Editing services

Authors – please choose your editor carefully #writingcommunity #amwriting #selfpublishing

when kpis turn to poison

As I have said many times, I love my clients. I love working with them and I feel privileged that they choose to share their writing with me. I am often the first person to have read their work and I really appreciate how brave that can be.

So I do feel a little bit protective towards the writing community. And I am a little tired of seeing people taking advantage of these lovely writers.

I have seen lots and lots of people recently selling their services to writers. Not a problem – it’s what I do. But increasingly these people have no experience whatsoever – they just seem very, very good at giving the impression that they do.

Now, I have no problem with entrepreneurs, or people trying to make a living. What I do have a problem with is people who have maybe written one or two books (not necessarily good ones either) setting themselves up as experts. I have seen in the last few weeks the author of one book (a book that hasn’t sold many copies and has few reviews) pitching themselves as an editor, proofreader, and self-publishing advisor. This person also sells books on how to write.

Now, I may not be a wildly successful author. But, I do have  a first degree in English Language and Literature, a master’s degree in creative writing, I’m a qualified and experienced freelance journalist and copy writer, and have had hundreds of articles published. I have edited three hundred fiction and non-fiction books. I have plenty of testimonials. I know lots of other editors with similar backgrounds, all of whom provide excellent services.

We have qualifications and experience. We know what we’re talking about. We earn the money you lovely writers pay us.

Over the years I’ve been editing I have worked with so many clients who are paying me after they’ve already paid an inexperienced, unqualified person who has set themselves up in business. These manuscripts are often full of the most basic grammatical errors, unnatural dialogue, cliched descriptions and similes, and dreadful dialogue tags. In short, the author has been diddled.

And the big problem is that often new writers don’t realise they’re being given the wrong advice. They assume that what the editor is telling them is correct.

Please, lovely authors, you’re worth more than that. Look really carefully into your editor’s background. Ask for testimonials, look for experience and qualifications. Be very, very careful.

And arm yourselves with knowledge too. If you know basic grammar rules, understand what helps to make good writing, can punctuate properly, you’ll be able to tell if an editor is all they’re cracked up to be.

And would-be editors, proofreaders, ‘experts’ – I’m not saying that you’re excluded from some club if you lack these things. These skills can be learnt, after all. But don’t charge authors money for old rope. Learn your skills, practice, get experience first.

And remember – writing a book doesn’t make you an expert on writing.

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Using Feedback #amwriting #writingcommunity #writingtips

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One of the most difficult things to deal with when writing a novel is getting feedback, whether this is from a friend, a beta reader or an editor. Honestly – it can be completely terrifying. I know this from experience having written two books myself. The first experience I had of getting feedback on a piece of fiction was when I began studying for my master’s in creative writing. A huge part of the course was the workshop. We took it in turns to send a few chapters of our WIPs to everyone in the group and then a week or so later we would gather (online) to discuss that writing. The first time it was my turn I actually felt physically sick. I was terrified that the other students would hate my work, that they would destroy it. So, as an editor, I do completely understand how nerve-wracking it is to get that feedback. And sometimes it’s not only terrifying, it’s also confusing, especially when two or more of your readers or editors have completely different opinions about your work. So how do you deal with feedback?

Feedback from Beta Readers

So you’ve sent out your manuscript to five beta readers and you have five conflicting opinions about it. What should you do?

First, step back and coolly asses your betas. Whose opinion do you really trust? If one of them is your mum, then she’s probably not the one to go with.

Then go with your gut – you know if someone’s comments rings true, if something makes you think ‘Oh yeah. That’s a good point’. You need to be honest with yourself.

Look for common threads. If three of your betas hate the same thing, but one loves it, then it’s probably safe to go with the majority.

