework ... normal stuff that lots of people do. If you want them to work during that time, it’s probably going to cost you more. For example, I charge triple my standard rate because my personal time is valuable to me – and to my daughter, who will need bribing! 
Cost of editing: the complexity of the project
The more the editor has to do, the longer the job will take and the higher the cost. Some authors might not be aware of the different levels of editing and what each comprises. And editors don’t help – we define our services variously too! For that reason, sometimes it makes sense to move away from the tangled terminology and focus on what each project needs to move it forward. An author might ask for a ‘proofread’ but the editor’s evaluation of the sample could indicate that a deeper level of intervention will be needed ... something more than a prepublication tidy-up. I’ve copyedited novels whose authors had nailed narrative point of view at developmental editing stage, so I didn’t have to fix the problem. I’ve also copyedited novels in which POV had become confused. The sample-chapter evaluation highlighted the problem, and I had to adjust my fee to account for the additional complexity. 
How to reduce your editing costs
So, there we have it – 1,300 words that tell you not what editing and proofreading will cost, but what they might cost, depending on this, that, and everything else! Here are some ideas for how to reduce your costs. GENERAL MONEY-SAVING TIPS
CLICK IMAGE TO DOWNLOAD
SAVING MONEY ON DEVELOPMENTAL EDITING Hone your story craft by reading books, taking writing courses, and joining writing groups through which you’ll be able to access fellow scribes! You can critique each other’s work and help each other with self-editing. I recommend these books:
Rather than commissioning a full developmental edit, you could pay for a critique or manuscript evaluation, or a mini edit. Those will help you to identify what works and what doesn’t so that you can make the adjustments yourself. SAVING MONEY ON LINE EDITING Hone your sentence-level mastery, again through books, courses and groups. Some editors offer mini line edits for this stage of editing too. Here, the editor offers a line-by-line edit on several chapters and creates a report on the sentence-level problems with the text with recommendations for fixing them. The author can then refer to the mini line edit and mimic the sentence smoothing and tightening. This kind of service is particularly useful for beginner authors who already know they’re prone to overwriting. And I have a book you might find useful:
SAVING MONEY ON COPYEDITING Learn how to use Word’s amazing onboard functionality, and macros and add-ins that flag up potential errors and inconsistencies. Here are some tools you can use:
SAVING MONEY ON PROOFREADING If you’re working on designed page proofs, there are a series of checks you can take your novel through.
That’s it! I hope this article has given you a sense of what you might have to spend, and how you might be able to save during the editing process.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
If we’re serious about setting up an editing and proofreading business, free resources will get us so far, but only so far.
What free is good for
Free is brilliant when we’re starting out, particularly in the following circumstances:
Free is equally great when we’re experienced but looking to shift the goalposts:
Free stuff is about discovery, so that when the time comes to reach into the coffers we’re spending money in the right place. Free helps us to turn expense into investment. What free is not good for Free isn’t great in the long term because the offering usually comes with limitations. It will give us a glimpse, enough to help us on the journey. But that’s all. The reason free has its limitations is because even creating free stuff and offering free help takes time, and time is money. Imagine the following scenarios:
CASE STUDY 1
Jane wants to offer developmental editing but has no experience. She does some research and finds the following:
CASE STUDY 2
Jack has identified a skills gap. He’s a great editor but a poor marketer and is dissatisfied with the rates he’s earning from his existing client base. Currently, he works with project-management agencies who find publisher work for him. And those publishers find authors for the agency. There’s a cost to that author-acquisition work – those agencies and publishers take a cut of the fee at each stage because they have to invest their own time and expertise in making themselves visible. It's that visibility that puts the editing work on Jack's desk. He starts a discussion in a large editorial Facebook group about his concerns and is offered the following:
What tasters teach us ... and what they don't In both cases, the freebies are of exceptionally high quality and Jane and Jack learn a ton from them. Creating that content must have taken time and effort. However, free articles, blog posts and webinars are tasters. Those kinds of things help us understand the lie of the land, and give us a deeper sense of what more we need to learn. What they won’t do is teach us everything we need to know. We can’t learn how to become professional developmental editors from those resources alone ... any more than we could learn to cut hair or wire a house to acceptable standards without proper training and guidance. Same goes for marketing. Take me, for example. It’s not luck and Google that made me a strong marketer. I pay a monthly sub to learn how to do it well from professional marketers, and invest time in implementing the strategies I’m learning. If Jane wants to become a professional developmental editor and Jack wants to become a strong editorial marketer, both need to take all those freebies and use them to make informed decisions about the money they will invest to turn their investigations into reality. Examples might include:
Free will help Jane and Jack make decisions. Investment will make them fit for professional purpose. 
A better money mindset
It’s perfectly okay to decide that you can’t afford to run a professional editorial business ... but only as long as you decide not to run a professional editorial business. No one on the planet owns a business that doesn’t have operating costs. Business owners have to take responsibility for training, equipment, invoicing, money transfer, software, marketing, client acquisition, office space, pension provision, taxation responsibilities, and more. It’s true that the international editorial community is incredibly generous, which means that free resources and guidance abound on multiple platforms. However, those who are serious about running an editorial business know they have to avoid hobbyist and employee mindsets.
The shoe on the other foot – when you’re asked for a freebie
We can’t have everything we want when we want it. We have to make choices. Freebies help us make the right choices so that the money we spend actually increases our prospects and income in the longer term. And imagine yourself on the other side of the fence for a moment. A potential client calls you. They have a book that needs copyediting. ‘The thing is,’ they say, ‘I can’t afford professional editing. How can I get out of paying you? To be honest, I’m just looking for free stuff.’ How fast would you hang up? Now imagine another writer calls you. ‘I’m in the middle of doing as much self-editing as I can using some free tutorials I found online and some advice from my writing group. There’s a fair way to go,’ they say, ‘but I figured I’d start saving now. Can you give me a rough idea of how much it might cost and how much notice you’d need? That way I can start planning my book budget.’ That’s the kind of client I’m excited about working with. The editor with the same mindset will be rewarded with guidance and help because they deserve it. The editor who wants it all for nothing won’t and doesn’t. By all means, grab all the freebies. The creators of those resources want you to have them. Making free stuff that’s invisible and unused is a waste of time and effort. Just don’t forget that free is the starting blocks. Investment is what gets us to the finish line! Further reading
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
If you’re feeling the pinch because publishers, packagers and agencies aren’t offering your desired fees, think about the issue from a marketing perspective.
The fees on offer from publishers and packagers are a perennial topic of conversation for professional editors and proofreaders. Some feel frustrated and anxious about the rates; others enjoy the security afforded by a stable workflow that requires no client-acquisition effort.
It’s important to remember that not everyone’s lowest-paying clients are publishers. If yours are, it might be that you need to switch clients not types of client. Here’s my wise friend and fellow editor Liz Jones: ‘It’s often said that publishers don’t pay as well as non-publishers. In my experience, this isn’t necessarily true. There isn’t much difference in the mid-range, and fewer of my non-publishers feature at the low end, but my highest payers in 2016 were still publishers.’ Crunching the Numbers
Here are a couple of made-up case studies. The numbers are inevitably loose – editorial earnings vary hugely depending on subject area, type of editing, country of residence, and individual experience so it’s impossible to generalize. And global comparisons are problematic because of currency fluctuations and cost-of-living variances.
Just think of these examples as glimpses rather than universal statements of how the market is! 
Case study 1: Working with publishers
Joe Word-King is a professional proofreader specializing in the social sciences. He works exclusively for publishers. In the past 12 months he’s been commissioned by 5 publishers to proofread 32 books by 32 authors. Joe’s working day Joe starts at 9 a.m. and finishes at 4.30 p.m. He takes an hour for lunch and 15-minute breaks every 90 minutes to give his eyes a rest. This means he has a total of 6 hours per day available for proofreading. During the breaks he does stuff like checking his emails, grabbing cups of tea and something to eat, and taking a little fresh air. How he acquired those publisher clients One found him in the Society for Editors and Proofreaders’ Directory of Editorial Services. Four added him to their freelance list after he emailed them and asked if he could take their proofreading test (which he passed). How the work offers come in The publishers do the author-acquisition work. The book production managers from those presses email him to ask if he’s free to take on a project of A pages, B words, with a budget of C hours and a total fee of £D. Joe decides whether he will accept or decline the work. 
Case study 2: Working with self-publishers
Alicia Sentence-Queen is a professional copyeditor. She works exclusively for independent fiction authors. In the past 12 months she’s been directly commissioned by 19 authors to copyedit 19 books. Alicia’s working day Alicia starts at 9 a.m. and finishes at 4.30 p.m. She takes an hour for lunch and 15-minute breaks every 90 minutes to give her eyes a break. She also spends an average of 75 minutes per day writing blog articles and sharing her content online so that her website is visible in the search engines. This means she has a total of 4 hours and 45 minutes available per day for copyediting. During the breaks she does stuff like checking her emails and social media accounts, grabbing cups of tea and something to eat, and taking a little fresh air. How she acquired those self-publisher clients Fourteen came directly from Google, three from the SfEP’s Directory of Editorial Services, and two from Reedsy. How the work offers come in Alicia does the author-acquisition work. She makes herself visible online so that her clients can find her. They then get in touch directly. A process of evaluation, sampling and quoting begins. Alicia offers a price for the project and waits to see whether the author will accept or decline. Most of the enquiries that Alicia receives don’t turn into paid work – perhaps the author doesn’t like the price, the time frame doesn’t work, or Alicia doesn’t feel she’s the right fit for the job. For that reason, Alicia needs to attract enough people for whom the price, the time frame and the fit will work. 
Alicia has a change of heart!
Alicia’s heart is in copyediting and she figures that if she had a bunch of publisher clients doing all the author-acquisition work she wouldn’t have to devote 75 minutes per day to making herself visible. She earns a minimum of £35 per hour. Given that she spends 6 hours and 15 minutes each week marketing, that time costs her £218.75. That works out at nearly a grand a month! She and Joe are good mates so she gets in touch with him and tells him that she’s thinking about working for publishers. They chat about fees – Joe says he earns an average of £23 per hour, which is two thirds of what she’s getting from her indie authors. Given that Joe proofreads for academic presses, Alicia does a little more digging. She talks to a few fiction specialists. The fees for trade publishers seem to be lower still, such that she could end up averaging around £18 an hour, half of what she’s earning now.
