What to Expect When You Work With an Editor

Hiring an editor is a big step—and it’s normal to feel unsure about what happens next. This guide walks you through the editing process so you know exactly what to expect, from inquiry to final delivery.

Before the Edit Begins

1. Inquiry & Project Review

You’ll start by reaching out with:

  • Your manuscript’s word count

  • Genre or project type

  • Timeline or deadline

  • Any specific concerns or goals

You may be asked to share a sample so the editor can assess the level of editing needed and ensure a good fit.

2. Quote & Timeline

Once the scope is clear, you’ll receive:

  • A clear quote

  • A proposed timeline

  • Details about what level of editing is included

No surprises, no hidden steps.

3. Getting Ready

Before the edit begins, you’ll:

  • Finalize your draft (no big revisions mid-edit)

  • Share any style preferences or notes

  • Ask last-minute questions

This helps the edit stay focused and efficient.

During the Edit

4. The Editing Process

Your editor will:

  • Edit directly in your manuscript using tracked changes

  • Leave comments where clarification or author input is helpful

  • Focus on clarity, consistency, and voice—not rewriting your work

You don’t need to “hover” or check in unless you want to

5. Communication

You can expect:

  • Professional, timely communication

  • Updates if anything unexpected comes up

  • Respect for agreed-upon timelines

If questions arise that affect the edit, your editor will reach out.

After the Edit

6. Delivery

You’ll receive:

  • Your edited manuscript with tracked changes

  • Comments and suggestions clearly marked

  • Instructions for reviewing edits

Nothing is hidden—you see everything.

7. Reviewing Your Edits

This part is entirely in your control:

  • Accept, reject, or modify any changes

  • Ask questions about comments or suggestions

  • Take your time reviewing

Editors make recommendations—you make the final decisions.

8. Follow-Up Support

Most editors are happy to:

  • Clarify edits

  • Answer questions

  • Explain recurring issues

Editing is collaborative, not transactional.

9 Things I Wish Authors Knew About Working With Editors

1. Editors Are On Your Team

An editor’s job isn’t to criticize your work or “fix” you as a writer. It’s to help your writing communicate clearly and effectively—on your terms.

A good editor wants your manuscript to succeed just as much as you do. Every comment, suggestion, and tracked change is there to strengthen your work, not tear it down.

2. Editing Is Not About Perfection

Your manuscript doesn’t need to be flawless before you send it to an editor. That’s literally why editors exist.

What does help is revision and preparation. The cleaner your draft, the deeper and more meaningful the edit can be—but perfection is not required (or expected).

3. You Are Always in Control

This one surprises a lot of writers:
You don’t have to accept every edit.

Editors make recommendations, not demands. You decide what stays, what goes, and what gets revised further. Editing is a conversation, not a takeover.

4. Feedback Isn’t a Judgment of You

Editing feedback can sting—even when it’s kind and constructive. That’s normal.

But an edit is not a verdict on your talent, intelligence, or worth as a writer. It’s a professional response to a draft, not a reflection of you as a person.

5. Different Editors Have Different Strengths

No editor is perfect for every project. Some shine in fiction, others in nonfiction. Some are big-picture thinkers; others are sentence-level specialists.

Finding the right editor is about fit, not prestige.

Sample edits and conversations matter—and a good editor welcomes them.

6. Editing Works Best as a Partnership

The strongest results happen when writers:

  • Ask questions

  • Share goals and concerns

  • Communicate preferences

  • Stay curious rather than defensive

You don’t need to know all the editing terms—you just need to be open to collaboration.

7. Editors Can’t Read Your Mind

If something matters deeply to you—tone, audience, character voice—say so. Editors do their best work when they understand what you want the manuscript to become.

Clarity upfront saves confusion later.

8. Editing Is an Investment, Not a Punishment

Hiring an editor isn’t a sign you’ve failed as a writer. It’s a sign you care about your work and your readers.

Every strong book you admire went through editing—often multiple rounds.

9. It’s Okay to Feel Vulnerable

Letting someone into your creative work is vulnerable. That doesn’t mean you’re weak—it means you’re doing something meaningful.

A good editor understands that and treats your work with care.

My Favorite Editing Tools (and Why I Don’t Trust Them Alone)

If you’ve ever run your manuscript through Grammarly and thought, Great—this is basically edited now, you’re not alone.

Editing tools are powerful, helpful, and absolutely worth using. I use them myself. But they’re exactly that—tools, not editors.

Here’s a look at my favorite editing tools, what they’re great at, and why none of them can replace a human copyeditor.