Feedback from Editors

Again, take a step back. Yes, that’s difficult; your work is so personal to you, so much a part of you. But feedback is vital to improve your craft. So put the process into perspective. Your editor is (hopefully) trying to help you. Their criticisms (if they’re any good) should be constructive. Trust me, when I give feedback on a manuscript, I’m not trying to hurt your feelings, or upset you or belittle you. But it would do you no good whatsoever if I wasn’t honest. I want to help you. So bear that in mind and try to be objective when you look at feedback.

Make sure you understand what your editor is trying to tell you. If you don’t understand their comments or you need some clarification, then ask. Personally, I feel that if a writer comes back to me about a point I’ve raised, then it’s my job to address their concerns. Just because I’ve finished the edit, it doesn’t mean I can no longer answer questions or provide feedback. A caveat though – don’t take advantage of your editor’s good nature; ask a question, accept the answer, but don’t expect a long-running dialogue. And don’t argue either – you’ve asked me for my professional opinion, I’ve given it and I’ve given my reasons for that opinion. It serves no purpose if you don’t agree for us to have back and forth emails about it.

Remember – you own the story. You don’t have to do what your editor says. It’s entirely up to you. But do remember that your editor is not your enemy. We don’t sit there trying to pick faults – we want to help you make your manuscript the best it can be. So if we say something you don’t agree with, take a deep breath, read the criticism again and really think about it. Does your editor have a point?

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The Five Most Common Errors to Avoid in Your Writing #editingtips #amwriting #selfpublishing #writingcommunity

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I’ve been editing for a few years now, and the same issues come up again and again. Here are the five most common:

Unnecessary dialogue tags

It is best, on the whole,  to stick to ‘said’ and ‘asked’. There are a few reasons for this. Readers are so used to seeing ‘said’ and ‘asked’ that they skim over them, noting quickly who is ‘saying’ or ‘asking’ and getting on with the important things. The flow of the writing isn’t interrupted, the reader reads on smoothly and happily. If a dialogue tag suddenly crops up, like ‘chuckled’ or ‘screamed’, or, possibly worst of all, ‘interjected’, the reader is forced to pause, to think about the tag. The flow is interrupted, and for no purpose. A dialogue tag is only there to identify who has spoken. It shouldn’t need to tell the reader anything else. The character’s words, their actions and their situation should be sufficient.

Physical description

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It’s really only necessary to include physical description if it is relevant to the story. If you do want to have some physical description, then rather than have the details all together when you introduce a character, intersperse them gradually through the narrative, using actions/dialogue etc. For example:

She shook her head, her dark eyes flashing.

‘What do you want?’ he asked, pushing a strand of his unruly curly hair behind one ear.

This way, you continue moving the story along without holding the narrative up.

Bear in mind too that you don’t need every detail of every movement. Your readers can fill in the gaps. Your reader doesn’t need to be told every move a character makes. Give enough information to build a scene, show what’s important, and let your reader fill in the details.

Exposition issues

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Be very careful of using exposition. Exposition is important in a manuscript – it gives us vital background information about a character’s past, their likes and dislikes, their beliefs and motivations as well as context and prior events. But the crucial thing about exposition is that it needs to be handled very carefully – it’s the way that you do it that matters.

You need to ‘show’ your reader information, not simply ‘tell’ them. This way you ‘expose’ the back story without being boring. And some of the best ways to do this are through dialogue, conflict, revealing a character’s thoughts and using physical props such as newspapers, letters and emails.

For example, have your characters talk to each other  about events that have happened, what those events meant to them, how they felt and reacted to those events.  But you need your dialogue to be realistic. Don’t use it as a way of dumping information. And make sure your characters never tell each other things they already know – it’s obvious that this is for the benefit of the reader rather than a natural part of their conversation.

Too many adverbs

Adverbs modify verbs. If you’re using an adverb to modify a verb, then ask yourself why you need to. Is the verb not doing its job? If the verb alone can’t tell your reader how someone or something is doing something without an adverb, then is it the right one to use?

For example:

John walked quickly down the street.

You want your reader to know how John walked, so if he’s walking quickly, then say so – right? Well, no.

John hurried down the street.

