The Write Chemistry: Connecting with an editor who speaks your language
What to do when editing feels like a battle for your book’s soul
When you need your sword and shield just to confront the editing process, something’s amiss. A battle for the soul of your story and writing is a sure sign that you’re working with the wrong kind of editor, getting the wrong kind of feedback.
Don’t get steamed at the editor. Just stop working with people who don’t suit you and your book.
Your editor is your literary GPS, your cheerleader, your personal trainer and support team. You want someone who recognizes your creative destination, rallies behind you, and shines the spotlight on all the quirks that make your book distinctive (so readers can appreciate it too).
So find your editor.
This editor is too hot. That editor is too cold.
But somewhere is an editor who’s juuust right.
Who you gonna call?
Before you get in touch with prospective editors, take time to frame your editing goals and your publishing goals. It’s okay to be new at writing a book—we all start somewhere—but please have some realistic goals and expectations in mind before arriving on an editor’s doorstep.
Also, please bring your very best work to the table. Nobody wants to work with your first draft—or your second, for that matter. If all you’re expecting an editor to do is mop the floor and take out the trash, that’s exactly what you’ll get. Nuff said.
The first recommendations you receive from various editors can be quite the curveball, especially if you’ve done some homework and arrived with your own manuscript improvement ideas. Here’s the real question: How much more work are you willing to do to create a competitive manuscript? Everyone dreams of taking their work “to the next level,” but are you seriously braced for months of revision and rewrites? Or are you secretly hoping for a quick fix to get this thing cleaned up and out the door?
Some editors will take on whatever a writer contracts them to do. If you ask for a copyedit, they’ll copyedit right around the plot tangles and narrative missteps. Please don’t pay for that. You deserve an editor who’ll objectively review your manuscript, ask about your writing and publishing goals, and offer you a proposal based on the big picture—and the bigger the picture, the better the fit.
Unfortunately, there are no national or international standards or certifications required to set up shop as a professional editor or coach, despite a proliferation of “certification” programs. Nothing but your own due diligence lies between you and a moonlighter who thinks looking for errors in someone’s book sounds like a fun way to make some extra cash. See more about finding a qualified pro in the links at the end of this article.
Please come prepared with a ballpark budget in mind that reflects current industry-standard editing costs, and be ready to discuss the alternatives your dream package and more affordable options. While you might stumble upon more budget-friendly options from moonlighters and newcomers, you get what you pay for. Here be dragons: You’ll sacrifice editorial skill and experience when you dip below $0.01 per word for anything but proofreading.
As for scheduling, how vital is it that your edit be turned around within the month? What’s the emergency? Established editors have established client lists and schedules that book up months in advance. Client loyalty and a full schedule are actually great selling points—take note.
Seeing eye to eye
Let’s dive into the human side of finding an editor who’s the perfect match for you and your writing. Consider the myriad approaches and priorities at your disposal, but above all, seek out someone you’ll feel genuinely comfortable working with.
An experienced hand who can handle your book’s entire editorial process.
A coachy, teachery sort who can show you the ropes of storytelling and how to write specifically for fiction.
A quick study who can edit your project on a tight schedule with little notice.
A creative, collaborative partner who’ll become a valued member of your publishing team.
A specialist in your genre, be it dystopian YA or literary sagas.
A specialist in a type of editing: line editing, or storytelling (ahem—me!), or new and emerging writers (ahem again), or copyediting, or …
And the list goes on. What are your priorities?
Keep an eye out for signs of an editor’s personality from the moment you land on their website and begin exchanging emails. Do they make you feel right at home? Does this feel like someone who’ll be your ally, your literary partner in crime, your guide?
Think of what comes to mind when you say “my editor.” Do you picture a trusted member of your long-term publishing team, or a contractor who swoops in, turns your job around swiftly and efficiently, and disappears? Some editors thrive on clients committed to continuous improvement and learning, while others are sprinters, tidying up one book and dashing off to the next. If your visions don’t align, the fit will be awkward at best.
Feedback style matters, too. Do you thrive on tough love? Perhaps that approach sounds like a literary straitjacket, and you’re all about a fresh breath of humor to keep your creativity flowing. Maybe you’re jittery at the thought of edits and critique and could use some TLC. Whatever your flavor, it’s about finding your feedback soulmate.
Many editors provide short sample edits of a thousand words or less, although that’s not practical for coaching, developmental editing, and other high-level work. I usually provide inquiring writers a page or so of high-level feedback and a line edit of a few hundred words. If you’re interested in working with someone who doesn’t offer samples, ask if there’s a smaller service you can hire, like a first five pages edit or a critique. These can be an ideal way to feel out a working relationship—and you get actionable feedback into the bargain.
