Should you use a freelance editor?

Along with self-publishing, this is another hot button topic in the writing world. We all know our work has to be perfect when we query and that doing our own editing is going to get us a permanent spot in the slush pile.

So who do we turn to? There are no shortage of freelance editors out there, and many are well-known with an impressive list of clients. We can trust them to do a good job and have integrity with our work.

They’re also very expensive. I know we’ve got to invest in ourselves if we want any chance of selling our book. You can’t make money without spending it. But having a freelance editor thoroughly critique and/or edit our full manuscript can cost around $1,000, depending on length.

That’s a chunk of money for the vast majority of us. So what are our alternatives? Most of the editors out there offer a variety of services, including having the first 25-50 pages edited. They also offer line or copy-edits only; it varies with each editor. But is that enough? Getting the first 25-50 pages looked over by a pro is a great asset and one I recommend for everyone. But that’s not enough to give us any kind of edge in the slush pile. The entire book has to be flawless.

As I’ve meandered my way around Twitter, I see there’s no shortage of editors out there. Some are cheaper than others. Does this mean they’re not as good or trustworthy? Not at all. Some don’t see the need to charge as much, some are starting out, and some have reasons they keep to themselves. Low rates do not mean low quality.

My advice is to approach employing a freelance editor just as you would when purchasing a new car: shop around. Research their services, qualifications; talk to their clients if you can. Above all, ask them questions. Don’t be afraid to ask them why they cost less than others – this is a piece of yourself you are entrusting them with. Be as diligent as you would when picking out childcare.

Your relationship with this editor is just as important as her experience and pricing. An editor needs to be honest and approachable, and able to work you though WHY something needs changed. If you can’t communicate with the editor you choose, your writing will not improve.

I’ve talked with several of these editors, and every one has been willing to answer my questions and understanding of my concerns. After doing some research, I chose an editor with experience editing best selling suspense novels to look over my first 5000 words and it was worth the $55 I spent on it. Not only was I assured that I was on the right track and not wasting my time, but seeing my work through an editor’s eye was very helpful. It gave me a hint of what they look for.

As my WIP winds down to its last 10,000 words or so, I’m thinking more and more about having a full manuscript edit. I will spend a lot of time editing myself, and my critique partner, a reading/writing professor at Hennepin College, will also go over it. But that third set of professional eyes will be crucial. The money is a lot to swallow, but the investment in myself will pay off in the end, even if I choose to self-publish. Nothing turns readers off like stupid grammatical errors.

So I will continue to research for not only the best “deal” but the editor who best suits me and my writing style, and who will give me the help I need.

Don’t rush into choosing an editor. Do your research, and grow a thick skin if you haven’t already. Remember, you are paying this person to point out flaws in your writing so that it can improve and have a chance at selling. Don’t get upset with their suggestions or cop an attitude – THAT is a true waste of your money. Listen and learn, politely ask questions, but don’t be too proud to listen to their advice. Writing is learning, period.

Bottom line? Having a professional edit before querying is a must – it’s up to you to find the best one for your novel.

Editing Services To Consider

Jodie Renner Editing
TJ Proofs
Roz Morris
Nashville Editing Services
Kathryn Craft

What are your experiences with freelance editors?

How much help is TOO much?

There are endless learning resources out there for writers: how-to books, blogs, forums, critique groups, writing workshops … you get my point.

All of these have merit. Critique groups/partners in particular are vital because we as writers are so married to our plot and characters it’s impossible to be objective. Not to mention we’ve read our own stuff so many times we have zero chances of catching even the most glaring of mistakes. Fresh eyes (that aren’t your family or friends) are a great way to get a handle on the quality of our books and generate honest opinions about what needs to be fixed.

But what about the plethora (purpley word, I know) of books about plot, structure, characters, yada, yada, yada? How are we to choose what’s a must-read and what to skip?

Opinions of our peers are great, but a book that strikes a chord with me may fall flat for someone else.

And how much is too much? In the past two months, I’ve read Writing The Breakout Novel, Make a Scene, On Writing, and now Story Engineering. I enjoyed them all and thought I learned a great deal from each one.

And yet, with each read, I’m revising my novel and questioning my plot and structure. If it doesn’t fall into the parameters set by so and so, who claims you won’t get past the slush pile without following the rules, then doesn’t that mean back to the drawing board?

I want to learn. I want to get advice from experienced professionals and writers at all different stages of their careers. By no means do I think I know it all – far from it. So I read the books, follow the blogs, and comment on discussions.

And then I question myself some more. I’m getting opinions from others based on little bits and pieces I’ve told them about my book, and there’s no way to do it justice without at least giving a complete synopsis. That’s not to say that what I’m hearing isn’t valuable – it is. But we can’t allow ourselves to become buried by the enormous amount of information that’s out there.

To make matters worse, one expert may tell us one thing while a second contradicts it. Both have impressive creditials. So who’s right?

We need to pick and choose what to read and how to apply it. Each one of us will do this differently, and the trick is figuring out what works best for our story. Of course we must get the plot and structure right – without them we have nothing but a big pile of goo and months wasted.

But seeking help from too many different sources can bring our writing to a halt as we twist and turn in confusion trying to figure out who to listen to and how to apply their information to our books. We need to be willing to learn and grow, but we also need to believe in ourselves as well.

