What is an editor?

Photo by Karen Lau.

“Editor” is a word that gets tossed around all the time, but many people remain understandably confused about what an editor’s job actually entails. The purpose of this long-overdue post, then, is to clear up at least some of that confusion.

Independent or In-house?

There are a couple ways to classify editors, but the first thing to know is whether they are independent or in-house. As suggested by the name, in-house editors work for a traditional publishing house. Their jobs involve both preparing accepted manuscripts for publication and reviewing solicited manuscripts. If you are traditionally published, they will probably be your primary contact at your publisher.

In contrast, independent editors work on a contract basis for writers. These are the people you will typically send your manuscript to before either submitting to agents or self-publishing.

Developmental, line, or copy?

Editors may also specialize in a particular kind of editing. At a traditional publisher, your manuscript should go through three general stages: developmental, line, and copy editing.

Developmental, or content, edits look at big-picture issues and can include things like plot and character development, timeline consistency, and, really, anything that could require major revisions to your book.

Once the general shape of your novel has been solidified, the manuscript will move on to line edits. Line edits focus on language and writing style, including phrasing, clarity, tone, and the general leanness of the text.

The final stage is copy editing. Copy editors are looking at the minute details of punctuation, grammar, spelling, and formatting style.

There can, of course, be overlap between these stages, especially line and copy edits, and editors who identify primarily as copy editors may take a broader view of their jobs.

Photo by Etienne Pauthenet.

Ideally, self-published authors will also either hire multiple editors to handle the different stages of the editing process or else hire one editor for multiple passes. In reality, though, many writers balk at the prospect of shelling out for more than one editorial pass, if they are willing/able to hire a professional editor at all. As a result, some independent editors (like myself) will offer more comprehensive single-pass edits that address developmental, line, and copy editing all at once. The obvious problem with this is that there is no professional follow-up edit to check the subsequent changes or catch anything missed on the first pass. In these cases, the final editing responsibility ultimately falls on the author.

Fortunately, writers in the pre-submission stage should not need the same level of thoroughness before sending to agents or publishers. Yes, you want your manuscript in great shape before sending it off. But once you actually land a contract, your novel will endure many additional revisions, first (probably) from your agent, and then from your publisher. Instead, writers looking to hire an independent editor as a prelude to traditional publication should understand what kind of edits they really need and be clear from the outset about what they are looking for. Doing so will save them time, effort, and, potentially, money.

The in-between

Although independent and in-house editors represent the far ends of the career spectrum, many of us actually fall somewhere in between.

For instance, I am both an independent editor and editor for the indie publisher Drum Tower Press. Whereas an editor at a traditional press would have final say over what edits must get made before a book is ready for publication, my role at Drum Tower is essentially supportive to the author/founder, P. A. De Voe. In other words, at Drum Tower, the author runs the show, taking input from her editor and readers and then making the final decisions about her publications. That power is, after all, why writers often choose to self-publish. But while most indie authors must contract out for editing, the editing at Drum Tower is done by one of its co-founders (me) in-house.

Today’s publishing landscape is filled with a plethora of publishing options, from large traditional publishers, to boutique houses, to scrappy micro and indie presses. In response, the roles of editors have become nearly as diverse. But regardless of the specifics of our jobs, all editors share a desire to polish the author’s work to its finest shine before it enters the broader world, and thereby give that work its best chance of success.

How to avoid annoying your editor (and get better feedback as a result)

Photo by Samuel Scrimshaw

do your due diligence before submitting

An editor is essentially a well-trained second set of eyes whose purpose is to catch the things you can’t. The manuscript you send to your editor should therefore be the version that represents how far you are capable of taking your work on your own. Ideally, this means you have

1) finished a full draft of your ms

2) revised that draft

3) sent the revised draft to beta readers

4) revised again based on the readers’ feedback

5) run spellcheck and checked formatting one last time

before sending your book to a professional.

Even after the ms has gone through all that, there will still be plenty for your editor to suggest and correct. However, doing your due diligence upfront should not only decrease the number of paid edits your book needs, but will also save your editor the concussion that comes from banging her head against a wall when faced with the easily avoidable, careless errors of a poorly self-edited ms.

Be upfront about anything that might impede your ability to write or Self-edit, as well as anything that might affect your content

Years before becoming an independent editor, I was an annoyingly thorough college-level grader. Since then, I’ve found that much of the advice I once gave to my students also applies to the writers I work with. The most widely applicable of these wisdom-nuggets is to be upfront about anything that might affect your writing and its content. If I know a writer is vision impaired, for example, I will have significantly more patience when his/her manuscript is littered with commas where there should be periods—or vice versa—than I would be otherwise. The same goes for those writing in a second language.