What could Alicia do? If Alicia loathes marketing and can meet her weekly needs with £540, she could take the hit and switch to working with publishers, who will do all her author-acquisition work for her and let her concentrate on doing what she loves best. Yes, she’ll earn less but she’ll be happier. If Alicia loathes marketing but needs to earn at least £750 a week to meet her needs, the switch won’t work. She can’t not do the marketing because the reason why she’s able to attract the clients who are prepared to pay her £35/hr fee is because she’s visible, and being visible means doing marketing. If Alicia’s determined to switch solely to publishers, she’ll have to make up a shortfall of £210. That means reducing her monthly spend or increasing the hours she spends on copyediting. She’ll need to decide whether either option would add a level of stress into her life that exceeds her hatred of marketing. If it does, she’d be better off maintaining the status quo! Joe has a change of heart too! After chatting with Alicia, Joe feels a little strung out. Thirty-five quid an hour? He’d love to earn that. Joe’s not averse to putting in the marketing work, not if he can earn the money that Alicia’s on, but it’s not going to happen overnight – Alicia told him that it took a few years for her marketing strategy to kick in so that’s she’s never without work. At the moment, Joe doesn’t have to do anything to find his authors; the publishers do all the grind for him. Sure, he had to get those publisher clients, and he put in a lot of effort – he contacted 70+ presses initially, most of whom weren’t taking on new indie proofreaders. Nevertheless, having now secured a strong publisher base, he sits back and lets the work come to him. There’s a cost to this, of course – someone else is finding the authors and so they get to control the price. His only control over the rate is his right to accept or decline the work. What could Joe do? If Joe can introduce efficiencies into the proofreading process he’ll be able to improve his hourly rate. If he’s already as efficient as he can be, he’ll need get his marketing hat on now and start building his visibility. Over time, he’ll be able to slide out his lower-paying publishers, confident that he’ll attract enough good-fit clients to provide him with the same income stability that the publishers currently afford him. If he needs to maintain his current earnings, he’ll have to do the additional marketing work outside of his normal office hours. In the longer term, as the visibility strategy kicks in, he’ll be able to mimic Alicia’s model and build this marketing activity into his business day. Joe needs to decide whether the impact on his work/life balance is something he’s prepared for. He needs to set the pressure of the additional work against the anxiety born from the publisher fees, and decide whether the change is the right move for him. 
Different markets, different benefits, different burdens
On the surface, it might seem like the Alicias of this world have a better deal than the Joes. But there’s more to running a business than just numbers. We have to take into account not just what we need to earn but also what we have to do for what we earn. If you’re happy to be an editor and a marketer, you’ll be able to reap the benefits from wearing those two hats purposefully. If your heart lies in editing only, you have some choices:
I worked exclusively for publishers for a good few years and at the time it suited my life very well. I had a toddler to look after and preschool trumped business promotion. Now I have a teenager and marketing trumps Minecraft! Plus, I happen to love marketing my editorial business so it's not a stress point for me. But that might not be the same for you. Furthermore, the editorial market isn’t binary. Joe and Alicia might look nothing like you. You might sit somewhere in between. You might earn more than them or less than them, and have a ton of demands in your life that J&A will never experience. There’s no one size fits all. Just don’t forget that if you’re not finding your own clients, but your schedule is full, someone else is doing the job for you. There’s a cost to that, and it’s fair that there should be. Further reading
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
Proofreading for publishers is something every professionally trained new entrant to the field should consider. Many of my experienced colleagues work exclusively for publishers. I used to and don't regret it for a minute.
And it can be profitable, despite what you might have heard. 
Just a few of the benefits of publisher work include:
Some proofreaders are finding that publisher work is not as profitable as it once was. Perhaps the fees haven't increased in real terms, or the proofreader is being expected to check more words per paid page. Being efficient has become key to sustaining these valuable client relationships. The PDF below includes some tips and tricks on how to make proofreading for publishers (and packagers) profitable by spicing up your digital efficiency. The advice is based on my experience of working for academic publishers for over a decade. Click on the image to download your free copy. I hope you find it useful. 
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses. Sample edits, and why they're useful for authors Many independent authors want to see a sample of an editor or proofreader's work prior to signing a contract for editorial services. 
I completely understand why: broadly, it gives the author the opportunity to compare the work of several different professionals and to assess the editing or proofreading against the price being quoted.
The editor needs to be sensitive to the author’s style, the characters’ voices and the mood of the scene such that the soul of the writing remains intact. Samples help the author to compare editors’ technical competence and their emotional responsiveness to the text. In this case, the question is not so much 'Who’s the best?' but 'Who’s the best fit?' What’s in it for the editor or proofreader? Samples are beneficial for the editorial pro, too. Here are some of my reasons for doing sample edits: Tangled terminology Definitions of the different levels of editing vary widely from client to client and editor to editor. What X calls proofreading, Y would call copyediting. What Y calls copyediting might be called line editing by Z. And where definitions differ, so do expectations. Working on a sample enables me to assess what’s required – regardless of the word(s) being used to describe that service. Time: How long does it take? Doing a sample edit shows me how long it takes to work through, say, a thousand words. That means I can estimate how many hours the project will take to complete and whether/when there’s an appropriate slot in my schedule. A 100K-word novel that needs copyediting for spelling, punctuation and grammar errors and inconsistencies, and only a little tweaking for clarity may take 35 hours (one to two weeks in my schedule); a novel of the same length that requires a deeper line edit may take 100 hours (four to six working weeks in my schedule). Appropriate pricing Once I know roughly how long the project will take to complete, I can price it accordingly. Am I a good fit? I usually find that the process of immersing myself in the author’s words comes easily. In the case of a deeper line-editing sample, the work will certainly be time-consuming but I can feel my way through – mimicking the author so that my edits (or suggested recasts) improve and complement the original writing rather than rubbing up against it. This isn’t always the case, though. Sometimes I’m just not a good fit – it’s not obvious how I can put the ooh! into the writing. It’s not that the amendments I’m making are technically incorrect but rather that I’m not able to find that emotional responsiveness that the client needs. When that happens, it’s time to thank the author for the opportunity to do the sample and provide a quotation, but recommend they work with someone else. Why I charge a fee for samples I usually charge a set fee of £50 for a sample of 1,000 words. Some of my colleagues offer free sample edits, so why do I charge? My professional time has a cost to it Every minute that I spend doing free editorial work is a minute I could be spending on paid-for work for clients or maintaining my business’s visibility (which is what leads clients to me in the first place). Scheduling problems Because I’m visible, I have little spare time in my schedule to fit in additional work, and certainly not free work. It’s not as off-putting as you might think I was curious as to whether potential clients would object to my charging for samples. In fact, since I introduced the policy last year, most enquirers have reacted to my fee positively – ‘Of course, not a problem’ is the standard response. This allows me to treat sampling like any other job I’m commissioned for. Filtering There have been cases, though they’re rare, where a client has asked 20 or 30 editors from my professional editorial society for a sample edit, and the chapters offered are all different. It appears that the enquirer is looking for a backdoor to a free complete book edit, farming out bits and pieces here and there. Charging for samples enables me to filter out the cheats. The benefits of the gratis option Charging for sample edits may not be the best course of action for all editorial freelancers. While I’ve encountered little objection to date, there are some perfectly legitimate clients who expect a small sample to be edited for free on the understanding that an hour or two of gratis work is acceptable given the reasonable odds of securing the full project. Here are some reasons why you might decide that free sample edits are the best option: New entrant/low visibility If you’re a new entrant to the field and are still building your discoverability, you might well decide that you want to take every opportunity possible to secure paying work. And if that means doing a few small freebies here and there, that’s a price you’re willing to pay. In this case, you’d be justified in regarding free samples as part of your marketing strategy. I think this is a valid argument. In my start-up phase, I didn’t charge for samples for this very reason. Scheduling If you’re still building your business, you may have space in your schedule that more experienced and visible colleagues don’t have. In that case, the opportunity cost of doing a free sample will not be as high. Continued professional development (CPD) You could view the opportunity to do free samples as a way of developing your experience. You can apply what you’ve learned in training to live test cases. By tracking whether these sample edits convert into commissions, you’ll be able to glean whether what you’re doing is appealing (or not) to potential clients. If you’re a new entrant to the field, sampling can be an invaluable teaching tool that gently introduces you to texts that need very different levels of attention. The safe space When I started up my business, the one thing that worried me was the element of surprise. What if the proofread I’d been commissioned for turned out to be a complete nightmare? What if in only reading the text, rather than actually working on it, I’d vastly underestimated the speed at which I could work and therefore undercharged? Doing samples is a great way for the new starter to get a good sense of what they’re taking on, but in a safe space with no obligations. And because no money’s changed hands, there’s no chance of complaint because of misunderstandings over what’s on offer (from either the editor or the client). It's not worth charging Our international editing community is diverse, and we do a lot of different things for many different client types. Sometimes charging is more effort than it's worth. Here's Erin Brenner: 'I do free samples of up to 1,000 words. This allows me to show my value and ease any concerns about the edit. However, I work for corporate clients with ongoing work and multiple stakeholders. Charging for a sample edit would also mean getting the accounting department involved, which is more effort than its worth for both sides.' Make your own choice I charge for sample edits (most of the time); others offer freebies. Some of my colleagues don’t offer sample edits at all, free or paid-for. There’s no right or wrong choice. How you decide to handle the issue should be based on what’s right for you, not on what others are doing. Consider your availability, your stage of editorial business ownership, whether free sampling could be a marketing or CPD tool, and how comfortable you are with the possibility that some legitimate clients could be discouraged by charges. Think about doing a test over the course of a year – commit four months each to offering free samples, paid-for samples and no samples, and track your conversions. The results may surprise you! Here's something to help you decide whether free, fee or test is the best approach to handling sample edits. Hope you find it useful! And if you want a flavour of what other editors are doing, take a look at the lively discussions on LinkedIn and Facebook that emerged when I posted links to this article. 
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.
The topic of editing and proofreading rates is always hot in our community. And the 'race to the bottom' especially has been known to garner more attention than an Olympic 100-metre final. So what should we do about it?