When you sat down to began your book, you did so because you probably had a great idea or a character you loved. As you’re branching out and learning more about techniques, don’t forget why you started writing in the first place. Don’t stretch yourself so thin by seeking out advice that you end up completely lost and giving up.

Find a critique partner, a couple of blogs to follow. Read a couple of books and learn from them, but remember the rules aren’t always steadfast. Some can be bent. Consider looking into a professional editor (make sure you do your research on this one!) that offers different packages and will give you an experience opinion based on actual pages of your book.

Be willing to listen and grow, but don’t lose your passion in the process. If you can’t love what you’re doing, it most certainly isn’t worth your time.

What about you? Where do you seek advice and how to choose to sift through the information?

To Pants or Not To Pants?

My critique partner calls it “organic writing.” Experts have coined it “pantsing,” as in, writing by the seat of your pants. Many writers (and I was once one of these) believe that sitting down with only an idea and letting the creative juices flow is the best way to write a quality novel.

Some have succeeded – Stephen King, anyone?

But since the vast majority of us are not King, is pantsing really the way to go? When I began my first book (a way too many pages romance novel that will probably never be edited for an attempt to publish) I simply had the idea of these two cool characters meeting and one being reticent to having a relationship. My lead guy was a paramedic (hot), and she was an English major turned editor, but what she really wanted to do was write her own books. Original, I know. Anyway, the story was full of juicy unresolved sexual tension until about chapter 15 or so, when the two characters finally got together. Then I realized I needed more of a plot. So I came up with the sexy paramedic deciding to be a firefighter and going through that process. As some of you may know, it doesn’t work that way in most cities. They are either one in the same or firefighter trained first. So I had to fly by my proverbial pants and make up some rules. Then add more conflict, and more, and more. The story got out of control, and while I do believe there are a lot of good scenes, it’s far too long and contrived.

Why? Because I was a pantster. Now, in my defense, I also hadn’t written seriously for years and didn’t realize I wanted to write a book when I started dabbling. But I also didn’t have the sense or the tools to step back and make a plan.

With my current WIP, I thought I had a plan. I had an outline of important scenes and some key plot points. I knew a little about my characters. Good to go, right? After all, no matter how much we plan our characters ahead of time, we really don’t get into their heads until we start writing. My approach was better, but not great. I spent two or three months writing and re-writing the first act of the book because the farther I went into the second, more plot points kept popping up that I should have addressed earlier on.

Then came the story board and index cards. Big help. I was forced to sit down and think scene by scene. Finally I could see the entire plot unfold in front of me, and it was much easier to see what worked and what was just plain asinine. Juices began flowing, and I made a lot of headway. In fact, I’m nearing the midpoint of the book, which is very exciting.

Of course there’s a caveat. I’ve been reading up on writing (The Breakout Novel, Make A Scene, On Writing – all great tools) and was actively applying the new techniques I’d learned. My writing improved. And then I made an innocent comment on the wonderful Kristin Lamb’s blog on a post about antagonists (I’m very proud of mine – he’s creepy as hell but also has a strong moral code, or so he thinks) and was informed that my book’s opening, a hook which drops the reader into the middle of a hostage situation, was a big mistake. Melodrama, Kristin said. A writer who doesn’t understand narrative structure.

Say huh?

I know what narrative structure is! Three acts of a book, all that stuff. Right. Clearly, I’m still a novice despite more than a year of radically improving writing. Kristin advised me to pick up a copy of Larry Brooks’ Story Engineering, and I urge any beginning writer (or anyone pro stuck in a rut with agents/publishers) to read it ASAP.

With Kristin and Larry’s help, I finally understood that a hook isn’t some jam-packed action scene. If a reader doesn’t care about the character in turmoil BEFORE the crap hits the fan, your plot suffers and you end up with melodrama. I honestly never thought of it that way! Don’t laugh, I’m still learning.

So the big question? Did I have to start on yet another extensive rewrite of my first act? Am I even farther behind than I was?

No. I added an additional seven pages; one with my antagonist getting his creep on, and the other six with my heroine showing the reader who she is as well as setting up the idea that something just isn’t quite right in her world.

Those seven pages are a goldmine, because they drastically helped the flow of act one and help me answer questions about the second act.

I’ve learned a major lesson: some can fly by the seat of their pants. I cannot. Of course there are ah-ha’s and inspirations along the way – that’s the beauty of writing – but without a strong plan and a decent story structure to follow, most of us will be doomed to either writing 987 drafts, giving up, or having an agent toss us aside without a second glance.

Don’t be a hardhead stuck in your ways. Those with established readers and contracts might afford to do so (although I would question any midlist author who can’t understand why their novels don’t breakout) but us little people can’t. We need to hit the ball out of the park to stand any kind of chance of getting noticed, and the only way to do that is to continuously learn what works.

Story structure works. Brooks is right – it’s in every book out there, whether the writer realizes it or not. Setup, inciting incident, first plot point, midpoint, second plot point … these all need to be planned in advance. If you know when and where these key events happen, the rest of your story will fall into place much quicker.

Brooks says a lot more; his core competencies model of writing is the most clear-cut ‘how-to’ book I’ve ever read. It not only understand how to structure a story, but why it needs to be that way. Read it. Twice. Love it.

But remember, the story is yours to tell, and you must do so the best way you can. You don’t have to follow Brooks’ model to the exact page count, but by using it as a guideline, you’ll be a more efficient writer.

Good luck!