editors

Good business practice for those connected with writers and writing

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The writing world does not consist solely of writers.  There are many peripheral trades connected with writing, such as editing, covert art, promotion, marketing etc, and this means that if you are either a writer, or someone in one of these peripheral trades, you will at some point be working with someone else in the business in some capacity.  If you’re a writer/author, you might want to hire an editor, a cover artist, a marketing consultant or some other expert to help you.  Similarly, if you’re in one of these peripheral trades, you will be trying to sell yourself to writers/authors in the hope that they will hire you.

Once you get to the point of working with another person, whether for money or some other form of remuneration (experience or portfolio etc), you really should be putting certain good business practices into effect.  Many don’t, and as far as I’m concerned, it is unacceptable and inexcusable.  There are so many people out there all trying to sell their service, it’s no hardship to turn you down and look elsewhere if you don’t come up to par with basic good business practices.

If you’re working for an author, even if it’s to increase your experience, expand your portfolio, for a review, rather than money, you owe them a certain standard of behaviour.  Here are two of the most often overlooked things.

Remember you’re working for them, not the other way around.

If you’re an editor, marketing consultant, cover artist, proof reader etc, the writer/author is your customer and you should be grateful they have decided to ask you for a service thousands of others also offer.  Never act as if you’re doing them a favour by agreeing to work for/with them, there are many others doing what you do.

Keep in touch with them often or lose their business.

This is a big bugbear of mine.  If you agree to work for an author, then you owe them regular updates.  It simply is not good enough to agree to the work, and then not get in touch for weeks on end.  They won’t know if you’re actively working on their project, whether you’ve forgotten, gone on holiday, decided you don’t want to do it after all, or what the hell is going on, so you should tell them.  Even if you have no update to give, keep in touch just to let them know you’re still working on their project at the very least, twice a week.

I’ve had people agree to work for me, then I heard nothing for weeks, and when I finally emailed to ask what was going on, I got “oh I’m sorry, I’m too busy to do it after all.”  ARGH..!  Remember, if you behave like this, we will be only too happy to let others know of our experience working with you.

I’ve been party to many conversations with authors where the subject has been the bad business practice of one or more of these peripheral tradespeople, and it angers me to have been a victim myself.  It simply is not good enough, and despite the ethos of anonymity the internet offers us, good manners go a long way.

The Big Editing Services Scam

This morning I decided to do a little fun research about the cost of hiring an editor.  Now this is in no way a scientifically based study, I googled and picked one at random, to check out her rates and qualifications.

She charges £17 – £22 per 1000 words.  Multiply that by the number of words in your novel and you’ll get a final cost.  Multiply this final cost by how many books you write per year and you’ll get a yearly cost.

She has some qualifications (allegedly).  A PhD in English Lit, BA in English and an MPhil in medieval studies.  All good qualifications, although I fail to see how a degree in medieval studies makes her qualified to comment on my space operas..!

The job of editor is multi layered.  They have to find your structural errors – spelling, punctuation, grammar, tense, continuity errors, passive voice and all the other structural mistakes we all make when we write.  On top of that, they give their opinions on the other, more abstract areas of your writing, which generally consists of comments about your characters, the environments, situations and the action within the story; whether they like it or not is basically what this part of the job means.  Okay that is simplifying it somewhat, but in essence that what it is.

The structural errors are things we can all learn to correct ourselves.  We don’t need an editor to find our spelling mistakes, wrong tenses, bad punctuation (or none at all), and faulty grammar.  You can google and learn how to punctuate your dialogue correctly, you can learn about the correct use of tenses and you can easily brush up on your grammar.  There are millions upon millions of articles about passive voice versus active voice and it doesn’t take long to find out what a dangling modifier is nor how many adverbs are too many adverbs.

You don’t need to pay someone to do this for you.  You can do it yourself easily, by researching and buying a few books on writing basics. If you pay someone to do this stuff for you, you are either too lazy to do it yourself or you have far more money than sense.  Good for you, whatever blows your skirt up.  Most of us don’t have that kind of money and we’re made to feel unworthy as writers for not shelling out hundreds and thousands of pounds to have someone do it for us.  I once had a gal on facebook tell me she charged “up to 1500” for editing.  Although she didn’t say whether that was pounds or dollars, it’s still a lot.  When I told her I couldn’t afford it, she then posted on her page, naming me by name, that I obviously didn’t value my own work highly enough and that if I did, I would pay.  Those who know me well enough won’t need me to explain how I reacted to that..!

As for the more abstract areas of writing, this is where I have the biggest problem with editors.  No matter what qualifications you have, your opinion as to my characters’ depth (or lack thereof), my story arc, the realism of my narrative or the enjoyment to be gained from reading my work is of no more value than anyone else’s.  This is not something that a degree in English can teach, it is felt by each individual reader.  Some will like it, others will not.

All authors out there feeling bad because they can’t afford an editor, stop feeling bad.  Buy books on punctuation and grammar.  Research the internet about these basic building blocks of writing, all the info is there by the truck load for you to read.  Once you’ve corrected the spellings, punctuation and so on, get family and friends to read it and ask them intelligent questions.  Are the characters believable? Are any characters superfluous to the story? Does the story flow? Are the environments realistic enough?  Is the action right for the story?  Their answers to theses type of questions, rather than just “did you like it?”  will tell you what (if anything) needs to be tweaked, added or taken away.

This gal may be very good at her job, she may be a total fraud.  The thing is, you could be paying her thousands of pounds for a job you can do yourself, with a little time devoted to learning the basics.  People think that because someone calls themselves an editor, that what they say about your book is gospel and you’ll be bound to fail if you don’t apply their recommendations.  This is bollocks.  All they do is give their opinion, which is no more valid than anyone else’s.

Don’t shell out your life savings or remortgage your condo to hire someone to do something you can do yourself.