Competing with cheap
Here in Norwich there’s a mall. In that mall is a discount store selling techie stuff ... phones, tablets and whatnot. You go into that shop expecting a deal. It’s where people go when they’re price-shopping. Not because they’re terrible people who are always looking for cheap but because the coffers are low. Maybe the car failed its MOT and they had to find an extra seven hundred quid that month. Or they recently lost their job. Or something. In that mall on the floor above is an Apple store selling shiny things for shiny people. You don’t go into that shop expecting a deal. You go in expecting to pay what you have to pay to get the shiny thing you want. It’s where people go when they’re product- or service-shopping. The coffers are flush. The car passed its MOT and the job is secure. Or something. 
All clients are not the same
Now, Apple could decide not to have a store in that mall. It could say, ‘This is ridiculous. No one’s going to buy our stuff when they can get similar products from the shop on the floor below for one fifth of the price. Being in that mall is a race to the bottom.’ But Apple doesn’t say that. Why? Because it knows that the customers who come into the mall aren’t all the same. Some won’t come near its store because the prices are too high. But others – those who are looking specifically for an Apple product, those who are Apple fans, those whose cars passed their MOTs – might pay Apple a visit. If it doesn’t have a store in the mall, Apple knows it will lose the custom of all the people who’d like to buy there but can’t because it’s decided not to set up shop ... and all because it got the hump about the race-to-the-bottom store on the floor below. In fact, Apple doesn’t focus on the store below. It doesn’t care what that store is charging. That store can service the price-shoppers – those customers whose budgets are limited – because those customers are NOT Apple’s customers. Instead, Apple invests its energy in making the service-shoppers – its fans – have an amazing experience ... lots of knowledgeable, passionate staff on hand, a Genius Bar, technicians out back who’ll fix or replace a product in-store or replace it, and lots of lovely shiny stuff to play with while we wait. Apple knows that there’s room in the mall for both types of store and both types of customer. And it’s the same for editors and proofreaders. 
Standing up for the market or hiding behind a curtain?
If you decide not to make yourself visible in particular directories or other online spaces because you know there are colleagues charging what you consider to be unacceptably low rates, and you think no one will hire you because you’re charging more, you’re assuming that all clients are the same. But they’re not. Some clients will have low incomes or busted cars that need expensive repairs, and they will be attracted to the discount editors. Some will have more flexible budgets and will be focused on finding the right-fit editor first and foremost. Price will not be the clincher for the latter group. However, clients can only commission services from an editor whom they know exists. If you have the hump about the race to the bottom and have decided not to join the party, you’re not standing up for the editorial market. All you’re doing is hiding behind the curtain, making yourself invisible to those clients who would have liked to work with you if they’d been able to find you. And don’t forget that Google is the biggest directory of all. There’s no other online space with more editors in it. Some of them are cheap as chips. Has that stopped you having a website? No. The same logic should apply elsewhere. How to be the Apple editor Of course, we can’t have it both ways. If we don’t want to compete with discount editors then we need to get attention in a way that shifts the client’s focus away from price. Expecting to benefit from the same footfall as the discount editor without offering a compelling alternative is just wanting to have our cake and eat it. We need to stand out for some other reason. We need to make the client think: That editor looks perfect for me, seems to get me, is really generous and knowledgeable. I hope she’s available and that if I save up I can afford her. Sure, the price-focused clients aren’t going to touch us with a barge pole. But that’s fine because we’re not targeting them; we’re targeting the service-focused clients. To be the Apple editor we need to present potential clients with an amazing experience – a story that says we have solutions, that we have their backs, that we can help them achieve their goals ... a story that persuades them we’re worth waiting for and worth paying for. It’s about the words we use to convey our understanding of our clients’ problems. It’s about the images we use to convey our professional values. Blurry headshots with our mates or kids in them won’t do. It’s about how we instil trust. Telling them that we know our stuff – that we have the skills, the knowledge and the experience – is one thing. Showing them with free resources and a knowledge base that helps them more easily walk the publication path ... that’s quite another. 
Time well spent on standing out
Every minute we spend worrying about what other editors are charging is a minute in which we could be building our own compelling brand identity and creating our own valuable resources, stuff that helps our potential clients feel we’re the right fit. Every directory that we don’t advertise in because we think it’s a race to the bottom is another tick on our invisibility list. If you’re invisible, it doesn’t matter how high your prices are. No one will hire you. Not because your prices are too high but because you can’t be seen. Being invisible is of no economic value to any editor or proofreader. So charge what you want to charge. If you want to compete on price, go ahead. If you want to compete on compulsion, go ahead. The compulsion route isn’t easy. It means investing time and effort in standing out – all that content marketing stuff I bang on about! It means thinking deeply about how every word of your directory entries and every page of your website helps a potential client and makes them feel that you’re just too wowser to ignore. All that hard graft pays off though. You can sit beside the cheaper editors without fear. You can let them have the price-shoppers while you work with those who can afford you. Just like Apple and the discount store, we’re dealing with two different markets. The idea that your business could be undermined by a colleague charging way lower than what you deem to be acceptable is, says Jake Poinier, ‘nonsense. Creative freelancing is a market, and only you can establish the value you bring to it. I don’t view the low end of the freelance rate scale as my competition’ (Stop worrying about freelancers who undercharge). I agree with Jake. Honestly, there’s room for everyone. Don’t waste your valuable time on the issue. Instead, build your business, your brand identity, your visibility and your value. Therein lies success. Want a reminder of this article? Download this free ebook to your preferred device. Just click on the image to get your copy! 
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Yolanda is a self-published author who wants to build a fiction proofreading and copyediting business. In this Q&A I consider the steps she should take to get her editorial business off the ground and fit for purpose.
Says Yolanda:
I am a fiction author located in U.S. and I've been self-publishing for almost 6 years under various pen names. I still work full-time (over 20 years in the administrative field), however I would like to start a freelance career as a fiction proofreader/copy-editor. I am a certified legal proofreader but outside of my day job & my own books I don't have experience proofing. I intend to use freelance job sites & my connections with self-published authors to build my portfolio. As far as blogging, I'm not sure what I would discuss since my focus is fiction & I'm not an expert yet to give other proofreaders advice. What would be my next steps to transition from fiction author to fiction proofreader/ copy-editor for self-published authors as far as getting my business up & running, classes (if any), pricing, etc? Hi, Yolanda! Thanks for your question. I’ve broken down my advice as follows:
Training I think you’re wise to consider training. It’s essential that your knowledge of grammar, spelling and punctuation conventions is top-notch. If it’s not, you won’t be able to correct your clients’ files to industry standards. I'd recommend that you search for a grammar brush-up course as a first step. That will enable you to discover whether your technical knowledge is on point and if there are any weaknesses that you need to attend to. Here are a couple of options for you to consider:
Fiction work does require an empathetic hand because editors and proofreaders are often faced with the dilemma of how to amend such that we remove errors and improve readability but respect narrative voice and flow. However, it’s only when you know what a problem is that you can decide whether to fix it! Training is absolutely the right place to discover your weak points. Better that than via a disgruntled client. Your second step should be to undertake professional editorial skills training. This will be of particular use to you because it'll move you into the editing mindset and away from the authorial one that you're used to. I appreciate that you've self-edited, but editing one's own work is a very different proposition to offering professional services to paying customers, as you clearly realize. Professional training will also enable you to determine the level of intervention that each type of editing requires. In turn, that will help you avoid scope-creep and undercharging. Especially when proofreading, knowing when to leave well enough alone is an art in itself! Here are some reputable US-based programmes to consider:
Services
You’ll need to develop a service model that differentiates between the different levels of editing. Many self-publishing authors don’t know the differences between proofreading, copyediting, line editing, and developmental editing. Many editors' definitions vary too. And so while the lines are often blurred, especially when we compare different independent editors’ service descriptions, professional training will help you clarify how you'll describe your services so that your clients understand exactly what’s on offer. You can see some examples of how I’ve tackled definitional issues here:
I’d advise taking a look at a range of editors’ websites to familiarize yourself with the breadth of services on offer and the way your future colleagues describe these. There’s no right or wrong. Rather, it’s all about clear communication and helping the client understand how you can solve their problems. 
Visibility
Blogging needn't necessarily be your primary content platform, though I think it works well for editors and proofreaders because our wordy clients are comfortable with wordy information! Even if you don't concentrate on vlogging or podcasting, at least think about how you can introduce audio-visual material into your marketing mix in order to stand out and offer your audience alternative ways to get what you're offering. You don’t need to focus on colleagues either. Far from it. Fifty per cent of my content is created for beginner authors. I’d recommend you consider using your experience as a self-published author of fiction to guide potential clients on how to navigate their own publishing journeys. Think about what their problems and questions might be. Think about what your own problems and questions were! For example, you mentioned having used a pen name; that would be an interesting topic to any beginner author wondering whether they should publish under their own name. Great content marketing solves problems. If you decide to blog, offer fantastic value by helping other writers solve their conundruns using all your knowledge and experience ... the rough and the smooth. Everything you’ve learned on your own journey has the potential to help others. Don’t forget that your experience of self-publishing can be used as a unique selling point that makes you stand out. Combine that with high-quality training and you’ll be on the way to building a compelling online presence. Consider how you might make your content visible beyond the blog (or vlog or podcast) by creating a resource hub that makes what you’ve created accessible via different pages on your website. It’s my belief that having an individual, standout online fingerprint is essential for those entering the editorial freelancing market. There’s too much competition out there to create a website that looks just like everyone else’s. So do focus on your marketing so that over time you can be as discoverable as possible. Here are a few examples:
Pricing
Many national editorial societies have guidelines or suggested minimums for what editors should charge. I look at these but don’t use them to determine my own rates because they distract me from the important things than any pricing model needs to take account of. These are:
In relation to your needs, it matters little if the Editorial Freelancers Association thinks that $30–50 per hour is a common and acceptable rate for copyediting if you need $70 per hour to keep the bailiffs from the door. With that in mind, when you start to think about pricing, work out first what you need to earn as a minimum to make your business viable. That’s your baseline. From there you can work upwards to what you want to earn and what your clients will bear. Self-publishing authors aren’t a homogeneous market when it comes to writing skill, genre or budget. Some will be shopping for an editor whose fees are lower than that which you need to earn. Others will be prepared to pay more than you want to earn. Yet others will sit somewhere in the middle. It’s not only the budget that will vary; your authors' locations will too. And so if your potential client is based in Sweden, it’s likely that what $40 will buy in Sweden is not the same as what it will buy in the US. Since the cost of living varies from country to country, what an American client thinks is a high rate might seem an absolute steal to the Swede. And that’s another problem with professional association pricing tables – they focus on the domestic market whereas your potential market lies well beyond the sovereign state in which you reside. That’s why it makes more sense to build your pricing model on your own needs rather than some notion that there’s one universally applicable rate (or range) for editing or proofreading. There isn’t. There’s some excellent detailed guidance on editorial rate-setting from Rich Adin on the American Editor blog. Start with the following: Sign-off I hope all that gives you a few ideas for how to move forward, Yolanda, and I wish you well on your editorial business-building journey! There’s plenty more information on my blog in the following archives: Money Matters, Marketing, Starting Out and Training. Dig into that and start connecting with other editorial pros online. There are lots of us on Facebook (the Editors’ Association of Earth is a good place to start), Twitter and LinkedIn ... and beyond! See you there!
Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order. Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly. 
What if …? Learning from non-editors
My fellow editors and proofreaders are brilliant at giving me ideas and inspiration for how I can grow my business. Sometimes, though, it can help to step out of one’s known zone and see what people in other industries are doing. That doesn’t mean that everything on offer will be relevant, but delving into other business owners’ worlds can inspire us to spend a valuable half hour asking simply, ‘What if … ?’ So here’s one what-if experience from recent months … something offered by a non-editor that made me take a step back and think about my proofreading and copyediting business from a different angle. First of all, though, I offer an overview of my most-often used approach. Measuring value in terms of time At the base level, I approach pricing in terms of what my time’s worth to me. The questions I ask are:
Don’t get me wrong – I’m not at all unhappy with that approach. It provides me with an effective hourly rate that meets my needs and desires, and it allows for flexibility. Not all my hours are of equal value.
What if, though, one approaches pricing from a different angle? What if we set a fee based not just on the value of our time but also on the risk the client attaches to not hiring us? I’m not saying that this is a better way, just that it’s useful to at least think about it, perhaps in relation to some of the clients we work with. 
What if …? Measuring value in terms of risk
In ‘Part Three/Money Talk: Pricing Design’,* Chris Do, founder of Blind, a brand strategy design consultancy in Santa Monica, discusses pricing the client (or more specifically, their perceived risk) rather than the job. He asks a group of logo designers, ‘What does it touch?’ The video is 30 minutes long but it’s well worth watching. The nub of it is this: a bad logo on one niche website, 10 booklets and 50 promo flyers is a different problem to a bad logo on 40 aeroplanes, 20 helicopters, 14,000 vending machines and a million mailshots. The cost of rectifying the problem is different in those two scenarios, and so the cost of ameliorating the risk of it happening in the first place is different. So the questions editors might ask themselves are:
Those editors with relatively homogeneous client types are less likely to find this approach useful; generalists, however, might well consider testing it. These days, I specialize in proofreading and copyediting for independent and self-publishing authors. That’s a homogeneous client base in terms of client-perceived risk so my rates are based on time to do the job. But if I were working with a lot of corporates, Chris Do’s approach would be food for thought. How about you? Do you have what-if lessons from non-editors that made you step back and ask whether there are other approaches to thinking about your editorial business practice? I’d love to hear about them! *Thanks to my pal Averill Buchanan for alerting me to this link and thinking I’d find it interesting. She was right!
Louise Harnby is a professional proofreader and copyeditor. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this Q&A, I look at how to set up a proofreading business, how to acquire clients and how to handle payments.
One of the blog's readers, Charlie, got in touch with several questions:
Phew! That’s a lot of questions so I’ll only be able to scratch the surface, but I’m confident I can point you in the right direction, Charlie. First things – going deeper Here are four resources that dig deeper into all your queries , though you’ll have to cough up a few quid for them!
They’ll tell you pretty much everything you need to know about starting out and keeping going. Might I also suggest you join the Chartered Institute of Editing and Proofreading (CIEP), the UK’s national editorial society? The forums provide a warm and supportive environment for old hands and newbies alike. How will clients pay me? A better question might be how would you like to be paid? For example, I accept cheques (reluctantly!), PayPal (convenient for international clients), and direct bank transfer (easy-peasy). Other options include Stripe, TransferWise and CurrencyFair. I send an invoice as soon as a project’s complete, but some of my colleagues prefer to do all their invoicing for the month in one fell swoop. It’s a matter of personal choice and what works for each business owner in terms of efficiency. You can download an invoice template from my Other Resources page. How do I register with HMRC and what do I need to tell them? Quite honestly, the easiest way to deal with HMRC is to give them a call. I found them incredibly helpful when I first started my editorial business. Believe me, they’ll put your mind at rest. Sue’s book (mentioned above) has lots of information about dealing with HMRC. My primary piece of advice is to keep a record of what you spend and what you earn in relation to your business. There’s an accounting template on the Editor Resources page that shows you what I record for each project. How do I keep track of the hours I spend working? I record my hours in the accounting template. That way, everything’s in one place. I keep track of time the old-fashioned way – with a pen and a piece of paper! Other colleagues use various time-tracking tools and widgets, e.g. Toggl. Keeping track of how much time you spend on a project is important for gauging how efficient you are. Bear in mind, though, that not all clients will be prepared to pay you for the hours you work. Rather, they’ll pay you for the hours they think the job should take you. This is often the case with publishers and packagers. When you’re in control of the setting the price of a project (e.g. with independent writers, students, businesses etc.), you’ll need to assess how long the project will take and how much you want to earn from it. This comes with experience; it’s likely you won’t hit the mark in the start-up phase of your proofreading business. Don’t fret about this, though. You’ll get better at estimating over time. And by tracking how long each project takes to complete, and what you earned, you’ll get a sense of what’s possible in an hour or per 1,000 words. How much should I charge? Take a look at the following articles here on The Editing Blog:
What you charge will be determined by your particular needs, your ability to access clients who’ll meet those needs, whom you’re working for, and what you’re doing. If you work for publishers and packagers, they’ll control the price – you’ll be a price-accepter. If you work for businesses, independent authors, academics, and students, you’ll offer a price in the hope that they’ll accept – you’ll be a price-setter. If the second option sounds a better financial option, bear in mind that, even if it is, it’s harder work! Publishers and packagers do all the client-acquisition work on your behalf, while acquiring clients for whom you’re a price setter means you need to actively promote your business on a regular basis so that you’re interesting and discoverable to clients across the platforms they’re using to find people like us (e.g. Google). How do I acquire assignments? My line on this is: when you set up your own business you’ll have two jobs:
I’ve shared all my experience of editorial business promotion in these resources:
What I’ll say here is that there’s no single way to go about it, not least because different client types use different platforms to find their proofreaders and editors.
For example, content marketing is not the most efficient way to go about acquiring publisher clients – honestly, just get on the phone or write a letter/email instead. If you want to work for independent authors, though, it’s one of the most powerful methods of being discoverable. Conversely, phone calls to publishers will reap results (if you make enough of them), but for indie authors this method will take you into Ghostbusters territory – who you gonna call?! My advice is to put yourself in your customer’s shoes and ask:
Can I use my prior career experience? Absolutely – it will be one of your unique selling points. For example, I’d worked for a social science publisher for many years prior to starting my business, This, along with my politics degree, helped to make me an interesting prospect for social science publishers with politics lists. Wordsmith Janet MacMillan is a former lawyer – now her client base includes legal publishers, legal students, academics and law firms. Both of us understand the language our respective disciplines, and that means we’re more likely to spot errors in related texts than someone with, say, a nursing background. My advice to new starters is: always specialize first in what you know. Later, if you wish, you can diversify, or transition to another specialism (I’m now a fiction copyeditor and proofreader). So, in the start-up phase, use your career experience to help you determine which core clients you’re going to target. Then think about how you'll communicate with them in a way that makes them want to consider you as their proofreader. Here are two resources to help you think about how to create a stand-out brand identity using a client-centric approach:
Do you accept volunteers or offer apprenticeships? I don’t, Charlie – sorry. I’m a one-woman show. That’s critical to my business model. My clients hire me and only me to work on their books. That doesn’t mean that mentoring programs aren’t a superb option. Time to think about training! I’d strongly recommend you do some professional proofreading training to prepare yourself for market. It’ll show you where your strengths are, and help you fix your weaknesses. Training has three core benefits:
TheChartered Institute of Editing and Proofreading (CIEP) and The Publishing Training Centre are my recommendations … purely because I have personal experience of their courses on which to base an opinion. There are other options available, though. The CIEP runs a mentoring programme, too, though you must have completed some initial training beforehand. Last things That’s it, Charlie – a whirlwind tour of how to set up a proofreading business! I hope you find the guidance useful. I realize there’s a lot to think about. If you decide to join the club, you’ll find a supportive community awaiting you, one that stretches well beyond the geographical boundaries of the UK. Good luck!
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
One of the things new entrants to the field of editorial freelancing want to know is: What’s a good rate? Here's how to work out what's a good or bad fee for the job.
Terms like good, high, fair, low, poor and predatory are problematic because they’re used by individual freelancers to reflect their own experiences and circumstances, which are often very different.
Rate talk can trip us up if we're not careful. And while it can be interesting to listen to colleagues’ opinions of whether a fee is low or high, their views might not be in any way useful for us because we need to make decisions based on our circumstances, not someone else’s. 
One of the first potential trip-ups occurs when the conversation takes place between colleagues from different countries. This issue is one of currency, particularly fluctuations in the exchange rate.
Proofreader A lives in Oxnard, CA, USA. She tells her colleagues in an online forum that she’s accepted an offer from an agency to proofread 4,000 words for US$25. The job is budgeted to take one hour. Some of her US colleagues say that the rate is unacceptably low; some even believe that she’s encouraging a race to the bottom by accepting such a fee from an organization whose rates are clearly unfair. Meanwhile, Proofreader B, who lives in Manchester, UK, is reading the forum thread.
Proofreader B needs to earn a minimum of £20 an hour to meet her needs.
Conversations that include blanket terms such as high and low therefore don’t help Proofreader B. Because the exchange rate fluctuates, so do her perceptions of whether a price is good or bad. 
It’s not just currency fluctuations that affect our perceptions of good, high, fair, low, poor and predatory in relation to editorial rates. Circumstances muddy the waters too.
Proofreader C lives in Belfast, Northern Ireland. She tells her colleagues in an online forum that she’s accepted an offer from an agency to proofread 4,000 words for £16. The job is budgeted to take one hour. Some of her colleagues say that the rate is unacceptably low; some even believe that she’s encouraging a race to the bottom by accepting such a fee from an organization whose rates are clearly unfair. Meanwhile, Proofreader D, who lives just down the road from C, is reading the forum thread.