1. Spellcheck (Yes, the Basic One)

Let’s start with the classic. Built-in spellcheck is often overlooked, but it’s excellent at catching:

  • Simple typos

  • Double words

  • Missing punctuation

  • Obvious spelling errors

Why I don’t trust it alone:
 Spellcheck can’t understand context. It won’t catch homophones (their/there/they’re), misused words, or sentences that technically work but sound awful.

2. Grammarly

Grammarly is one of the most popular tools for a reason. It’s great for:

  • Catching grammar and punctuation issues

  • Flagging passive voice

  • Spotting wordiness

  • Helping non-native English writers

Why I don’t trust it alone:
Grammarly often “corrects” things that are stylistic choices—especially dialogue, creative sentence fragments, or voice-driven prose. Blindly accepting suggestions can flatten your writing fast.

3. ProWritingAid

ProWritingAid is a favorite among fiction writers. It excels at:

  • Identifying repeated words and phrases

  • Highlighting sentence length variety

  • Spotting pacing issues

  • Offering style-based reports

Why I don’t trust it alone:
It generates a lot of feedback—some of it helpful, some of it unnecessary. Without experience, it’s easy to over-edit and strip away voice.

4. Hemingway Editor

Hemingway focuses on readability and clarity by:

  • Flagging long or complex sentences

  • Highlighting adverbs and passive voice

  • Assigning readability scores

Why I don’t trust it alone:
Not all good writing is “simple.” Literary, emotional, or nuanced prose often needs complexity. Hemingway can push everything toward the same blunt, minimal style.

5. Style Guides & Checklists

Tools don’t always come with software. Style guides (like Chicago or AP) and editing checklists are invaluable for:

  • Consistency

  • Formatting rules

  • Industry standards

Why I don’t trust them alone:
Rules can conflict, evolve, or need interpretation. A human editor knows when to follow the rule—and when to break it.

So…Why Use Editing Tools at All?

Because they’re fantastic at:

  • Speeding up the editing process

  • Catching surface-level errors

  • Helping writers revise more confidently

I often encourage writers to use tools before hiring an editor. A cleaner manuscript allows the editor to focus on clarity, flow, and nuance instead of fixing obvious errors. This can also decrease the cost because your editor will have to spend less time on your manuscript.

Why Human Editors Still Matter

Editing tools can’t:

  • Understand tone, voice, or intention

  • Evaluate dialogue realism

  • Track character development

  • Spot inconsistencies across chapters

  • Make judgment calls about style

They don’t know your audience.
They don’t know your goals.
They don’t know when breaking a rule is the right choice.

A human editor does.

The Best Approach: Tools + Human Expertise

The strongest manuscripts come from a combination of:

  • Smart tool usage

  • Careful self-revision

  • Professional editing

Think of editing tools as your first line of defense—not the final authority.

If you want help polishing your manuscript beyond what software can offer, I’m happy to help. Tools can catch errors, but an editor helps your writing shine.




What’s Included in My Editing Services

Hiring an editor can feel intimidating—especially if you’re not sure what you’re actually paying for. My goal is to make the process clear, collaborative, and supportive, so you know exactly what to expect before we begin.

Below is a breakdown of what’s included when you work with me.

Copyediting

Copyediting focuses on clarity, correctness, and consistency—while preserving your unique voice.

What I Check and Correct:

  • Grammar, spelling, and punctuation

  • Sentence clarity and readability

  • Awkward phrasing and wordiness

  • Consistency in names, timelines, and details

  • Repeated words or phrases

  • Dialogue punctuation and formatting

  • Style guide adherence (Chicago, AP, or project-specific)

What You’ll Receive:

  • A fully copyedited manuscript

  • Changes tracked so you can review every edit

  • Comments where clarification or author input is helpful

  • A second pass after you accept or reject the first edits and answer any questions

Consistency & Style Support

I pay close attention to the small details that readers notice—even if they don’t consciously realize it.

This includes:

  • Character name spellings

  • Character/timeline details (for example, the main character has blue eyes in one chapter and brown eyes later on)

  • Capitalization and formatting choices

  • Internal style consistency

  • Custom style notes for your manuscript

If you provide a style sheet, I’ll follow it. If not, I can help create one as we go.

Professional, Respectful Feedback

Editing is not about rewriting your book or imposing my voice. My role is to:

  • Strengthen clarity without altering tone

  • Respect your creative choices

  • Flag issues without judgment

  • Support your goals for the manuscript

I’ll leave comments when something may need your input or when a choice could go either way.

Clear Communication & Collaboration

You’re never left wondering what’s happening with your manuscript.

