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Working with an editor 2: How do I negotiate with an editor or proofreader and book my project in? #amwriting

Working with an editor 2: How do I negotiate with an editor or proofreader and book my project in? #amwriting

This article follows on from Working with an editor 1: How do I request a quote?, where I explained what an editor needs from a prospective client in order to give them a price and turnaround quotation. Now we’re going to look at where you go from there – what will the editor/proofreader send you, is it OK to ask for a sample edit, and how to proceed with negotiating and then – hopefully – booking an editor.

What does a quote from an editor include?

Your editor will usually quote you a price and a turnaround time. I work in a price per 1,000 words (different people do different things: I like my clients to know up front how much they’re going to pay) and will tell the prospect how much time I’ll take to do their work and when I can slot it into my schedule. So I might say something like “I can take on this project for £7.50 per 1,000 words, I’ll need 2 weeks to do the work and I would be able to start it on 1 May”.

Be assured that a good editor will have thought very carefully about the pricing before they send it to you. I try to be as fair as I can to myself and the author, basing my price on the amount of work that the edit will involve. This is why most editors and proofreaders will offer a “from” price on their website if they have a price at all, as that’s a guide to the least it will cost (for something involving a very minimal amount of editing). Some editors offer discounts for students or self-publishers, so make sure you’ve explained if you’re one of those categories.

How to negotiate with an editor

In my opinion, the negotiations should be about dates and turnaround times, and about what you want your editor to do, not about price. I don’t offer a high price so that I can be beaten down to my “real” price, and I don’t know anyone who does.

The price an editor offers you reflects …

  1. Their experience and training
  2. Their knowledge of your subject area or genre
  3. Their knowledge of English grammar, sentence structure
  4. Their ability to help you to express yourself in the best way possible, while retaining your unique voice and writing style
  5. Their knowledge of standard style sheets
  6. Their ability to match the style sheets of publishers, journals, etc.

But within the negotiation, it’s fine to, for example, ask for a sample edit, or ask if the work can be done in a shorter time period (this may involve an urgent fee but your editor will explain that).

Regarding time slots, it comes as a surprise to some people to discover that their editor / proofreader has other clients on the go. We have to keep booking in clients and rebooking regulars in order to have a constant stream of work and, basically, a continuous income. So if your editor really can’t start working with you until the week after next, there will be a good reason for that and they may not be able to move that commitment. However, do give them a chance and ask, just in case.

Is it OK to ask for a sample edit?

Some people are nervous about asking for a sample edit but most editors are happy to provide one. We usually limit it to about 1,000 words, which should show up any major issues that are going to come up in the job as a whole. I use Tracked Changes in word or marked-up PDF as appropriate, and I also send back a skeleton style sheet detailing the decisions I’ve made so far, so you can see how I work.

It’s a good idea to send your sample text from the middle of the work in question. You will typically have gone over and over the start of your manuscript, but not paid so much attention to later sections. A section from the middle will offer a truer representation of the level of editing needed.

Asking for quotations from more than one editor

It’s of course fine to do this, and good practice, as I would do when engaging a plumber. There are some other elements of good practice here, though:

  • It’s polite to let an editor know you have asked other people for quotes and may need time to make your decision
  • It’s not polite to play editors off against each other. Editing is quite a small world, and if you claim to Editor A that Editor B has offered a very low price, well, they might just know each other and check … Be honest and fair as you expect others to be fair to you
  • Let the editors know when you are going to make your choice
  • Let the unsuccessful editors know the result, as well as the successful one

This last point is really important. If I’m negotiating with a client on a job, I’ll be holding open a slot for that job for the time frame we’ve been discussing. It’s only fair to let me know if you don’t want to book my services, so I can accept another job in its place.

Choosing an editor or proofreader is a whole topic in itself. You need to feel comfortable with them and they need to work in your subject area or genre. You might think I’m great, but however lovely I am, I’m just not going to be able to edit your horror novel! It’s fine to look at references (a good editor will have references or testimonials on their website) and to discuss how they would approach your book. It needs to be a good fit from both sides. If I don’t think I’m a good fit for you, I will usually be able to recommend on someone who will be more useful, but an editor’s ability to do this does rely on the networks they’re in.

Booking in your editing or proofreading project

So, you’ve chosen your editor, you’ve told the ones you don’t want to use that you have no need of their services. Now you’ve got a slot and a price that you’ve accepted. These are the next stages:

  1. Signing a contract or accepting terms and conditions in writing – I ask people to do the latter, but will create a formal contract if one or other of us thinks it’s necessary. Make sure you read all the terms and conditions carefully and ask about any you’re not sure of.
  2. Maybe paying a deposit in advance if your editor requires it.
  3. Submitting your work.