Proofreader E lives to the west in Strabane.
Proofreader F lives next door to E.
So, conversations that include blanket terms such as high and low don’t help Proofreaders D, E and F either because although they’re all operating within the same geographical region and the same currency market, their circumstances are all very different. Deciding what rate works for you If you want to work out whether Agency X, Publisher Y or Packager Z’s rates are acceptable, you need to know what good, high, fair, low, poor and predatory mean to you based on your situation – not anyone else’s. The same thing applies to deciding what price to set with clients who come directly to you. Consider the following:
That data – as it applies to you, not your colleagues – will give you a useful initial benchmark with which to evaluate whether a fee is low or high. Your colleagues’ opinions are interesting but your colleagues are not responsible for running your business or your home, so their opinions should not be used to determine whether you accept or decline work at a given price. *** While I don’t believe that colleagues should be the sole determiners of the fees we accept or offer, I do think they’re the go-to people for many, many more types of information. See this post on the value of networking – both online and offline.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
Just becoming editors doesn’t bestow special privileges upon us that are not available to other types of working people. Being editors doesn’t mean we’re entitled to be commissioned. Nor does it mean that we’re entitled to earn what we’d like to earn.
Why entitlement won't work for the self-employed
Entitlements are the domain of employees. Freelance editorial pros aren't employees of businesses; they're the owners of those businesses. Work has to be found, which means clients have to be found. We don't live in command economies where the State hands out jobs and you take what you get. We've chosen to run businesses so we have to find a way to make them function successfully. The alternative is unpalatable. In a global market, where clients come from all over, and have different budgets, requirements and expectations, what those clients will be able or prepared to pay will vary enormously. Consequently, of all the clients we find via our extensive marketing efforts, only some will be a price match for us. For that reason, we need to be visible to as many as possible, because the bigger the pot the greater the chance of a conversion. To recap, just being an editor in itself will provide us with neither work nor the money we expect to be paid for the value we believe we bring to the table. Doing visibility is the key to cracking the problem. 
Imagine being a teacher ...
Do you know a teacher? Does that person have a paying teaching job? How did they get that teaching job? Are they happy with their salary? If not, ask them what they would have to do to solve the problem. I know a teacher. She trained for the role. After her training was complete, she didn't have a job. So she had to find a job. She didn't sit there and say, ‘I'm a teacher. Where's the work?’ She went and searched for the work. She did loads of research, applied for tons of jobs, reviewed the packages on offer, prepared for a stack of interviews, attended them (which was stressful), filled in her spare time with voluntary work in the education sector to make her CV sing, and finally found a school who wanted her and for whom she wanted to work. For a few years the package worked for her, and then it didn't. She didn't say, ‘This school is predatory.’ She said, ‘I need to find a new job.’ So she did a lot more work. Now that she was more experienced and had higher expectations, it was tricky to find a good match. It took a lot of time, a lot of hard graft, a lot of research, but I never heard her moan. I'd ask how the job search was going. ‘Ticking along. No news yet but I'll know when I find it. The current post isn't perfect but it's better than being unemployed. You hear about Si? He’s been made redundant. Nightmare. He's really down in the dumps.’ My friend did secure a better teaching post. She worked her backside off to find that job. It would've been nice if it had landed in her lap, but that’s not how the teaching sector works. And it's not how the freelance editing sector works either. We have to work our backsides off to find the work we want to do and that pays the fees we want to earn. 
Feeling ripped off?
If you're feeling ripped off, that's okay. We’ve all done work that made us feel undervalued and underpaid. That's kind of how my teacher friend was feeling. Time to replace that rip-off work with a better package. Be aware, though – this won't happen overnight. If you're not visible to those offering better-paying work, you'll have to make yourself visible, which takes a lot of hard graft. It took my teacher pal a couple of years to replace her employer with one offering the package she wanted. It might take you a couple of years to make yourself visible to the clients you want to work with. This could mean you have to stick with the current client while you're working your backside off to find a new and better-paying replacement. 
The client under the microscope
In the meantime, take a good hard look at the client. If you're feeling ripped off, it can be useful to examine not just the deficiencies but also the benefits. This kind of exercise can shine a light on some of the value you might have overlooked, value that you may not have costed into your analysis. Turnover So the work isn't paying you what you'd like to earn, but is there a lot of it on offer? Every time you receive an email that offers you work on a plate, you get to fill your schedule with absolutely no effort on your part whatsoever. Some people have a few regular clients who provide 90% of their work. Others have a few regular clients who provide only 20% of their work; the other 80% is new business. New business needs to be found and converted into a working relationship. Which leads us to marketing … Marketing If you fill your schedule with a lot of work from one agency (or publisher or packager), and you think said agency is ripping you off, ask yourself how come they've got so much work that they can fill 80% of your schedule and the same percentage of many of your colleagues’ schedules. Is it because they’re marketing their backsides off? Then ask yourself whether you're prepared to make the same investment, because that's what you'll have to do. You'll have to do all the hard graft yourself. Marketing an editorial business isn't just a cute little hobby you dip your toes into a couple of times a year. Well, actually, it can be if you get someone else, like the agency, to do the graft for you (and there’s nothing wrong with that), but there'll be a cost to it because they'll take a cut of every penny you earn. And that's fair enough because there is a cost to finding clients. Marketing takes time, and time is money. So if you don't want to lose a cut, you have to fork out for the marketing investment. In other words, we don't get to have it both ways. We can't expect someone else to find our clients for us and expect to earn as much as if those clients were coming direct. If we did expect that, who'd be ripping off whom? 
Still want an exit?
Fair enough. Start actively promoting so that you can phase out the lower-paying client(s) and replace them with new customers who'll pay what you want to earn. Plan for this to take time and a lot of work. If you don't fancy the transitional approach, you can wave goodbye to the work immediately. If that's the case, you either live with someone who can pay all your bills (quite possible, and good for you), you have a trust fund (less likely, but wow), or you're happy to be partially unemployed for a while. As you can probably tell, I favour the transition method! That's because my family situation means my income, although the secondary one in our family, is essential. When I was starting out, I couldn't afford to turn down work on principle while I was finding better-paying alternatives. I had to use a phasing-out approach (if negotiation wasn't on the table). Of course, it may be that you already have enough higher-paying clients to cover the lost income from the existing customer, but if that's the case you probably nailed your marketing strategy years ago!
We're responsible
No one else is responsible for the rates we earn, the clients we find (or whom we enable to find us), the tools we use to make ourselves visible, the equipment we buy, the tax returns we file, the colleagues we talk to, the meetings we attend. It's all down to us. We're not entitled to have anything land in our lap. As business owners, we reap all the benefits, but we have to do all the work. Every time we hand over some of that graft to another entity (finance to the accountant; client-finding to an agency; fee-handling to a money-transfer organisation), we see a cut in profits. That's not being ripped off; it's a cost of business. If you don't want to bear the cost, you have to do it yourself. Being an editor isn't enough when we're freelance. If we're not wearing the many hats required for business ownership (or we resent bearing the cost of someone else wearing them for us), we need to take a step back and consider whether it’s time to make some changes. What we are entitled to What we are entitled to do is to make our own decisions. We’re entitled to choose the clients, the rates, and the types of work that suit our needs. So if you want to work for a packager or an agency that pays less than a colleague thinks is acceptable, but there’s value in it for you and your business, that’s fine. If you want to decline the work and source your own clients direct, that’s fine too. Me? I’ve done both in my time because it was right for me. You’re entitled to the same choice. Good luck!
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses. What's a fair price for proofreading or editing? One of my concerns when discussing rates is that the value of a particular client to the freelance editor or proofreader’s business is sometimes overlooked. 
Deciding not to accept a particular editing rate might be the right choice for me but the wrong choice for you, or vice versa. That’s because our circumstances are different and because businesses aren’t static.
Terms such as ‘too low’ or ‘race to the bottom’ can be problematic because they’re used as if editorial business ownership is taking place in the now – as if the business, and the fees which that business owner accepts, are absolutes and somehow unrelated to what’s gone before or what will happen in the future. I believe that business ownership is a journey – that the work I do, and the marketing I carry out to acquire that work, is fluid. The decisions I made and the actions I took three years ago affected the work I was doing and the fees I was charging/accepting at that time; but they ALSO affected the work I’m doing and the fees I’m charging/accepting now. This fluidity means that the way we find value in a client extends beyond the rate. Time for a case study to nail things down … Case study: The packager and the proofreader 2012 Ellie’s a proofreader. Work: She’s completed her training and become a member of her national editorial society. She’s technically excellent at her job, but she has no clients and very little experience of paid work. Marketing: She has a website but the portfolio and testimonials pages are sparse. And, anyway, her SEO is, as yet, so undeveloped that she’s barely discoverable online. She gets in touch with a packager who regularly hires proofreaders who are members of her national professional society. Clients: To the packager, she’s a great fit. She has the skills they want and she has the space in her schedule. To academics, students, businesses and independent authors searching for a proofreader, she’s invisible. Even if she were visible, she appears less experienced (less interesting, we might say) than other proofreaders touting their services. Rates: The agency offers regular work, and the rate is £13.50 per hour. ‘That rate is woeful,’ says one of the more experienced colleagues in her network. ‘That’s so low it’s an insult,’ says another. ‘Accepting that is encouraging a race to the bottom,’ says yet another. Action: Ellie accepts the work anyway – she has a cunning plan! 2014 Ellie’s still a proofreader. Work: In the past two years, she’s done a book a month for that packager. Now, from that packager alone, she has 24 academic book titles in her portfolio – all of them published by international scholarly publishers, and some of them authored by big names in the academic community. She’s also contacted several academic presses whose rates are a little higher than the packager’s, but only by a few pounds. Marketing: She’s been busy over the past two years.