One word instead of two – tells us exactly how John is moving.

How about:

She totally, completely accepted that her work needed editing.

Neither of those two adverbs is needed. Just say:

She accepted that her work needed editing.

(Actually get rid of ‘that’ too!)

There are also adverbs that are totally redundant.

The fire alarm rang loudly.

How else would it ring? It wouldn’t be much use as a fire alarm if it rang quietly.

And if it is ‘clanging’ then ‘loudly’ is also redundant – the word ‘clanging’ implies loudness.

Similes and metaphors

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A clever, well-thought out simile or metaphor can add a deeper meaning to your narrative. It can give your reader a new way of looking at things. But similes and metaphors need to be handled very carefully indeed. Only use them if they add something new or interesting to a description. Otherwise, they jar and only serve to remind the reader that they are reading a book. You are crafting a world that your reader needs to believe in in order to be invested in your story. As with dialogue tags, an awkward or clichéd simile brings them out of that world that you have carefully constructed. A clunky metaphor will do the same.

 

 

‘The Cheque’s in the Post’ – how to not annoy your editor! #amwriting #selfpublishing #writingcommunity

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I’ve been editing for a while now and the majority of my clients have been an absolute joy to work with – open to advice, professional, and just downright nice. That said, I’ve had a few not so pleasant experiences over the last few months and felt it was time to address some issues that unfortunately seem to be becoming quite common.

So here’s my advice on having a professional and constructive relationship with your editor.

Punctuality

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I have many hats. Editor, writer, reviewer are just some of them. I have a full schedule and am usually booked in advance (for which I am very grateful). I have to stick to my schedule to avoid infringing on the time set aside for my next project. So if you agree to get a manuscript to me by a certain date, please make sure you do so. I work hard to stick to deadlines I’ve agreed to, and to make sure I bear my client’s own schedules in mind, so please grant me the same consideration.

Formatting

I’m clear about how I would like you to format your manuscript before sending it to me. Please adhere to this – and if for some reason you can’t, then just let me know. Which leads to my next point.

Communication

communication

I appreciate that sometimes things happen, that there are circumstances beyond our control, and I try to be flexible as much as I can. But please communicate. Send me an email. Call me. Just let me know what’s happening. I recently agreed to a client deferring payment of her deposit. I kept that spot for her. She didn’t pay, ignored all my emails, and I couldn’t fill that space at such short notice, so I had a week where I had no income. Unprofessional and totally unfair. It also means that I’m now wary of being that flexible for other clients. If she had just been honest and emailed me to say that she could no longer use the space I may have been able to reschedule or find another client.

Money matters

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This is probably my biggest bugbear. I appreciate that editing costs money. But if you have decided to hire an editor, then please make sure you have the money in place to pay them for the work they do. I ask for a deposit when a client books a place, but I have had several occasions recently where a deposit has been paid, but the client has then either delayed or not paid the balance once the edit is completed. This isn’t because they are unhappy with the edit – in fact on all these occasions the client has been very pleased with my work. On one occasion, the client emailed to say they were very happy with their edit, and then simply ignored every request for payment. Other clients have deferred and deferred. While I appreciate that some circumstances are beyond people’s control, please do remember that your editor may be relying on your payment. It isn’t fair to expect someone to wait for a payment from you because of circumstances that are nothing to do with them. Without naming names, one of my clients didn’t pay because he had to fund repairs to his car. But what if I’d needed to pay for repairs to my car and was relying on his payment to do that? If you’ve booked a service, agreed to a contract, and the other party has fulfilled their obligations, then you should pay what you owe. It really isn’t fair to expect to do otherwise and it’s completely unprofessional – you wouldn’t tell a plumber you couldn’t pay once he’d fixed your tap, so why is it ok to not pay your editor?