Now, most editors and proofreaders understand that the date you think you’re going to have your work completed isn’t always the date you’ll have it completed. Even if you think you’re ready, something might come up. If you’re using the booking to force yourself to finish the job (and there’s nothing wrong with doing that in principle!) then something might come up.

The golden rule for me is: it’s fine if you get delayed, as long as you let me know.

If you’ve booked to send your work to your editor next Monday and it’s Friday and you’ve not finished, then let them know. Preferably let them know before that, so they can book another job into the space. Let them know when you think you’ll be ready, and update them. As I mentioned above, most editors have more than one job going on at the same time, so it should be possible for your editor to shuffle work around to leave your slot open in a week’s time, say. However, if you don’t let them know and don’t keep them informed, then suddenly expect them to edit 100,000 words for you with no notice and a month late, they simply might not have the time in their schedule to do that!

Don’t miss your slot: if you get delayed, let your editor know as soon as you can.

Negotiating and booking in with an editor or proofreader

This article has given you, the author or writer, some hints on negotiating with editors and getting your job booked in with them. Everyone works slightly differently, so I’ve tried to keep this as general as possible, and based it on my own practices.

If you’ve found this article useful, do please comment and share using the buttons below! Thank you!

Other useful articles on this website

Working with an editor 1: How do I request a quote?

Do I need editing or proofreading?

Working with Tracked Changes

What is a style sheet?

On completion of your edit, will my manuscript be ready for publication?

 

 
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Posted by on December 7, 2016 in Copyediting, Ebooks, proofreading, Writing

 

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Working with an editor 1: How do I request a quote from an editor or proofreader? #amwriting

handshakeA large number of people get in touch with me every week to ask for a quote for editing or proofreading. I’ve put together these guidelines for contacting me for a price and turnaround quote, but it would apply to most editors and proofreaders I know, with a few tweaks here and there.

Sending me all this information in one go won’t give you a price decrease or a quicker turnaround if we end up making an agreement, but it will make the process easier and quicker – for both of us.

What does your prospective editor need to know?

This is what I need you to send to me in order to be able to give you a fair price and turnaround quote:

  • Is the material a book or something else (a website, advertising material, etc.)?
  • If it’s a book, is it fiction or non-fiction?
  • What is it, generally, about? (I have a list of things I don’t work on in the Content section of my Terms and Conditions – it is really helpful if you look at that first and check)
  • How long is the book – in words?
  • Is it finished and ready for editing yet?
  • When will you need it back from me?
  • What do you want me to do – editing or proofreading (see the distinction here, or the summary below)
  • A sample of your work – preferably from the middle of the book

Other editors might ask for other information at the first stage (if you’re an editor, do add a comment if you have other questions you ask – I’d love to know!)

Why does your editor need this information?

I need this information so I can work out

  • Whether I am the best fit for editing your book (if I’m not, I usually have someone I can recommend you on to)
  • Whether I can fit your project in to my schedule (I’m pretty busy with regulars and pre-booked work, so it’s unlikely although not impossible that I can fit you in at short notice)
  • What is a fair price, given the time it will take me to do your editing or proofreading
  • What is a fair turnaround time, given the scope of the work (with relation to the work I have in my schedule already)

I think that any editor would give the same answers.

A note on timing

Good editors and proofreaders get booked up quickly. If you have any idea of when your book will be ready for editing, start looking around for editors then, not a week before you want to put it out there.

For one thing, once you’ve had your book edited, that doesn’t mean it’s immediately ready for publication (see this article on that topic).

For another thing, your editor is likely to have other projects going on and will need to slot you into their schedule. The further in advance you ask them, the more likely they are to be able to fit you in.

I will never mind a vague estimate for a few months’ time, followed up by a firming-up process when we agree when the manuscript will arrive with me and when I’ll return it.

A last-minute request might work, but it’s much better and likely to be successful if you plan in advance.

Quick check: what service do I need?

Although this doesn’t quite fit in here, this is the issue that I have to clarify most frequently, so here’s what I send back to prospects explaining what I do – it’s useful to have a think about this before you contact me and decide what you need to be done:

I provide an editing service for fiction and non-fiction books and other texts. This will cover identification and resolution of

  • typos
  • spelling mistakes
  • punctuation
  • grammar
  • sentence structure (repetitive structures, etc.)
  • wording (repetitive word use, etc.)
  • consistent spelling / hyphenation / capitalisation throughout the text
  • comments where wording is unclear and suggestions about changes

This is typically done in Word with Track Changes turned on.