You can expect:

  • Clear timelines

  • Prompt communication

  • A collaborative, judgment-free editing experience

  • Answers to questions before, during, and after the edit

What’s Not Included (So There Are No Surprises)

To keep expectations clear, copyediting does not include:

  • Major plot restructuring

  • Developmental feedback on story arcs (unless agreed upon)

  • Ghostwriting or rewriting large sections

  • Cover design or formatting

If your manuscript needs a different level of editing, I’ll let you know and help guide you to the right next step.

Not Sure What You Need?

That’s completely normal. Many clients aren’t sure which type of editing their manuscript requires—and that’s okay.

If you’re unsure:

  • I can review a sample

  • We’ll talk through your goals

  • I’ll recommend the service that best fits your project

My priority is making sure you get the support your manuscript actually needs.

Ready to Get Started?

If you’re ready to work together—or just want to ask a few questions—reach out anytime. I’d love to learn more about your project and see how I can help bring it to its best possible version.


Why Cheap Editing Can Cost You More

It’s tempting to choose the lowest quote—but ultra-low rates often mean:

  • Inexperience

  • Rushed work

  • Overreliance on automated tools

  • Missed errors and inconsistencies

A poor edit can damage your credibility, lead to negative reviews, and cost you far more in the long run.

Editing isn’t just an expense—it’s an investment in your book’s success.

How Much Does a Copyeditor Cost? A Transparent Guide for Writers

This is one of the most common questions I get but it usually doesn’t have a definite answer. 

The short answer: it depends.
 The helpful answer: it depends on a few very specific factors—

The Typical Cost of Copyediting

Most professional copyeditors charge in one of three ways:

  • Per word: often $0.01–$0.04 per word

  • Per page: often $3–$8 per page (250 words per page)

  • Per 1,000 words- I personally charge per 1,000 words because it is usually easier for authors to understand than going by the standard 250 word book page.

For a full-length manuscript, that usually means:

  • Short book (40,000 words): $400–$1,600

  • Novel-length (70,000–90,000 words): $700–$3,600

  • Nonfiction or technical projects: often higher due to complexity

These ranges reflect professional editors with experience—not hobbyists or automated tools.

What Affects the Cost of Copyediting?

Several factors influence where your project falls in the price range:

1. The Condition of Your Manuscript

A clean, well-revised manuscript costs less to edit than one that needs heavy correction. Editors charge more when they’re fixing sentence-level issues on nearly every line. More corrections take significantly more time, thus it will be more expensive.

2. Word Count

More words = more time = higher cost. Straightforward, but important.

3. Genre and Complexity

Academic, technical, or nonfiction manuscripts often cost more due to fact-checking, formatting rules, or subject-specific style guides.

4. Turnaround Time

Rush edits usually cost extra. If you’re on a tight deadline, expect higher rates.

5. Level of Editing Needed

Copyediting is different from line editing or proofreading. If your manuscript needs deeper sentence restructuring or style work, the price will reflect that.

What Does Copyediting Actually Include?

A professional copyedit typically covers:

  • Grammar, spelling, and punctuation

  • Sentence clarity and flow

  • Consistency (names, timelines, formatting)

  • Basic style guide adherence (Chicago, AP, etc.)

  • Light fact-checking (depending on agreement)

It does not usually include major plot restructuring or content rewriting.

How to Budget for Copyediting

If you’re planning ahead, here’s a simple approach:

  • Set aside 10–20% of your publishing budget for editing

  • Revise thoroughly before hiring an editor

  • Ask about payment plans (many editors offer them)

A prepared manuscript not only lowers your cost—it improves the quality of the edit.

How to Get an Accurate Quote

To get the most accurate pricing, be ready to share:

  • Word count

  • Genre

  • Timeline

  • A sample chapter or pages

Many editors offer sample edits to ensure a good fit before committing. I personally offer a free 1,000 word sample edit. I prefer to edit a sample from the middle of the manuscript. Authors tend to frequently revise the beginning and the end. The middle is a better representation of the quality of the rest of the manuscript. 

So… How Much Should You Expect to Pay?

You should expect to pay a rate that reflects:

  • Professional experience

  • Careful, human attention

  • Clear communication

  • Respect for your voice

A good copyeditor doesn’t just fix errors—they make your writing stronger without changing what makes it yours.

If you’re curious about what copyediting would cost for your manuscript, I’m happy to provide a quote or answer questions about the process. Knowing what to expect is the first step toward a polished, professional book.