Clients: Two years ago, Ellie wasn’t discoverable to anyone but the packager and the publishers. Things have changed, though. It’s been a slow burn, but her down-the-road thinking has led to a larger number of direct hits on her website. There’s still a long way to go, but when clients visit her website now, they see the following:
Rates: A few of the clients who’ve found her direct have accepted the rates she offered. These are sometimes as much as double the rate she’s earning from the publishers and packager. This inspires her to continue her marketing activities and increase her visibility to these client types so that she might shift her customer base as her business develops. Ellie’s still not visible enough to fill her schedule with these better-paying clients. She continues to accept work from the publishers and the packagers. ‘Those rates are an insult to someone with your experience,’ cry some of her colleagues. Action: Ellie accepts the work anyway – she’s not phasing out the publishers and the packager until she’s phased in enough higher-paying clients to replace the workflow and the income it provides. 2016 Ellie’s still a proofreader. Work: Over the past two years, she gradually reduced the work for the packager, finally stopping it altogether at the end of 2015. She’s still taking some work from her early publisher clients, though much less than in 2012–14. That’s because she’s been working for four better-paying presses whose rates are what she’d define as ‘middle-of-the-road’, though nowhere near as high as the fees she can set when she works directly for authors and students. Her increasing visibility has put her in a position where she receives several direct requests to quote per week. She’s noticed that some academic publishers are even asking their authors to source and pay for their own proofreading, so she’s glad she’s focused on making herself discoverable to these clients. Marketing: Even though Ellie’s had a full schedule for several years, she’s continued to focus on what she wants down the road in terms of client types and income. The bread-and-butter work provided by the publishers and the packager have enabled her to concentrate large chunks of her marketing time on what she wants in the future without having to worry excessively about where today’s work will come from.
Clients: Ellie appears to clients as an experienced proofreader with professional qualifications. They think she’s on their wavelength because of the valuable resources she provides for free. The fact that she’s worked for international academic publishing houses gives them confidence that she knows how to follow a brief and work on complex materials to a high standard. If she wasn’t capable, those presses wouldn’t have hired her repeatedly, would they? Rates: Ellie no longer accepts work below £20 per hour, although she aims to earn an average hourly rate of £28. She can afford to make this decision because of the balance between her later-acquired, medium-paying publisher clients (who provide her with a stable workflow) and the higher-paying independent clients who contact her direct. On an online forum, a new entrant to the field posts that she’s been offered proofreading work from a packager at a rate of £15 an hour. Does Ellie say, ‘That rate’s woeful. It’s an insult. Accepting it would be encouraging a race to the bottom’? Nope. She says, ‘Is there value in this work beyond the fee being offered?’ She goes further:
The business journey Ellie’s business in 2012 looks different to Ellie’s business in 2016. Her client base has shifted, her income has shifted, the base price she’ll accept has shifted, her work stream has shifted and her visibility has shifted.
There is value beyond the rate. Whether you take advantage of that value will depend on your particular circumstances, of course. My advice to new starters is to be cautious when listening to the rates debate. It’s easy for seasoned professional editorial freelancers to advise against accepting this or that fee simply because they’re in a position to command better fees. In fact, offering advice on what’s an acceptable price is almost impossible unless we understand an individual freelancer’s circumstances, requirements and access points to the industry. Fees, like any other aspect of a business, need to be considered in the context of an overall business plan, and over a time frame that extends beyond the now.
Louise Harnby is a professional proofreader and copyeditor. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
In this article, I consider several approaches to increasing editing income and declining lower-paid work. These respect editors' differing circumstances, client bases and business goals.
How to increase editing and proofreading income
Taking annual action to increase income from freelance editorial work is simply good business practice. Earnings need to keep up with cost-of-living increases else our editorial businesses could fail. Even if they don't fail, the decline in profitability could have a significant impact on our lifestyle and well-being. What we earn is determined by the following:
Increasing our earnings is not always straightforward, though. You or I might think our desired rate increase is entirely justified (for example, because of inflation). However, what you or I think is not the issue. Any change to a pricing model must consider the client’s response for the simple reason that the client might not be prepared to pay. Remember:
Decisions about what to set or accept therefore need to be carefully planned. Avoiding knee-jerk thinking If a colleague states that they’ve decided to no longer edit for ‘low’ rates, by all means congratulate them on their business decision. Don’t assume, though, that their decision is the same one you should be making. Before you impulsively follow their lead, ask yourself the following questions:
In other words, don’t feel compelled to decline work just because your colleagues deem what’s on offer as a bum deal. Their current circumstances might be very different from yours. Not everyone can afford to be unemployed, and the choices available to a mature freelance-business owner may be very different from those on offer to the beginner. Case study – the price-accepter When you’re a price-accepter, the process for managing rates is usually one of the following:
In the first five years of owning my editorial business, I was almost exclusively a price-accepter. My main clients were publishers and packagers. Returning to the knee-jerk-avoidance issues:
During that phase, I was a negotiator and a phase-outer. I’d take the work to ensure a full schedule. I gained experience and testimonials, and I expanded my portfolio – all great marketing tools. As I acquired better-paying clients, I phased out the 15-pounder, then the 18-pounder, then the 20-pounder, and so on. It was a gradual process. In 2017, my marketing strategy has paid off. I’m highly visible. I’ve got the experience, the testimonials and the portfolio to make me interesting to enough non-publisher clients that I can decline a price and walk away. I’ve moved from negotiation and phasing-out to responding with a flat refusal. Case study – the price-setter When you’re a price-setter, the process for managing rates is usually one of the following:
In the first five years of owning my editorial business, I had few clients for whom I set the price, and I was still developing my visibility. If there was space in my schedule, I’d try to fill it by negotiating and offering phased-in fee increases for regular clients. In 2017, things have changed. I’m a flat-increaser. If the client doesn’t like the fee on offer, no problem. I thank them for their interest and wish them luck. Returning to the knee-jerk-avoidance issues:
As I hope the two examples above show, the approaches we take can vary over time and depend on individual circumstances. There’s no one-size-fits-all response. Some additional thoughts
Managing rates is a journey Increasing earnings isn’t about knee-jerk reactions. Rather, it’s a journey. Depending on your circumstances, you might handle things one way now, and another way further down the road. Whether you buckle, negotiate, phase in/out, or make flat-out decisions will be based on your circumstances. There’s no one, true way to do it and there’s no shame in any of those choices as long as they’re done in relation to an analysis of your business needs and goals.
Louise Harnby is a fiction line editor, copyeditor and proofreader who specializes in supporting self-publishing authors. She is an Advanced Professional Member of the Society for Editors and Proofreaders (SfEP), a member of ACES, and an Author Member of The Alliance of Independent Authors (ALLi).
Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn. 
Freelance pricing, marketing, testing/tracking and terminology
This article is a summary of what I learned along the way: the effects on my own business and how I responded. For some of you, what follows will chime with your own experiences. If that's not the case, perhaps you'll be inspired to test some of the issues I discuss. What I learned
1. Prices – to show or not to show I went public with my pricing structure for one month in November. The results were interesting; my explanation was uncertain; my response, however, was unequivocal. I’ve been tracking my new-client contact data for over a year, so I could compare some numbers. In November 2015, I received 25 requests from new clients to quote. In November 2016, it dropped to 14. Of those who did get in contact, the number who became paying clients increased by 50%. On the surface, that’s good news – lower contact numbers but a higher rate of conversions. Dig a little deeper, though, and there are a couple of problems:
At the end of December 2016, I compared the new-client contact data with that from December 2015. This time, the figures were similar – two more in 2016. At first sight, this might imply that the public prices were an issue. But, again, I only have one year-on-year figure for comparison, which I don’t believe is enough to warrant anything more than a ‘Hmm, interesting. That’s worth keeping an eye on.’ Data from at least five previous years would have given me the confidence to make a statement one way or another. As it is, based on my experiment and limited data, I’m not prepared to conclude that public pricing is either beneficial or damaging. My response for my business: I removed my prices from my website. This is the approach I feel comfortable with at present, and I’ll continue as such until I have enough information to make an informed decision. I’ll continue to track my new contacts so that I can better understand the patterns of enquiry throughout the year. 2. Content marketing over gin and pizza I plan to write more about content marketing (or adding value, as I prefer to call it) this year. There’s a section about it in Marketing Your Editing & Proofreading Business if you want to dig deeper. Here’s the thing – many of us think of content marketing in terms of blogs, booklets, tutorials and templates. In other words, stuff that can be read, watched and touched. In 2016, I was reminded that great content marketing – great value – is sometimes as simple as a conversation. At the 2016 Society for Editors and Proofreaders’ annual conference in Aston, I made a new friend (Victoria Woodside) and caught up with an old one (Sophie Playle). I’d already spent several months thinking about what it is I actually do (see Section 5 below) and how I present it to potential clients. The language used to define editorial services is tangled. Editorial professionals don’t define proofreading, copyediting and line editing similarly, so why should our clients? I was comfortable blogging about the confusion but I hadn’t managed to solve the conundrum for my own business. I was going round in circles. Victoria and Sophie came to my rescue – not in any kind of formal consultative manner, but just by giving me their time and sharing their expertise over gin and Fiorentinas. They told me how they defined their services and helped me to unpick my own. From those conversations, I found a way forward. I doubt either woman would define her conversation with me as content marketing – yet it was. Both had valuable, useful stuff (knowledge, time and expertise) and shared it with me. Later it would put them both top of my mind when I was in need of people to refer specific clients to. One of those referrals turned into paid work. And that’s really what good content marketing is – sharing useful, valuable stuff so that it puts you top of mind (or top of Google) when there’s a client in need of a solution. That client might come via a colleague, which means your fellow editorial pros are your customers too. Meeting and talking to colleagues, online and face-to-face, is great content marketing. Many of us do it without even realizing. And it costs nowt but time and effort. You just need to be a nice human being. My response for my business: This experience was a great lesson in just how far content marketing stretches. It was also a strong reminder that learning takes place in a range of environments. I already attend my Norfolk SfEP group meeting on a regular basis. I’m now committed to attending the annual meetings too – to speak (if I’m asked) and to listen to others speaking. Two conversations helped me align my business in action with my business in words. That alone made it worth the registration fee. 3. The hard graft and the full schedule I’ve had an active marketing strategy in place since I set up my business back in 2006. It’s worked well for me. I have as much work as I can handle and am often booked up several months in advance … And there’s the rub. Some clients will wait, but many won’t. To put so much time into marketing – all those booklets and guidelines and other bits and pieces of valuable stuff that I hope my indie authors will find useful – only to hear, ‘Sorry, I can’t wait that long,’ is frustrating. It feels like wasted effort. I’m all for a referral – I can put a client in touch with the perfect specialist. Legal editor? I know one of those. Fluent French speaker or Italian translator? I’m friends with the former and related to the latter. How about a proofreader who also has experience of scientific indexing? Yep, I have a phone number. The thing is this – it’s a busy week and I’m up to my neck in deadlines. I don’t have the capacity to be thinking about who would be the best person in my extensive network of experienced colleagues for this or that bit of proofreading or light editing. That’s time I should be using to earn a crust for me, not someone else. As a result, from early 2015 I’d stopped actively recommending named colleagues for general proofreading or light-editing work. If an enquirer actively asked for a recommendation, I’d point them to a directory. If they asked for specialist help (e.g. legal, medical, scientific), only then would I recommend a named colleague. All in all, I felt that a lot of hard-graft was generating a lot of missed opportunities and missed income. My response for my business: A trusted colleague whose company subs to experienced editors and proofreaders offered me a referral deal. I get a cut of any converted leads. This hasn’t replaced my specialist referral network; rather, it’s a two-pronged approach. Named specialist referrals earn me nothing, whereas more generalist referrals earn me a small passive income. Now I feel like my marketing’s working for me again, and for others too. 4. Data, data and more data I talked above about the problem I encountered with not having enough data to make an informed decision on whether public pricing is good or bad for my business. Data limitations also became apparent when I introduced several contact forms on my website early in 2016. I was interested to learn whether clients preferred contact forms, email, texts or phone, and whether it was necessary to provide all of these options. My initial observations were as follows:
My response for my business: I committed to continue my monitoring of new-client contact methods. I’m nearly a year down the line now so I have more data. Good job too. Now, my observations are as follows:
5. More than a proofreader Well into 2016, a couple of things had become blindingly obvious:
My response for my business: I wrote, I pondered, I talked to myself. Then I had a conversation with two friends (see Section 2 above). Clarity emerged from confusion. I redefined (and repriced) my service packages so that they reflect the reality of what I’m providing. I’m confident and clear about how my services are differentiated. More importantly, I’m no longer worrying about what my colleagues are doing, or what definitions they’re using. My friends gave me the confidence to carve out my own way of doing things. Summing up I hope you’ve enjoyed this personal review. I’m sure you’ve had many of your own ‘Hmm, that’s interesting’ moments over the past 12 months. Perhaps you’ve shared some of the same experiences but responded differently. No matter – there’s no one-size-fits-all answer to any of these issues. The important thing is that we use the review process as an opportunity to see not what we’ve done badly but what we can do better.