Don’t take it personally

I get it. I’m a writer. It hurts to have our work criticised when we’ve put our heart and soul into it. But if you want to be an author, if you want to be taken seriously as an author, then you need to be able to listen to feedback. I’m not out to be nasty or unkind, but I am honest and I will tell you what isn’t working. Please take that criticism and advice in the spirit in which it’s intended. I would be doing you a disservice and wasting your money for you if I just told you your book was wonderful.

Understand the role

A client recently complained that while I had pointed out places where things needed reworking and had provided examples of how he might do this, I hadn’t actually rewritten those parts for him. This is not your editor’s job. Your editor is not there to write your novel for you. I can guide you, advise you, restructure things so that you can see how they might be improved, suggest how you might improve things, tell you what needs developing and where things don’t work – but I cannot, will not and should not rewrite your manuscript. An editor isn’t a ghost writer.

I’m sorry if this feels like a rant – honestly, 99.9% of my clients are lovely, friendly, professional people and I love working with them. I can’t tell you how lovely it is when they take the time to tell me how my work has helped with their book. However, these bad experiences seem to be becoming more commonplace and it’s a worrying trend. But to the clients that do make my work a joy – thank you!

 

Last Minute Editing – discount available #editing #selfpublishing #AmWriting

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Need an editor at short notice? I’ve had a last minute cancellation and have some limited availability for the next week. If you can have your manuscript to me by Friday 23rd November, I can offer a heavily discounted rate depending on the editing package you choose. You’ll have your edit back by Friday 30th November at the latest.

Many, many thanks again for your excellent and professional editing services. Your revision notes are meticulous, sensitive and intelligent.

I can’t praise Alison enough. She is extremely helpful and her editing skills are brilliant. Alison’s suggestions are all relevant and positive. Highly recommended.

I thoroughly enjoyed working with her and learned a great deal in the process.

Find out more about my editing services.
Read some more fabulous testimonials.
You can contact me here.
Thanks!

***Bank Holiday Sale – 20% Off*** #editing #selfpublishing

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To celebrate a rather windy and rainy August Bank Holiday (at least here in the UK) I am offering clients a special 20% discount for any services booked from an enquiry made before Friday 31st August for September and October.

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Just a typical ‘summer’ bank holiday in the south east of England!

If you’re reading this, the chances are you’re thinking of self-publishing or you might be thinking of sending out your work to agents and publishers. You’ve spent hours writing. You’re proud of your work, but nervous about how it will be received. You’ve spent time revising and polishing when you could have been doing other things. If you’re self-publishing, you may have already paid out for a professionally designed book cover. You really need to start making some money on this project. So you don’t need the extra expense of an editor do you? Well, yes, you probably do.

You’ve written your masterpiece. You’ve had family and friends read it; they’ve pointed out a few typos but have told you it’s wonderful and that you should publish or send it out to agents. So that’s what you do next, right? Well, possibly – if your friends and family are completely impartial and will tell you the honest truth. And if you are completely sure that you’ve managed to catch every typo and grammatical error in your copy. And if you’re one hundred per cent sure that there’s nothing that can be improved, corrected and enhanced by a completely impartial, professional eye – by someone who edits as their job and whose reputation depends on how well they do that job.

You need an editor because not only will you not see all the typos and grammatical errors (and there will be lots of those), but you will be too invested in your work to see it impartially. You know your characters and your plot inside out. You know the sequence of events and why and how things happen. And this is where the problem lies. You can’t ‘un-know’ all of that, so you can’t see the flaws in plot, in structure, in characterisation. You can’t read your book from beginning to end the way a reader will. And if there are flaws and inconsistencies, if there is more than the odd typo, then your readers, if you publish without having had a thorough edit, will be happy to point them out in reviews.

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I’ve self-published. I understand how attached you are to your work. I know how horrible it is to send that work to someone else and have them criticise it, however constructively. However, I also know that this process is far less painful than sending your precious work out there, warts and all, to have those warts picked over by readers and reviewers.

So the question is not ‘Can I afford to hire an editor?’ but ‘Can I afford not to?’