Substantive editing includes all of this plus suggestions on major changes to the format, ordering and content of the book.

My proofreading service looks at the manuscript once it’s ready for publication and checks for:

  • typos
  • inconsistencies
  • layout (including headings separated from text, page numbering, etc.)
  • matching contents page with headings and page numbers

This is typically done in PDF using comment balloons to mark up the text

Sending the correct information to an editor

This article has explained what information I need in order to provide a price and time turnaround quotation for editing your book. Other editors might need other information, and I’d love them to let me know if that’s the case. Hopefully this will make the process smoother for the author and the editor in those early stages of creating our arrangement.

Read the next article in this series: How do I negotiate with an editor and book my project in?

Other useful articles on this website

Do I need editing or proofreading?

Working with Tracked Changes

What is a style sheet?

On completion of your edit, will my manuscript be ready for publication?

How do I negotiate with an editor and book my project in?

 

 
13 Comments

Posted by on November 30, 2016 in Copyediting, Ebooks, proofreading, Writing

 

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New book on networking, social media and social capital

Quick guide to networking, social media and social capitalI’m delighted to be able to announce that my new book, “Quick Guide to Networking, social Media and Social Capital” is out now and available to buy on Amazon and Smashwords as an e-book in all formats (for Kindle, Kobo, as a pdf …). Like my popular “Quick Guide to your Career in Transcription“, this contains the specific information – no filler, where there’s jargon, it’s explained – that you need to venture into networking, whether that’s face to face or through online services such as Twitter and Facebook. It pulls together material I’ve written and thought about on social media etiquette and building social capital … to help others as well as ourselves, and where I go into detail on particular topics, I provide links back to this blog for all of those screen shots and details that regular readers will be used to.

You can visit the book’s web page which lists all of the places you can buy it, and I have shared the first great reviews today, too.

I hope you enjoy reading about my new book and if you find it helpful or think one of your colleagues or friends would benefit from reading it, please let them know by sharing this post or the web page for “Quick Guide to Networking, Social Media and Social Capital“.

 
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Posted by on November 4, 2014 in Business, Ebooks, Social media, Writing

 

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Happy fifth birthday, Libro!

Libro birthday cartoonI started working for myself (very much part time) in August 2009 – so now it’s Libro’s fifth birthday!

What am I doing to celebrate? Well …

I’m having a little party today over on the Libro Facebook page … including a draw to win a free Kiva loan

I’m making some loans to Kiva (see below) and donating one to someone else

I’m celebrating the relaunch of my two main business books, with their new titles and covers …

… And I’m launching my new website devoted entirely to the books I write, where people can find info, links, reviews and news in one place

I hope you’ll join me in celebrating Libro’s birthday by popping over to say hello on the Facebook page or by doing a Kiva loan yourselves.

Happy Birthday to me!

Quick update: the Kiva competition in now CLOSED. Alison Mead won the free loan and was sent a voucher. I started new loans to a man selling spare parts in Benin, a travelling salesman in Paraguay and a food stall in Bolivia. These were all people who friends of mine had already lent to.

Kiva is an organisation that facilitates loans to small businesses around the world, who traditionally find it hard to raise capital. You commit from $25 upwards, and you can choose by gender, country, industry sector and individuals within those areas. They then pay the loan back to you in small increments – you get an update email on repayments once a month and sometimes updates on the individual or group you’ve loaned to, if the organisation handling the loan provides them. Once the money’s paid back, you can reinvest it or withdraw it if you want to. I love helping people to help themselves in this way; it feels like I’m helping to make a difference to another small business somewhere far away from me.

 
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Posted by on August 1, 2014 in Business, Celebration, Ebooks

 

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Introducing my new business titles: Running a Successful Business After the Start-up Phase and Your Guide to Starting and Building your Business

Liz with her new books

Liz with her new books

It’s time to tell the world: I have two new books out, and I’m pleased to share the news with my readers and subscribers.

Running a Successful Business After the Start-up Phase: Who are you Calling Mature?” is a look at what happens next. Following on from “How I Survived my First Year of Full-Time Self-Employment: Going it Alone at 40“, it shares what I’ve learned about optimising your customer base (including saying no to prospective new business), optimising your income, keeping that vital work-life balance, and blogging and the use of social media to build awareness and grow your business. It’s had some good feedback both personally and on its Amazon review page and I’m really pleased to be able to help people further along their journey through the wonderful world of self-employment and running a small business.

You can buy the print or e-book version from Amazon – you can go straight to Amazon UK, or see the book’s web page for links to the other international Amazons, and buy in different formats including pdf and for Kobo at Smashwords.

