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Writers have different levels of experience in working with a professional, and editors have varying policies. Below are a few of mine. Here’s what you want and need to know about:
In other words, all the sexy stuff.
(If you want some more info on what to look for in an editor, you can check out my post What to Look for in an Editor.)
At the end of the day, I want us to have a great time together, and to deliver a final project that exceeds your wildest expectations. Clear communication is a big part of that. Here we go!
Getting from Contact to Contract
From your initial contact with me, there are several steps before a contract for work is signed, sealed, and delivered. I want to make sure the partnership is a good fit for both of us.
*Some writers are nervous about sending their full document to a stranger, in my experience mostly because they are worried about someone stealing their work. Friends, if you’ve been writing, you know that writing is a commitment of time and effort. No matter how much you love it, it’s also work. If only it were as easy as having a great idea…
Reading samples is incredibly common in publishing. Reasons no editor is likely (and I am definitely not going) to steal from your sample include:
Sharing samples is a fundamental practice of seeking an editor. If you’re averse to sending me the whole mms, we can talk about which chunks to send instead.
Plan ahead! Start researching your editing needs and potential editors before you are ready to go. Good editors are in demand and may not be available for months. You may find yourself needing to wait for your first choice.
In practice, I rarely have an immediate opening for editing, no matter how much we might want to work together. Coaching tends to be more flexible. And in practice, the lead time works in our favor, since it allows for the Getting from Contact to Contract steps, including that ever-so-important discovery call to connect and make sure our partnership is a good fit.
The same applies for returning clients or projects of multiple stages. In fairness to everyone, everyone enters my queue behind already scheduled work. No one receives calendar preference unless we make an explicit agreement to this effect (Reservation and Rush Fees may apply; see below).
Want to set up a discovery call? Please visit the appropriate Services page to begin the process.
Except in instances such as coaching, I bill by the project, not by the hour or word (though word count is a big part of the investment). In this way, you will not be surprised by fee totals.
Coaching, including the intensive, must be paid in advance.
I require a deposit before editing work begins. You are not on my calendar until you have signed the agreement and paid the deposit.
Dates for submission, interval payments, and revision schedules will be outlined in our agreement before project kick-off. It is your responsibility to review these and make sure they work for you.
I offer editing reservations for projects more than two months out, especially if you are still writing or revising and therefore a lot is subject to change. This small fee gives you flexibility, plus “dibs” on my calendar, and may reduce your overall wait time. This is credited to your project investment once we get rolling.
Once we begin, cancellation fees apply based on the size and scope of your project. Editorial work takes time and has value. Be sure you wish to proceed before you sign and make your first payment.
Projects that bump ahead of the queue are considered “rush” and incur a fee of 30% (per stage). Rush jobs must be discussed and approved in advance. Because any rush work impacts other clients, such instances are extremely rare.
For any service, be sure your book meets the genre guidelines.