And if you’re considering making that step, then do get in touch. My offer means that if you request a quote and a sample edit before this Friday, 31st August, and you go on to make a booking, then the cost of your edit will be discounted by 20%. So a combined edit/proofread will be £3.60/$4.80 per thousand words. This comprises of an edit for spelling, grammar, sentence structure, flow, characterisation, continuity, plot consistency and style. I will also correct any typos, grammar errors and spellings. I use the track changes facility in Word and will provide you with two copies of the edit: Edit 1 shows all changes made so you can trace what I have done, Edit 2 is a clean copy with all changes accepted – this will show you how the manuscript will read if you accepted all the changes that I’ve made. Having both copies means that you can easily see the difference the changes will make, while still having the option to choose whether or not you want to make those changes. You can go through Edit 1 accepting or rejecting each change as you see fit. As well as the edits, I will write a detailed report focusing on plot, structure, characterisation, pace, setting and style, making suggestions for any changes. An 80,000 word manuscript will now cost £288/$384, a saving of £72.00/$96.00.

If you would like to book an edit followed by a separate proofread, the discounted cost is £4.40/$5.80 per thousand words.

Two edits of your manuscript followed by a separate proofread costs £6.00/$8.00 per thousand words.

Still unsure? Have a look at my testimonials. And you’ll get a free sample edit of your first 1500 words before you commit to anything, so you can be completely sure that my editing services are right for you.

Do get in touch via the contact page, send an email to alisonewilliams@sky.com, or give me a call on 07891 065 012.

Have a lovely weekend!

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Editing services – an update on pricing #amwriting #editing #selfpublishing

pricing-tips-freelancers

A few weeks ago I decided to change the way I charged for editing, moving away from pricing per thousand words to charging by the hour. I did this because I had found over the last few years of editing that there is a sometimes quite a big difference in the amount of time it takes to edit different manuscripts of the same length.

However, I have realised since making that change that this system isn’t working for authors. I have reached out to past and current clients and the feedback I’ve received is that clients prefer to know up front exactly how much an edit will cost. This is understandable – writing and publishing can be an expensive business and I can completely understand how it is better from an author’s point of view for the costs involved to be clear from the outset.

So, after much reflection and consideration, I have decided to return to the previous system of charging per thousand words. My clients are, obviously, the life blood of my business and it makes sense to use a system that works for them.

My editing charges are as follows:

Editing – a note on editing: as I work mainly with authors who are planning to self-publish, or who want to have their work edited prior to seeking representation, my editing service works in a slightly different way to the editing process that happens in traditional publishing, which would usually involve a developmental edit, followed by a line edit and then a proofread. Most writers are on a restricted budget and so would find it difficult to pay for all these different stages of editing. There is also always some overlap in these editing stages.

So, my editing service comprises of an edit for spelling, grammar, sentence structure, flow, characterisation, continuity, plot consistency and style. I will also correct any typos, grammar errors and spellings. I use the track changes facility in Word and will provide you with two copies of the edit: Edit 1 shows all changes made so you can trace what I have done, Edit 2 is a clean copy with all changes accepted – this will show you how the manuscript will read if you accepted all the changes that I’ve made. Having both copies means that you can easily see the difference the changes will make, while still having the option to choose whether or not you want to make those changes. You can go through Edit 1 accepting or rejecting each change as you see fit. As well as the edits, I will write a detailed report focusing on plot, structure, characterisation, pace, setting and style, making suggestions for any changes: £4.50/$6.00 per thousand words.

For manuscripts under 15,000 words I charge a flat rate of £60/$80

If you would like to book an edit followed by a separate proofread, the cost is £5.50/$7.25 per thousand words.

For manuscripts under 15,000 words I charge a flat rate of £80/$100

Two edits of your manuscript followed by a separate proofread costs £7.50/$10.00 per thousand words.

For manuscripts under 15,000 words I charge a flat rate of £100/$130

Proofreading – correction of spelling, grammar and any minor issues with sentence structure and plot inconsistencies: £2.50/$3.25 per thousand words.