I decided to put “Your Guide to Starting and Building your Business” together to offer a low-cost option for people who want to read both books. It’s on e-book only at the moment, and is an omnibus made up for “How I Survived my First Year of Full-Time Self-Employment” and “Running a Successful Business after the Start-up Phase” which takes you right through from how to decide whether to go self-employed, taking the first steps, perhaps while working in a day job, setting up your business, getting your first customers, working out which customers to continue working with, using blogging and social media platforms and getting your life back while running a successful business. I really do write this blog and these books to help people, so I’m really pleased to be able to put this package together at a decent price, and it’s so great when I hear how I have helped people!

You can buy the e-book only omnibus from Amazon UK and other versions of Amazon (see list of links), and for all e-book formats, from Smashwords.

Thank you to everyone who’s supported me in my writing efforts – I’m so glad when I hear how I’ve helped people, and hope that I can continue to do so for many years to come. Watch this space for my new venture – an editors’ version of the two books and a workbook to go with both sets of books, based on the mentoring I’ve been doing with some industry colleagues this year.

If you’re interested in how I got to this point, do pop over to my Adventures in Reading, Writing and Working From Home blog, where I talk more personally about writing the books and choosing (and tweaking) their titles.

And you can find info on all of my books on the Liz Broomfield Books website!

 
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Posted by on May 31, 2014 in Business, Ebooks, Uncategorized, Writing

 

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An Editor Writes: 10 Lessons I Learned When Writing My Own Book

going_itWhen I set out to write a full-length non-fiction book, I had two ideas in my head:

1. I can just stitch this together from my blog posts – easy!

2. I’m a professional editor and writer, I’m used to writing to deadlines, so I’ll get this done quickly and efficiently.

Wrong!

This article is about what happens when you go over to the other side – when editor and content writer becomes (self-)published author.

Sitting down to write

The first thing I found when writing my own book was that it’s so hard to make yourself do it! I knew towards the end of 2012 that I had amassed the blog posts that I needed to write a book about a year of self-employment. So I picked up all the posts out of my blogs, popped them in a Word document, and thought, “Oh, look: a book”.

First lesson learned: I should probably have organised the book using a software package like Scrivener. This would have made it easier to organise … and reorganise … and reorganise it.

Second lesson learned: I should have set aside time for this process in my diary, like I do for my clients. You’d think I’d have learned this from trying to slot some academic research into my schedule – apparently not!

Emotional blocks to writing

I don’t know whether it’s because when I write for my clients, it’s “white label” work, which means that my name doesn’t appear on the finished piece, and having this appearing under my own name made it feel like I was under the spotlight, but I kept getting blocked. When it’s paid work for a client, I’m as busy as can be, but somehow there were a zillion other things I could do to avoid working on the book (sound familiar)?

I was committed to it; I knew it could actually help people; people had TOLD me to write the thing, but I’d get blocked and veer away from it in my mind and physically when I tried to sit at my desk. This happened particularly at the editing stage.

Third lesson learned: Treat writing like a job. Set deadlines and stick to them. Try to sweep aside the emotions and get on with it, as you would with a job.

How to organise your book in a million easy stages

It all looked a bit messy and unbalanced, so I made some of the posts diary entries and some of them articles. Nope, still looked wrong. This is where I realised that you can’t just turn a blog into a book without some serious editorial decisions. I moved stuff around, added an introduction to each month, and stuck bigger, more general pieces in appendices at the end.

Fourth lesson learned: If you think it’s going to be easy, you’re probably doing it wrong. Nothing good comes without a struggle, right?

How to edit an editor

Like a good writer who’s learnt from others, I was all ready and eager for some beta readers. I recruited two friends initially. Each did a useful read-through for me and gave me some good comments. One of them, and I say this with the greatest appreciation and respect, edited my book like I was editing my book. She’s not a professional editor, but she’s good. She picked out typos (ouch) and weird sentences (ouch) and missing links (ouch) and repetitions (eek) and huge structural issues (argh!).

Ouch, ouch, ouch.

I’ve written in detail elsewhere about my reaction to this edit: suffice it to say that I felt wounded, winded and disconsolate. What a marvellous lesson about how my own clients feel when I edit them! It did put me off for a good while, thinking this book was rubbish, how dare I think I could publish something, let alone publish something good that people would want to read. In fact, I left it for FOUR MONTHS!

Fifth lesson learned: Editing is vital, but it does sting. I must continue to be as kind to my editing clients as I possibly can be. However kind the editor is, it still feels brutal to have your work criticised and pulled apart. I will not make it more brutal for them.

Sixth lesson learned: You can get a blog post out of anything. Mine on being edited was one of my most popular so far!