Louise Harnby is a professional proofreader and copyeditor. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.
Visit her business website at Louise Harnby | Proofreader, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
Here's how to create ballpark prices for proofreading and copyediting using Excel.
There have been some interesting discussions about pricing models in the online editorial community recently.
If you prefer a per-word model, then you may like to consider using a progressive-pricing array formula. It’s not the only way of doing things, certainly, but it’s something I’ve tested and am currently working with. I like this model because it incorporates economies of scale. Before I explain how the progressive-pricing array works, a very quick word on price presentation versus determination. Price presentation versus determination Price presentation and determination are two different things.
Economies of scale When a proofreader is working on larger projects, there are economies of scale. I’m currently working with an independent fiction author on nine books (which I’m proofreading over a five-month period). Most of the projects are between 70,000 and 80,000 words in length; a couple are around the 50,000-word mark; and one is a short story with just over 10,000 words. All of the books feature the same central protagonist and a small cast of supporting characters. The serial nature of the content, the reappearance of key characters, and the concentration of action in predominantly one fictitious location all serve to save me time as I move through each book. This means:
Even so, the average number of words proofread per hour was fewer for the 10K-word short story than for the previous 70K-word novel. And in the first few hours of working on the the 70K-word novel, I proofread fewer words per hour than was the case in the hours that followed. That’s because, even with all the benefits of working on a series, each book still needs a certain amount of ‘stuff’ done to it in its own right:
If we take the series element out of the equation, and compare the proofreading of two books in a similar genre for two separate authors, the impact of project length for the proofreader can become even more stark. Consequently, I want to price the 30K-word novella differently from the 100K-word tome. It’s for this reason that while I like to build my quotations on a per-word basis, I don’t want something as straightforward as a £6, £8 or £10 per 1,000 words model. Instead, I want something that respects the economies of scale that come with larger projects. This is where the array comes into its own. How does a progressive-pricing array formula work? An array formula can look at a number (a word count, in our case) and then, based on a set of ranges that we’ve provided, price those ranges accordingly. Here’s a very basic example. You might set up your array such that the following are true:
This would result in the following quotes: (1) If you were asked to provide a quotation for proofreading a 2,000-word article, the price would be £50 (£25 per 1000 words). (2) If you were asked to quote for a 10,000-word short story, the price would be £175. This is based on:
The average price per 1,000 words works out at £17.50. (3) If you were asked to quote for a 70,000-word book, the price would be £575. This is based on:
The average price per 1,000 words works out at £8.21 and reflects the economies of scale that the proofreader will be able to benefit from because of the size of the book. A progressive-pricing array formula in action I’ll admit that it did take some fiddling to get the actual formula working for me. I used this as my template: ‘Progressive Pricing Formulas For Excel’ (www.cpearson.com). The example given is similar to the setup I wanted for my own quotation tool, and it provides a formula that I was able to tweak for my own data. See also my downloadable sample below. Here's a screen shot of what a progressive-pricing array formula might look like in Excel. 
And here's an Excel template you can download and adapt to suit your own preferences. Note that you'll need to look carefully at, and amend, the array-formula box to ensure that the cell descriptions are correct for your data (that's the fiddly bit!).
One size doesn’t fit all
The usual caveat applies – my way certainly isn’t the best way or the only way! It’s just one approach of several. I wanted to share my experience with you so that if you fancy testing a progressive-pricing array, you have a framework to get you started. In practice, you might want to build more ranges into your array formula to provide increased flexibility. The numbers I’ve used above are just for illustrative purposes. I find the array formula useful for ballpark quotations because I want to provide a quick quote based on a word count. Obviously, any professional proofreading project needs to be evaluated on more than just a word count before terms are agreed and confirmed. Those editorial professionals working with complex projects that require varying levels of intervention might find a progressive-pricing array formula far too limiting. It functions well for me as a proofreader because of the nature of my work. I do, however, have different arrays set up for different client types (e.g. students for whom English is a second language; independent authors whose first language is English) and for different levels of proofreading service. The prices I assign to the various ranges are different in order to reflect the variances in how I work with the text and the speed at which I am able to proofread. How do you build a price for editorial work? How do you build your quotations? Per hour, per word, per day, per project? Have you tested different approaches for building your fees? And do you find that different models work better for different types of editorial work? I’m always interested in learning how others go about pricing editorial work so please do leave a comment if you have something to share.
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with independent authors of commercial fiction, particularly crime, thriller and mystery writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
In ‘On Ethics: The Ethics of Ballpark Quoting’ (An American Editor, June 2016), Rich Adin posed the following questions:
Rich asked me whether I’d like to write a rebuttal, given that we disagree on the matter, and I accepted. You can read my response in full here: ‘On Ethics: The Ethics of Ballpark Quoting – A Rebuttal’.
Louise Harnby is a professional proofreader and the curator of The Proofreader's Parlour. She is also the author of Business Planning for Editorial Freelancers, Marketing Your Editing & Proofreading Business, and Omnibus: Editorial Business Planning & Marketing Plus.
Visit her business website at Louise Harnby | Proofreader, follow her on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.
If you enjoyed my recent posts on ballpark pricing, I'd recommend you head over to the An American Editor blog and read Rich Adin's 'The Business of Editing: Ballpark Quoting for Copyediting'.
Rich's analysis was inspired by his concern that the copyeditor doesn't have enough information about what's required such that an accurate ballpark quote can be provided. Are you a copyeditor? Do you offer ballpark pricing? If so, how to you get round the issues that Rich addresses in his article? If you'd like a refresher on what I wrote, you can read my articles here:
Louise Harnby is a professional proofreader and the curator of The Proofreader's Parlour. She is the author of Business Planning for Editorial Freelancers, Marketing Your Editing & Proofreading Business, and Omnibus: Editorial Business Planning & Marketing Plus.
Visit her business website at Louise Harnby | Proofreader, or connect with her on Twitter at @LouiseHarnby, Facebook and LinkedIn.
This post explores the disadvantages of ballpark pricing for editors and proofreaders.
Part 1 discussed the advantages of ballpark pricing. There are, however, some valid concerns about the ballpark quotation that need to be considered before rushing into offering such a service.
Disadvantage 1: Wrong focus – money over value … The argument goes that ballpark quotes focus on the money rather than the value that editorial professionals bring to the table. When we offer ballpark quotes, it’s just a figure. Says Celine Roque: ‘It’s incomplete. Your quote is just a number. Your clients can’t surmise all the information they need from that number. Apart from the primary services you provide, you should also give them your advice. Oftentimes, what a client really needs is different from what they think they need. In this case, an assessment of a client’s business and project, followed by a proposal, is the better approach’ (‘Why You Shouldn't Just Give a Quote to Potential Clients’, Gigaom, 2008). Regarding Roque’s concerns, giving advice takes time (see Part 1). Furthermore, what a client needs is not always the same thing as what a client wants. Giving advice to someone who actually just wants a price isn’t good customer service (even if we know that our advice, value, etc. would, in reality, be in their best interests). It’s just aggravating. There are ways to give advice that aren't invasive:
Disadvantage 2: Missing the opportunity to add value …
In ‘Sales 101: Don’t Get to Price Too Early, Even If You’re Asked to “Ballpark”’ (Sexton Group Ltd, 2015), Steve Payne discusses ‘the number one rule of quoting prices’: ‘Don’t quote a price – any price – before you have sold the client on your ability to do the job. If you haven’t convinced the client that it’s you they want to work with, before you quote a price, it’s like you are swinging at a baseball too early. In the case above, you made no effort to tell the client, through testimonials, through photographs, through stories, about your firm. How it operates. What makes it different. How delighted past customers have been with your work. How you have many repeat clients who will never work with another contractor as long as you are in business.’ In other words, you’re potentially shutting the door to negotiation, especially if your price is perceived as too high. Payne’s point about using value to make you a more hireable prospect is excellent, but I still believe that when a potential client asks for a price, we need to listen to that request and act on it. No one wants to hire an editor who can’t follow a brief. If we can’t listen to a client’s request at the very first point of contact, how can we expect them to trust us to listen further down the line? To ameliorate this, consider other ways in which you emphasize your value at the point where clients are likely to contact you.