For manuscripts under 15,000 words I charge a flat rate of £40/$50

Beta Reading – general feedback on elements such as plot, characterisation, setting, story flow, continuity and any grammar/spelling issues. Please note that this is not a proofread and I will only give general advice on spelling and grammar, not a line-by-line edit. I do not fact check: £1.50/$2.00 per thousand words.

For manuscripts under 30,000 words I charge a flat rate of £40/$50

Evaluation/critique of self-published work: £2.00/$2.50 per thousand words.

For manuscripts under 15,000 words I charge a flat rate of £40/$50

Submission to agents – letter and synopsis: £40/$55

Evaluation of first three chapters for submission: £40/$55

Self-publishing – blurb, author page information: £35/$45

Please note that all prices are in GBP and USD. If you would like a quote in a different currency then do get in touch.

If you would like a quote, a sample edit, or if you have any questions at all, then please do get in touch, either via the contact button, by email at alisonewilliams@sky.com or give me a call on 07891065012.

You can also read some testimonials from current and past clients here.

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Working with an editor – some tips and advice #amwriting #writinganovel #writingtips #selfpublishing

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I’ve been editing for a while now and have worked with some truly lovely writers. I understand that it can be quite nerve-wracking to approach an editor, and if you’re a new writer, you might not know what to expect. Here are some things to bear in mind.

Remember that an honest, professional yet friendly relationship between editor and client is crucial in order to make your manuscript the best it can be. Your editor wants to help you, to guide you, to advise and to encourage you in your writing journey. To do this, there are some things that your editor needs from you.

Read the FAQs

This may be the first time you’ve worked with an editor. You should have lots of questions and most editors will be more than happy to answer any concerns that you have. But before you send a lengthy email, have a look at your editor’s blog or website and see if they have a Frequently Asked Questions page. You will probably find a lot of the answers to your questions here.

Send your manuscript on time

If you have agreed a date with your editor, then do please make sure you send your manuscript on time. Even a morning’s delay can have an impact on your editor’s schedule. It is probably best to send the manuscript the day before, at the latest.

Read payment terms carefully and adhere to them

Editing can be an expensive business. But it is your editor’s job, their livelihood. They may be relying on the fee that you have agreed to pay bills, for example. Please pay on time – just because you have a sudden extra expense, it doesn’t mean that your editor should have to wait to be paid. You have entered into a professional agreement – be professional about it. And do accept that your editor is investing their time. Don’t expect them to edit for nothing, or for a pittance. I’ve seen editors and proofreaders offering their services for next to nothing. As with most things in life, if a deal seems to be too good to be true, then it probably is. Check your editor’s credentials and do bear in mind that old saying – ‘you get what you pay for’.

Be open to advice

You are paying your editor for their expertise and their knowledge. If they offer you advice, take it in the spirit it is intended. It is there to help you.

Keep in contact

Let your editor know how things are going. I care very much about my clients and their books. I want to know how you’re doing, how the book’s doing, if you’ve had positive reviews (or not!).

Check if they want to be acknowledged

As an editor working mainly with independent writers, I have no control over what is eventually published. I can only correct, improve and advise. I cannot force a client to take that advice, make those improvements or even accept the spelling or grammatical corrections that I make. I have, on more than one occasion, advised clients, have had that advice ignored, have seen that client publish the book and then seen reviews making the points I have raised. It is excruciating to have a client ignore your advice and then to see a reviewer say that the book could do with a thorough edit. On the other hand, your book is your book and you are perfectly within your rights to ignore my advice and recommendations. But if you do so, then please don’t thank me for my editing in the acknowledgements. While I appreciate the thought, it makes me look like a terrible editor!

Give feedback

You know how lovely it is when your editor says good things about your writing? How it makes you feel wonderful? Well, it’s lovely when you tell an editor how pleased you are with their work, how you appreciate their help and advice. And it’s also really helpful, if not so lovely, to know if something wasn’t quite right.

