I recommend beginning with an editorial letter (AKA manuscript critique/editorial assessment/manuscript evaluation). This is particularly useful when you’re getting started with pro editing because it gives you an overall sense of where you need to focus and what your strengths and weaknesses are, without you paying more for line-level edits on material that’s likely to change. Most authors revise substantially after receiving their letter and evaluate from there what their next steps might be.

At a traditional publisher, most authors can expect at least four rounds of editing, in this order: an editorial letter (with or without in-line comments), a line edit, a copyedit, and a proofread. Authors who self-publish sometimes skip one or more of these steps, depending on their strengths, needs, and budget.

No! It is absolutely not a requirement or expectation that authors have their manuscripts professionally edited before submission. Most authors who are planning to query agents and/or go out on submission do not hire a professional editor first, and you should feel no pressure that this is something you must do if you want to be traditionally published. Any broad statements suggesting otherwise are false. What professional editing can do is help you become a stronger writer, improve your craft, and better your chances at landing that agent or deal. Many authors benefit from turning to an editor if, for instance, they’re consistently getting rejections and don’t know why, or have received feedback that their ideas are good but the storytelling isn’t quite up to par—things like that. In many ways, hiring a professional editor is like taking a personalized writing class. While it can’t guarantee you a deal, it is an investment in your craft.

There’s no one-size-fits-all answer! One of the great things about self-publishing is that you can mix and match to come up with a program of services that fits your particular needs and your budget. If you want your book to have the same treatment / level of “quality control” as it would get in traditional publishing, you should have a developmental edit of at least one round, a line edit, a copyedit, and a proofread. But if you’re someone who has really excellent grammar and/or friends with eagle eyes who are willing to read for you, you might be able to skip one or more of these steps. (Just know that if you have a lot of typos, you WILL hear about it from readers!) If you’re not sure where you excel and where you need more attention, I recommend you get an editorial letter/critique and ask the editor for their opinion. In my letters, I always make sure to highlight strengths and give honest guidance on where more work is needed.

I suggest choosing one developmental editor who “gets” your vision to work with you on the content of your book, and then selecting a different editor for copyediting and a third for proofreading. This is because copyeditors and proofreaders are primarily hired to catch mistakes, and the more times you read something, the more your mind tends to just fill in what’s supposed to be there. That means it’s harder to spot errors, even if you’re a pro. Hiring somebody to come in with fresh eyes can make a big difference. That’s how it generally works in traditional publishing: one developmental editor, one copyeditor, one proofreader.

More time than you think you’ll need! Everybody writes (and revises) at their own pace, and it will likely take you trial and error to know what works for you. General advice, though: Don’t rush it. Don’t try to tackle a whole edit in two weeks. There are always exceptions, but in my experience, it takes at least a month per round for most authors to do a thorough job revising, and the majority take longer.

There’s some overlap between the two, as both line edits and copyedits deal with use of language. Depending on the background of the editor you hire, you may get some similar corrections, feedback, and queries with each. But in general, a line editor’s focus is more creative, while a copyeditor’s is more technical. When I do a line edit, I’m thinking about things like rhythm and flow, organization of your scene, whether your word choice could be stronger or your phrasing more interesting, and whether your characters are consistent (and distinct!) in the way they speak and interact. I’m not looking for things like punctuation errors at this stage (although I, like many editors, have a hard time not correcting a rogue comma or spelling mistake when I see one). A copyedit, on the other hand, is rule-based, and concerned primarily with identifying errors. This is when things like grammar, spelling, punctuation, etc are addressed. In this stage, I’m making sure that what you’ve written is actually what you meant to write, and that it’s all consistent and to the highest professional standard. I correct grammar, check continuity, and ensure internal consistency for things like adherence to publishing style guides (i.e. Chicago Manual of Style guidelines and Merriam-Webster). I also provide a style sheet, which is standard in traditional publishing and includes lists of terms and characters, particular/noteworthy rules applied, and how those rules apply to your book. A copyedit should always be done AFTER developmental editing (including a line edit) is complete.

A proofreader is brought in at the very end, when the manuscript is exactly how you want it—edits are finished, you’ve already completed the “is this the exact perfect word for this sentence?” process, and now you’re just making sure no weird typos have crept in. Simply put, the proofreader is doing one last check for mistakes, not suggesting new changes. This is the absolute final stage.

Of course! Get in touch via the Contact page. I can take a look at a sample and give you a recommendation. You can also schedule a Consultation if you’d like to have a larger conversation before you decide!

I don’t. It’s mostly just a matter of timing—my schedule is pretty tight, and sample edits take time that I need to dedicate to my clients. I don’t send samples of previous editorial letters / assessments because I consider the information they contain proprietary as well as private. If I were an author, I wouldn’t appreciate an editor sending their critical thoughts on my work to strangers. However, if you’re looking for reviews of my work and information on what it’s like to work with me, you can find some on the Testimonials page, and my portfolio on Books Edited.

My rates vary depending on the project, taking into consideration things like genre, category, and what kind of work the manuscript needs. But to get a sense of standard industry rates as compiled by the Editorial Freelancers Association, click here.

I am often booking out six months or more in advance for new clients. I charge a nonrefundable booking deposit to hold a slot on my calendar. If you want to work together, it’s best to reach out well in advance, even if you’re not 100% certain of your exact scheduling. That said, occasionally a project will be delayed and I’ll have earlier availability. You can join my waitlist for last-minute openings at the bottom of the page here. Expedited scheduling is also available on a limited basis for a rush fee.