Other elements to consider:
Are you primarily looking for tangible mechanical solutions, right there on the page, or would you relish a slew of suggestions to play with?
Do the edits and suggestions feel like a good fit for your work, even if the editor’s execution and polish is ahead of yours?
Is the editor’s approach generally more prescriptive (supporting grammar based on rules) or descriptive (advocating flexible, evolving usage), and which is the right fit for your book?
Are phone or video consultations part of the deal? Do you want them to be?
Most author/editor relationships loosen into something more informal and sociable over time, but maybe that’s not what you’re after. Tone matters—and the thing is, the choice is on you. The smart bet is on doing your homework before you’re hundreds or thousands of dollars deep into a full edit.
Clues and cues
There are so many ways to get a feel for an editor’s workstyle before you commit. Start by sniffing through the editor’s website. Is it all business? Vague? Relaxed and friendly? Educational? What’s the tone of the editor’s initial response to your inquiry? Do you feel as if you have to prove yourself, or do you feel respected even if you have no clue what you’re doing?
Check up on the basics, too. Do they seem organized when it comes to the introduction and assessment dance, or are they scattered and disorganized? Peek into their payment and business policies. Is everything legit and buttoned up? Most importantly, does their written agreement clearly map out the services you’ll be getting? If not, run.
More and more editors are willing to do discovery calls with prospective clients. Many editors are introverts, though, and these calls may not seem particularly endearing. I wouldn’t rule anyone out simply because they don’t offer a discovery call, unless that’s specifically part of the communication style you’re after.
Asking around in writing workshops and critique groups is a great way to get a feel for what working with various editors is like. Nose around social media and study the acknowledgments inside books like yours to find out who other authors have used. These places are treasure troves of intel on editors whose styles and personalities are likely to click with yours.
Social media is one of the very best ways to get a feel for an editor’s tone and approach. X/Twitter, Facebook, Instagram, and all the rest can tell you a lot about someone’s demeanor and interests outside of business. Or maybe they’re not on social media at all—a statement in itself. Look for an editor who sounds like someone you’d be comfortable hanging out with over coffee, because that’s what you’ll be virtually doing throughout the editing process.
Your choice of editor shapes not only this manuscript but your long-term creative experience and growth. Whether you’re seeking a guiding mentor, a businesslike wordsmith, or a supportive collaborator, your selection merits unhurried consideration. Take time to explore, inquire, and engage with potential editors. Your writing deserves an editor who understands its soul.
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Explore Further: Finding the right editorial fit
The Writer’s Guide to Finding and Hiring an Editor
Do you really need professional editing?
How to tell what services you need
Is your manuscript ready for editing?
Where to find an editor
What to tell a prospective editor about your book
How far ahead to schedule your edit
How much fiction editing costs
Methods to lower your editing budget
Best practices for working with an editor
Before your edit: terms, NDAs, deposits, payments, schedules, preparation
During your edit: rounds and returns, file format, progress reports, next step expectations
After your edit: disagreeing with feedback, typical number of edits and comments, tax forms, acknowledging your editor
If not ready for an editor, would you recommend looking fir a book coach the same way?
Absolutely—not only to find the right vibe but also to get the right kind of coach.
Story coaches help you develop and write your story. They’ll help you deepen your concept and plot and cultivate richer characters and themes. They’ll teach you how to use story form and structure to support your story. They’ll help you outline your book, and they’ll nudge your output as you write to keep it on track. They’ll help you define your genre, readers, and comp titles. These coaches are personal alpha readers, editors, and storytelling gurus rolled into one.
Support coaches focus on motivation, accountability, and emotional support for the writing journey. These coaches are like personal trainers, keeping you moving and helping you maintain a healthy outlook during the notoriously roller coaster experience of writing a novel. They’ll help you develop and stick to a writing schedule and keep you accountable for turning in pages regularly. Most book coaching encompasses at least some elements of support by virtue of regular communication and one-on-one focus.
Writing coaches are more like teachers, mentors, and editors. Their feedback may include story issues but often focuses on how authors express themselves on the page. Writing coaches will steer you through tricky narrative choices like point of view and help you master narrative techniques like narrative distance and dialogue before you’ve baked problems into the entire manuscript.
Publishing coaches are like project managers for writers. You may hear them referred to as book shepherds or book sherpas, publishing guides or consultants, or book consultants. These coaches may personally provide self-publishing or marketing services such as cover design, ebook formatting, website design, and marketing plans, or they may steer you toward reputable providers.
Read more about the difference between editors and coaches here: https://writershelpingwriters.net/2023/03/whats-the-difference-between-an-editor-and-a-book-coach/