Recommend them!

The majority of my clients now come from recommendations – something that makes me incredibly happy! It is a minefield out there. I am a member of a certain reading/writing website and I do belong to editors’ groups on that site. Almost every day I see people advertising their editing and proofreading services. Sometimes I have a look at their websites (it’s good to keep an eye on the competition after all!) and, while there are some fabulous editors, there are also people who set themselves up as editors with absolutely no relevant experience, qualifications or knowledge whatsoever. So what does a writer do? Apart from looking at an editor’s blog/site extremely carefully, I do think it’s a great idea to ask for recommendations from your fellow writers. And if you do work with an editor that you feel did a great job, then please tell everyone else!

 

 

 

Editing and proofreading services – new prices and special offer #editing #selfpublishing #amwriting

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***Offer – 20% discount for bookings taken before the end of May***

I have been running my editing business for several years now and have just finished my three-hundredth project! I’ve worked with some wonderful authors and writers and have felt extremely privileged to be part of their writing journey.

I have learnt an awful lot too about running a business and a lot about how much time and effort is involved in editing and proofreading and how much this can vary from manuscript to manuscript. I previously charged clients on a rate per thousand words. However, experience has shown me that this isn’t always fair on the client – or on me! The time involved can vary enormously and I have had manuscripts of 80,000 words that have taken three to four days to edit and others that have taken twice that.

I’ve decided that it is much fairer to charge an hourly rate. Of course, I’ll provide an estimate so that clients can have an idea of the total cost, and if it looks as though things are going to take a lot longer than expected, then I’ll let clients know as early in the process as possible.

My prices are based on the amount of experience I have, my qualifications (I have a first degree in English, a master’s degree in creative writing and a journalism qualification), and the amount of feedback and advice I provide. My rates are competitive, and I do provide a fast turnaround. I have excellent testimonials – you can read them here. Most of my business comes from word of mouth recommendations and authors who come back to me with subsequent books.

The services I offer are:

Proofreading – correction of spelling, grammar and any minor issues with sentence structure and plot inconsistencies: £20.00 per hour. ***£16.00 per hour for bookings taken this month***

A proofread of a manuscript of 80,000 words will take, on average, between 15-20 hours to complete (average cost between £240-£320).

Editing – a note on editing: as I work mainly with authors who are planning to self-publish, or who want to have their work edited prior to seeking representation, my editing service works in a slightly different way to the editing process that happens in traditional publishing, which would usually involve a developmental edit, followed by a line edit and then a proofread. Most writers are on a restricted budget and so would find it difficult to pay for all these different stages of editing. There is also always some overlap in these editing stages.

So, my editing service comprises of an edit for spelling, grammar, sentence structure, flow, characterisation, continuity, plot consistency and style. I use the track changes facility in Word and will provide you with two copies of the edit: Edit 1 shows all changes made so you can trace what I have done, Edit 2 is a clean copy with all changes accepted – this will show you how the manuscript will read if you accepted all the changes that I’ve made. Having both copies means that you can easily see the difference the changes will make, while still having the option to choose whether or not you want to make those changes. You can go through Edit 1 accepting or rejecting each change as you see fit. As well as the edits, I will write a detailed report focusing on plot, structure, characterisation, pace, setting and style, making suggestions for any changes: £25.00 per hour. ***£20.00 per hour for bookings taken this month***

An edit of an 80,000 word novel will take, on average, between 20-30 hours to complete (average cost £400-£600).

***If you book an edit followed by a proofread, then the cost of the proofread will be reduced by 10%***

Beta Reading – general feedback on elements such as plot, characterisation, setting, story flow, continuity and any grammar/spelling issues. Please note that this is not a proofread and I will only give general advice on spelling and grammar, not a line-by-line edit. I do not fact check: £15.00 per hour. ***£12.00 per hour for bookings taken this month***

Help with introductory letters, synopses, evaluation of first chapters for submission, blurbs, evaluation of published work: £20.00 per hour. ***£16.00 per hour for bookings taken this month***

When you make a booking, I’ll give you an estimate of cost based on wordcount. I’ll then ask for a 50% payment based on this figure to secure the booking. When your edit/proofread is complete, I’ll invoice you for the remaining balance due.

