This is kind of a cyclical thought pattern most authors engage in at one time or another. It’s sort of like, “well I don’t need a finished draft because once I have an agent and a book deal the publishing house will edit my book.” But the inverse cycle is also true, most agents and publishers won’t even consider taking on an author with no publishing record. The experience of most authors is to start small, publish short stories in journals and reviews, and then completely finish a novel and hire an editor to create a finished draft. This makes for an easy sell to a publishing house thinking of taking a risk on a new author, because the manuscript seems completely ready and therefore the entire venture seems less risky for the publisher. They are already taking a chance on a new author with no track record, so it is a huge step forward in this negotiation if the book seems like it has already been perfectly edited. It helps prospective publishers and agents who might take on new authors truly visualize the finished book. A professional reader for a publishing company working on acquisitions has an incredible workload, usually reviewing many novels every week. They are especially sensitive to cliche and imitation since they read so much. Every author has a gateway book that makes them want to start writing, but no acquisitions reader wants to read yet another Harry Potter rip-off. One of the best things a new author can do is join a writing group to workshop their story, get family and friends as early readers, and hire a professional editor for creative development as well as line edits to prepare for the professional submission process. A novel isn’t the best first project for a new writer, because it can set unreasonable expectations. Instead consider writing flash fiction (under 1000 words) and short stories (2500 words) and seeking publication in journals and magazines. There are magazines for every genre of writing no matter how niche and having your work published can be so validating as well as create the initial connections you need for a career as a writer.

Proofreading is reserved for finalizing a manuscript that has already been laid out. A layout is set in PDF form and it isn’t directly editable. If you are working with a word document or still making significant changes to the manuscript then line editing or creative development is a better choice. If you have an existing layout from another provider, make sure you have the indesign package as well since you can’t edit a PDF. Proofreading is less expensive than line-editing because it represents “finalization.” It is usually one-directional. The editor finalizes the layout and sends it to the author. The author reviews the changes and can add their own using proofing marks. The layout is returned to the designer who implements everything. The classical editing experience of discussing things with an editor and making suggestions for changes is line editing. Proofreading is necessarily limited in order to finish the manuscript as it is. Editing processes have an order and you might think of building a house. Manuscript review and creative development are drawing up the blueprints. Line editing is building the walls and roof. Proofreading is painting. A manuscript might not be ready for proofreading just because of the state of the draft. A manuscript that needs a lot of work or needs a lot of help should be in line editing or creative development.

Every manuscript has errors. You can use any publishing service we offer without using an editing service, but just know that proofreading before publication is always cheaper and better than post-production changes.

Everyone needs an editor. Everyone makes mistakes. If you think about it you probably have a few spelling errors that are habits you’ll never correct. For me, one of these is the word “instrument.” I almost always put the u before the r and then delete it. There is an important watershed for every author when they abandon the idea that their writing is perfect. It means turning away from your ego and starting the real work. Flattering yourself feels great and justifies the laziness every author feels when they want to avoid the hard work of writing. Walk away from your ego and you’ll always find the work rewarding. No book ever got good until the second draft.

We use the Chicago Manual of Style. We allow for your own style and voice in our editing process, but the Chicago Manual is a great baseline. It’s something every writer should own. It’s easy to understand and easy to look things up.

You can employ an editor at any point in your writing process. A great rule of thumb is to always completely rewrite your book once you finish the first draft. This sounds like a lot of work at first but it can also feel incredibly freeing. Instead of facing the blank page, you are working with something that already has structure, tone and emotion. In our opinion, it is a waste to hire a professional editor when most of their work is absorbed fixing simple errors that could have been caught with spell check. Rewriting beyond the first draft means you are making your book the best it can be before it leaves your hands, and your editor can take it even further. A rewrite of your entire book is certainly a lengthy endeavor, but it’s a great opportunity to advance the manuscript before you send it to an editor. It can be really exciting to be swept away by your own novel!