Similarly, it is also helpful to know whether clients are writing from their own experience. If you are writing a main character with a particular mental disorder, knowing how much first-hand knowledge you have of that disorder will help your editor know how much to question your presentation of that character. Likewise, if you are writing from the perspective of a particular culture, it helps to know if you are either from that culture or if you have spent significant time in/studying that culture. Your editor should want to respect your point of view, and if she feels you’re an expert on a subject, she probably won’t question that expertise unless it seems absolutely necessary.

Make the changes your editor asked for before sending a draft back to her

Obviously, no one wants to redo work they’ve already done, just as no one wants to do work for people who don’t take their own writing seriously enough to do what’s necessary to improve it. More than that, though, it’s important to keep in mind that editing is really a refining process, and the edits for each draft clear the way for a new set of issues to show up and be corrected. When changes that need to be made aren’t, this process is both stalled and imperiled.

Of course, your editor may suggest changes you decide are not best and/or appropriate for your work. In these cases, you should discuss your reasoning with her. Not only will this help her understand your choices in these specific instances, but it will help her better understand your perspective as a writer in a way that should improve the kind of feedback she gives you in subsequent drafts and manuscripts.

Learn from your previous edits

If the definition of insanity is doing the same thing over and over and expecting a different result, then the surest way to make otherwise sane editors feel crazy is to make them correct the same mistakes over and over. If, for instance, the first ms you give to your editor is full of sentence fragments that she carefully corrects for you, make sure your subsequent manuscripts are drastically fragment-reduced, if not completely fragment free. If you instead decide not to learn from your previous mistakes and treat your editor like a garbage dump for lazy writing, be prepared for increasingly harsh feedback or for her to stop working with you altogether.

Besides, why wouldn’t you want to write the best book possible and save yourself significant time and money by avoiding what should be unnecessary revisions?

In summary

Basically, what all of this boils down to is just another version of the Golden Rule: treat your editors with the respect you want them to show you and your work. Remember that, even in the best of circumstances, editing is an extremely time-consuming, painstaking process done by fallible humans. The more problems your ms possesses, or the more additional frustrations you add to the process, the less complete—and kind—their feedback will be. On the other hand, the more effort you put into your own work and the more openly you communicate with your editor, the better her feedback can be and the more willing she will be to go the extra mile for you.

Three ways to tell if an editor is right for you

Photo by Dave Ruck

Choosing an editor is one of the most important decisions you will make for your book. Not only is hiring a professional set of eyes a serious investment of money, but it also represents a significant investment in trust. You are handing your book-baby over to a stranger, after all, and you need to know that it will be treated with respect and properly cared for. You also need to know that you will be working with someone who communicates well and whose opinions you can trust. All of that can be difficult to ascertain, especially when you may never actually meet your editor in person. 

Although there is a lot of good advice about choosing an editor floating around the internet, there is one common tip that always makes me cringe. It goes something like: "If you want to know whether an editor is good, check out the books they've already edited." The logic here is pretty straightforward and, on the surface, makes sense. However, it also ignores the crucial fact that most contract editors, especially editors of independent books, have no control over the final publication. Many, in fact, will have only been hired for a single revision, which is not enough for a publication-ready product. Just looking at the finished book, therefore, will not give you a clear picture of what the editor did for that manuscript or what he or she can do for you. Instead, here is what I would recommend looking for when you're looking for an editor.

1. Editing sample

Some editors will have a sample of their work to share with perspective clients. This is by far the best way to get a sense of whether they would be a good fit for your project. Be aware, however, that there are valid reasons to not have such examples on hand. The most obvious of these is the fact that, for editors, sharing a sample of their work necessarily requires showing their client's work at a vulnerable, pre-publication stage. Of course, most people don't want their writing distributed in this way, and an ethical editor won't pass along a client's work without permission. [This is also why, if you are able to obtain an editing sample based on a third-party's writing, you should dispose of it after looking it over and be careful not to share it with anyone else.]

If an editor doesn't have a sample on-hand, see if they would be willing to edit a couple pages of your work. They may charge a small fee for this, but it is better to pay an extra $25 to be sure you're getting the right fit than to spend hundreds of dollars and weeks of time on the wrong one.

2. Word-of-mouth

Ask other writers, particularly writers whose work is comparable to yours, who they would recommend. If those writers are close friends, they might even let you see the drafts their editors worked on. Either way, a solid recommendation from someone you trust is one of the best ways to narrow down your search.

3. Research and communication

Some editors may outline what clients can expect from them on their websites, so be sure to look carefully at whatever information is already readily available to you. Once you've done that, don't be afraid to ask follow-up questions. Also, be clear with prospective editors about your needs, and be honest with them about the state of your project. For instance, if they ask for sample pages before signing on, be sure to send them pages that are indicative of your writing. If you polish your sample but leave the rest of the ms in shambles, the editor will feel misled and may withdraw from your contract altogether. However, if you are honest from the outset, you will have a much better chance of hiring someone who fully understands and wants to take on your project.