If you already have an edit scheduled in with me then the agreed rate still stands.

I’m very excited to be developing my business and working with more fabulous authors and writers. I know it can be an expensive business and I believe that my rates offer excellent value for money.

If you have any questions then do get in touch via the contact page, drop me an email at alisonewilliams@sky.com or call on 07891065012.

 

 

Editing and proofreading services – new prices #editing #proofreading #writingservices #selfpublishing

Special introductory offer – 20% off bookings made in April and May!

editing 2

I have been running my editing business for several years now and have just finished my three-hundredth project! I’ve worked with some wonderful authors and writers and have felt extremely privileged to be part of their writing journey.

I have learnt an awful lot too about running a business and a lot about how much time and effort is involved in editing and proofreading and how much this can vary from manuscript to manuscript. I previously charged clients on a rate per thousand words. However, experience has shown me that this isn’t always fair on the client. The time involved can vary enormously and I have had manuscripts of 80,000 words that have taken three to four days to edit and others that have taken twice that.

I’ve decided that it is much fairer to charge an hourly rate. Of course, I’ll provide an estimate so that clients can have an idea of the total cost, and if it looks as though things are going to take a lot longer than expected, then I’ll let clients know as early in the process as possible.

My prices are based on the amount of experience I have, my qualifications (I have a first degree in English, a master’s degree in creative writing and a journalism qualification), and the amount of feedback and advice I provide. My rates are competitive, and I do provide a fast turnaround. I have excellent testimonials – you can read them here. Most of my business comes from word of mouth recommendations and authors who come back to me with subsequent books.

The services I offer are:

Proofreading – correction of spelling, grammar and any minor issues with sentence structure and plot inconsistencies.

Editing – a note on editing: as I work mainly with authors who are planning to self-publish, or who want to have their work edited prior to seeking representation, my editing service works in a slightly different way to the editing process that happens in traditional publishing, which would usually involve a developmental edit, followed by a line edit and then a proofread. Most writers are on a restricted budget and so would find it difficult to pay for all these different stages of editing. There is also always some overlap in these editing stages.
So, my editing service comprises of an edit for spelling, grammar, sentence structure, flow, characterisation, continuity, plot consistency and style. I use the track changes facility in Word and will provide you with two copies of the edit: Edit 1 shows all changes made so you can trace what I have done, Edit 2 is a clean copy with all changes accepted – this will show you how the manuscript will read if you accepted all the changes that I’ve made. Having both copies means that you can easily see the difference the changes will make, while still having the option to choose whether or not you want to make those changes. You can go through Edit 1 accepting or rejecting each change as you see fit. As well as the edits, I will write a detailed report focusing on plot, structure, characterisation, pace, setting and style, making suggestions for any changes.

*** If you book an edit followed by a proofread, then the cost of the proofread will be reduced by 10% ***

Beta Reading – general feedback on elements such as plot, characterisation, setting, story flow, continuity and any grammar/spelling issues. Please note that this is not a proofread and I will only give general advice on spelling and grammar, not a line-by-line edit. I do not fact check.

Help with introductory letters, synopses, evaluation of first chapters for submission, blurbs, evaluation of published work.

When you make a booking, I’ll give you an estimate of cost based on word count. I’ll then ask for a 50% payment based on this figure to secure the booking. When your edit/proofread is complete, I’ll invoice you for the remaining balance due.

If you already have an edit scheduled in with me then the agreed rate still stands.

I’m very excited to be developing my business and working with more fabulous authors and writers. I know it can be an expensive business and I believe that my rates offer excellent value for money.

Please contact me for current rates and special offers via the contact page, drop me an email at alisonewilliams@sky.com or call me on 07891065012.