Getting round to rewriting

I mentioned emotional blocks: this was the big one. I read through the editing comments. No: I skim-read through them, muttering and sobbing. Then I closed the file and ran away from it. It sat there, taunting me. “So, you were going to publish in the first week of January, were you? It’s February already …” I just couldn’t make myself do it.

In the end, I had to force myself. I had to treat it like any other job, open up the file, and start on it. Of course, once I started, I could see a) how good the editing was, b) how to make it better. I was tough with my precious words. One of the major problems with the text was that it was repetitive – every time you write a blog post, you’re expecting new people to read it as well as subscribers, so you tend to reinvent the wheel. Put that in one document and you’re, frankly, boring people. So out came the delete key, and I honed and polished, added some bits too, but chopped thousands of words off the total, to make a much slimmer and better read.

Seventh lesson learned: Be ruthless. If it is at all expendable, out it comes. Chop out the dead wood. If you can’t see the dead wood, get someone to chop it out for you. It will come out better for it.

When it comes to your book, looks are everything

Well, not everything, but …

I was so keen to publish that I started out with a terrible home-made cover. Then a friend tweaked my original book’s cover to make a new matching one, but it still looked a bit too home-made. I then  found a book designer online and got a lovely cover done. I looked into getting the interior of my book designed professionally so I can put out a print-on-demand paper copy, but the book needs to sell some more copies first to be able to pay for that!

Eighth lesson learned: Your book really does look more professional with a professional cover; it will stand out for the right reasons. If you have more than one book, it’s worth getting an overall consistent look. My first book started to sell more when I got its cover updated to match the new one. Get this done first – it takes ages to update the cover on Amazon when you’re embarrassed about your old one!

Soft launch aka the obsession starts …

A read-through from another friend and it was ready to go! I’d already tried the process once (with a book that was much shorter and easier to write!) so I knew the mechanics of publishing for Kindle on Amazon. I’d read up about the process and I knew about the choices, and decided to go for Amazon exclusive, as I could then enrol the book in KDP Select. I get quite a few loans on my other book, and somehow I make more royalty on loans than sales on that one, per copy. I priced the book carefully – as low as I could make it while still getting the higher royalty from Amazon. I also knew to soft launch, build some sales and reviews, and then do a bigger launch.

So I published the book, and I did the social media thing, and I told people about it, and I sent out one or two review copies. And then I was reminded of the obsessive nature of authors – I’m still constantly checking for reviews, sales, likes, comments … It’s like it’s your baby and you have to watch over its every breath.

Ninth lesson learned: Reviews will come, whether you hassle people or not. I knew a few of my first readers. I put up pleas for reviews. It takes longer to read and review a full-length book, and the reviews will come in time! And if you read a book by an indie author – do review it, it means the world to them!

What next?

Once I had a few five-star reviews (finally!) I’m making more of a noise about the book. I picked up this tip from The Creative Penn and it worked with the last one – give people something to look at when they’re making their buying decision. And here it is, out there, selling and helping people (the main thing) and I’m proud of it and all the hard work.

Tenth lesson learned: Do it. At very least you will find out something about yourself and other authors. At best, you’ll have an income stream and you’ll see some lovely reviews and know you’ve helped and/or entertained people! Go for it!

Resources

The book that I’m talking about here: Going it Alone at 40 – and the book’s own web page with links to worldwide Amazon sites to buy it.

That blog post about being edited: On Being Edited

Book designer: I actually used someone on www.fiverr.com  for this, on the recommendation of a writer friend: I don’t normally like low-cost sites like this, but my designer offers lots of extras that pay them better, so I felt it was OK.

 
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Posted by on June 12, 2013 in Blogging, Copyediting, Ebooks, New skills, Writing

 

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A new publication from Libro

How I Conquered High Cholesterol Through Diet and Exercise As well as writing and editing for other people, I have been busy writing my own guide to dealing with high cholesterol through diet and exercise. I’ve published it on Kindle and it’s available now. If you or a family member or friend has been diagnosed with high cholesterol, whether or not you are taking statins at the moment, this guide can help you reduce your intake of saturated fat and increase your intake of substances that promote cholesterol reduction, so that you could possibly come off statins or not go on them in the first place.

I’m not making any wild promises, but this system has worked for me and some of my friends, and the book cuts to the chase with easy-to-remember guidelines. It does try to accentuate the positive, so there’s lots of information on what you CAN eat and enjoy.

If you’re interested, please click through. There are some great reviews on there right now. And even if you don’t decide to buy a copy, please consider clicking on the “Like” button. Enjoy!

 
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Posted by on August 13, 2012 in Business, Ebooks, Writing

 

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