Disadvantage 3: Poor accuracy
Rich Adin (personal correspondence) pointed out that accuracy can be a huge problem for some editorial freelancers when it comes to ballpark pricing. One simply cannot offer anything like a realistic price without seeing at least a sample of the work. For those editors who offer complex services to clients, this is a valid criticism of the ballpark mechanism. The kinds of projects that Adin is often asked to quote for include ‘2,800-page biology text[s] with thousands of references’; require various levels of editing; involve various subjects; and require the handling of multiple references and reference styles. A client asking for a ballpark figure for editing one of Adin’s ‘13,000-page medical manuscript[s]’ might fail to mention that they need the project completed in an eye-watering ten weeks, or that all 5,000 references are in a mish-mash of citation styles. For that reason, Adin doesn’t offer ballpark quotations because, without knowing the detail of what’s involved, it’s impossible to build a price, or justify it, in ways that make sense to, and can be respected by, the client. Says Adin: ‘Even if after a detailed explanation I do not get the current project, I do not consider having given the detailed explanation a waste of time because the client can see that I have reasons for my positions and am willing to offer solutions. Clients are also made aware that there needs to be a balance between schedule, fee, and quality. Based on past experience, I will be asked to undertake a future project, perhaps even one where the client has already preapplied my analysis’ (‘The Business of Editing: The Standard Editing Workday & Workweek’). Editors therefore need to consider whether there are parts of the editorial service they provide, or particular client types with whom they work, where fewer complexities are involved, making them more appropriate for testing ballpark pricing. 
Testing ...
You may be enthusiastic or concerned about offering ballpark quotes. You may have fifty colleagues who offer ballpark quotes, seventy who steadfastly refuse to, and twenty more who are thinking about the issue. All of that will be interesting and help to guide your thinking. Ultimately, though, what’s good for you will not necessarily be good for me or any of those 140 colleagues who have already made their own decisions or who are in the process of making those decisions. The only way to know whether ballpark pricing is good for your business is to test it. Design any ballpark pricing test in a way that, to the best extent possible, ameliorates some of the concerns you have. Then track the results and see how the experience works out for you. You’re in control so you can end the test whenever you wish. Consider tweaking the following:
Other colleagues will have opinions, and those will be useful – not in regard to whether you should or shouldn’t offer ballpark quotes, but in regard to the issues you consider and the challenges you prepare yourself for should you decide to undertake the test itself.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses.
This post explores the advantages of ballpark pricing for editors and proofreaders.
What's a ballpark quote?
Ballpark pricing is that which gives the client an initial and fast indication of what a project might cost. There's no project evaluation involved, which means the editor's working with numbers based on average speeds, and the client's working with word counts or some other given element (e.g. a web page of up to X words; a publishing 'page' of 250 words; X hours of the editor's time, etc.). Ballparks can be provided on rate cards, web pages, via online instant-quote widgets, or via email or phone. Ballpark prices don't suit every editor Spark up a conversation with fellow editorial professionals about providing quick-quotes and you won’t find a consensus on whether it’s a good idea or a bad idea. Certainly, not everyone in our profession is prepared to offer ballpark quotations, and some even consider the decision to do so as controversial. So how do we know whether it would be good for our own business if there’s no consensus? The best way is to test it for a fixed time period and evaluate the impact. 
Advantage 1: No time-wasting
Some years ago, I arranged for a sales rep to visit with a view to securing a quote for some new windows to be fitted. I took the rep around our house and showed him which windows needed replacing. Then I sat through a 45-minute pitch about the company and the quality of its products. I was frustrated after five minutes and couldn’t wait to get the guy out of the door. While quality is important, and the fine detail might have been useful later, I didn’t want to spend my valuable time listening to someone selling a product to me that ultimately I couldn’t afford. I wanted a ballpark price upfront. Many of our clients are no different. If a self-publishing customer has a figure of £400 in her head for an 83,000-word proofread, and my ballpark quotation is £500, we’ll probably continue the discussion because the gap between what she wants to pay and what I want to charge is bridgeable. If my ballpark quotation is around the £1,500 mark, it's a different story. That’s nearly quadruple what the client hoped for. I’m certainly not going to come down by 70%, and I doubt they'll go up by 375%. My public rates are created by estimating the time it will take to complete an editing project and pricing that time in such a way that I earn what I want and need in order to make my business sustainable. My client’s preferred price is based on ... actually, I have no idea what it’s based on. And it doesn’t matter what it’s based on. All that matters is that neither of us has wasted each other’s time having a lengthy email discussion about the value I bring to the table set against the financial pressures they're under when, in fact, we’re just not a good financial fit for each other at this point in time. My time has a cost to it. My customer’s time has a cost to it, too. The ballpark figure allows both of us to move on quickly and spend our time in ways that are more appropriate to each of us. Says freelance copywriter, trainer and speaker Ed Gandia: ‘As a freelance professional, your most valuable non-renewable resource is time. You must use it wisely. So when you spend two or three hours “educating” a prospect on the value of your services (and why you’re a much better option than someone charging one-tenth of what you charge), you’re using up valuable billable time. [...] There are enough prospects who understand the value of what you offer to save you from wasting time with those who don’t. [...] Yes, it’s hard to see a potential client walk away because you won’t budge. But, let’s face it. If his budget is 75% less than your absolute minimum fee … what’s the point?’ (‘Why You Must Quote a Ballpark Figure’, Freelance Folder, 2010). Copywriter Steve Slaunwhite concurs: ‘What if a prospective client is cheap and not willing to pay professional rates for professional work? Wouldn't you rather find that out right away instead of wasting an hour or two (or even longer) preparing and submitting a formal proposal?’ (‘Should You Give the Client a “Ballpark” Price Before You Quote the Project?’, American Writers & Artists, Inc., 2011). And here’s another supporter, my colleague Adrienne Montgomerie. Montgomerie has a widget on her website than enables potential clients to ‘watch the time and cost estimate build before your eyes’ (‘Stop Wasting Time On Estimates’, Right Angels and Polo Bears, 2014). Montgomerie’s instant estimator is based on an average, ‘the mean of all projects I have ever worked on’. To offer a confirmed price, Montgomerie, like most editors, would need to understand the guts of the project – which means seeing a decent-sized representative sample and knowing the full word count, the subject matter, what rounds of editorial intervention the project has already been through, the deadline, and so on. 
Advantage 2: Engaging with the client
Some customers simply want to know the price quickly. It’s not that they're trying to get our services on the cheap, or that they don’t value what we do for them. Rather, they want to be able to plan their budget as quickly as possible. Consider, again, the author mentioned above. They have an 83,000-word novel that needs proofreading. She has no idea what proofreaders charge, but she does want to hire one and is prepared to find the funds necessary to secure the services of a an editor who instils confidence in her. She’s looked online and found a few whose websites she liked and who made her feel like she’d be in safe hands with them. To some extent, the value those proofreaders will bring to the project has already been acknowledged. At this stage, she wants to get a feel for what her investment will likely be – will she need to save up or does she already have the funds in place? Acquiring a ballpark figure prior to having a lengthier discussion about the proofreading process will help her to get the ball rolling. In some cases, the ballpark price enable us to engage with the customer and nail the deal before they’ve had a chance to search elsewhere. Here’s Slaunwhite again: ‘[W]hen you quote a ballpark price, some clients will be satisfied and give you the go-ahead right away. [...] I've had many projects where I quoted a ballpark price and the client said, “Yes, that sounds fine. When can we get started?” After that, the formal quotation I send later on is just that: a formality. The project is already mine!’ (‘Should You Give the Client a “Ballpark” Price Before You Quote the Project?’). 
What a ballpark isn't
Ballpark prices should be as realistic as possible. It's not a trick price to lure a client into a conversation, only for us to turn around and say, ‘Sorry, it’s going to be double the fee I quoted earlier.’ Rather, it's meant to facilitate a conversation that enables us to cut to the chase and decide as quickly as possible whether we’re a financial fit. There will be times, of course, when the ballpark and confirmed quotations are far apart because, following an assessment of the project, the level of intervention required is either beyond our skill set or requires more time. Hitting the mark comes with experience and data.
Tracking and reviewing data
Here’s Montgomerie again: ‘Of course, the reason I can ballpark with confidence is that I have kept detailed records of my pace over the years. It also helps to work on the same kinds of projects again and again. And some types of projects are more consistent than others. I’m sure there are a thousand other reasons pessimists think this won’t work. But I guarantee you, it’s worth a try. If you know assignments typically pay $5000, there’s no reason wasting everyone’s time when the budget only allows for $500’. By tracking our data, we can learn approximately how long it takes us to proofread or edit different types of material, written by different client types with varying levels of English fluency. And by recording different variables, we can, over time, extrapolate information that enables us to build a picture of where the financial value lies in our client base. The fact is this: None of us knows whether our business is sustainable if we don’t know what an hour of our time costs us, or is worth to us. Taking account of project variances … When thinking about a pricing structure, consider the type of editing you do and the projects you'll be quoting for. Ballpark pricing might be less suitable for structural editing and project editing, but effective for line editing, copyediting and proofreading. Still, that doesn’t mean that every client type will be priced equally. Ballparks might vary per 1,000 words or per hour for the following reasons:
In Part 2, we'll look at some of the disadvantages of ballpark pricing.
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), a member of ACES, a Partner Member of The Alliance of Independent Authors (ALLi), and co-hosts The Editing Podcast. Visit her business website at Louise Harnby | Fiction Editor & Proofreader, say hello on Twitter at @LouiseHarnby, connect via Facebook and LinkedIn, and check out her books and courses. |
PDF MARKUP
TESTIMONIALSDare Rogers'Louise uses her expertise to hone a story until it's razor sharp, while still allowing the author’s voice to remain dominant.'Jeff Carson'I wholeheartedly recommend her services ... Just don’t hire her when I need her.'J B Turner'Sincere thanks for a beautiful and elegant piece of work. First class.'Ayshe Gemedzhy'What makes her stand out and shine is her ability to immerse herself in your story.'Salt Publishing'A million thanks – your mark-up is perfect, as always.'CATEGORIES
All
ARCHIVES
July 2020
All text on The Editing Blog and on the other pages of this website (unless indicated otherwise) is in copyright © 2011–20 Louise Harnby.
|
|||||||||||||||||||||||||||||||||||||
RSS Feed
|
INFO ABOUT ME Privacy policy Terms and conditions Code of practice Qualifications Portfolio Bio page Louise's fiction © Louise Harnby 2011/20 |
|