How to Prepare Your Manuscript Before Hiring an Editor

You’ve finished your draft (congratulations!) and you’re ready to bring in an editor. Whether you’re planning to self-publish, query agents, or simply want to polish your work, preparing your manuscript before it lands in an editor’s inbox will save you time, money, and stress.

As a copyeditor, I can tell you this: the cleaner your manuscript is, the deeper and more effective the edit will be. Here’s how to get your manuscript ready so you get the absolute most out of the editing process.

1. Do a Slow, Intentional Read-Through

Most writers finish their draft and never look at it again before sending it off. But doing your own read-through can make a huge difference.

As you read, look for:

  • Sentences that feel clunky or confusing

  • Repetitive words or ideas

  • Scenes that drag or jump too quickly

  • Dialogue that doesn’t sound like something a real person would say

This doesn’t have to be perfect. Just smooth out anything that makes you wince.

2. Run a Basic Spellcheck (But Don’t Over-Edit)

Spellcheck is your friend—just not your only friend.
Use it to catch the obvious stuff: typos, spacing issues, missing quotation marks.

But don’t stress about perfection. Your editor will take care of the deeper fixes. A quick pass just makes the real edit more focused.

3. Format Your Manuscript for Readability

A clean format helps your editor work more efficiently (and accurately). A standard format is usually best:

  • 12 pt, readable font (Times New Roman, Garamond)

  • Double-spaced

  • Indented paragraphs

  • Page numbers

  • Clear chapter breaks

No need for fancy fonts or decorative layouts—save that for the designer later.

4. Create a Simple Style Guide (Optional but Incredibly Helpful)

This doesn’t have to be formal. A quick document noting your preferences can save your editor guesswork. Things like:

  • Spelling choices (gray vs. grey, toward vs. towards)

  • How you format internal thoughts

  • Capitalization for magic systems, species names, invented terms

  • Character name spellings

The more consistent you are, the smoother the copyedit will be.

5. Make Sure You Know Which Type of Editing You Need

Many writers are surprised to learn there are different editing levels:

  • Developmental Editing → big-picture story structure

  • Line Editing → sentence flow and clarity

  • Copyediting → grammar, spelling, consistency

  • Proofreading → final typo sweep

If you’re not sure what you need, that’s okay—ask! A good editor will guide you.

6. Prepare Questions for Your Editor

Editing is a collaborative process. Before you hire someone, jot down questions like:

  • What are your biggest concerns about the manuscript?

  • Do certain characters or scenes feel off?

  • What feedback do you want the editor to prioritize?

Editors love clarity. It helps us focus on what matters most to you.

7. Take a Breath—You’re Doing Great

Handing your manuscript to an editor can feel vulnerable. You’ve poured time, emotion, creativity, and probably some caffeine into this story.

Preparing your manuscript isn’t about perfection—it’s about making sure you get the best, most thoughtful edit possible. A little prep goes a long way.

And when your clean, polished draft lands in your editor’s inbox?
You’ll be amazed at how much smoother the entire process feels.

Is Self-Publishing Right for You? A Guide for Writers on the Fence

For many writers, the biggest question comes after typing “The End.” Do you go the traditional publishing route, or take the leap into self-publishing?

Self-publishing has exploded over the last decade—and for good reason. It offers creative freedom, faster timelines, and direct access to readers. But it also requires work, investment, and a willingness to learn the business side of books.

If you’re wondering whether self-publishing is right for you, here’s a practical, honest guide to help you decide.

1. How Much Control Do You Want Over Your Book?

Self-publishing gives you full control—cover design, editing, pricing, release schedule, audiobook plans, everything. That’s thrilling for some authors and overwhelming for others.

Ask yourself:

  • Do you have a strong vision for your book’s branding?

  • Do you want final say on edits and design?

  • Do you prefer owning the whole process?

If “yes,” self-publishing might be a great fit.

If you’d rather hand off decisions to a publishing team, traditional publishing may feel more comfortable.

2. Are You Comfortable Investing Upfront?

Self-publishing is a business. That means investing in:

  • Professional editing

  • Cover design

  • Formatting

  • Marketing

  • ISBNs (if you want to publish wide)

Costs vary widely, but quality does require investment. If you’re hoping to publish without spending anything, your book may suffer for it.

However—unlike traditional publishing—you keep a much larger share of your royalties. Many authors earn more self-publishing because they own the rights and profits.

3. How Fast Do You Want Your Book Out?

Traditional publishing timelines can be long:
12–24 months after signing, and that’s if you get an agent and a book deal.

Self-publishing is much faster:
Weeks to months, depending on your pace. You choose when the book goes live.

If speed motivates you, self-publishing is the clear winner.

4. Are You Willing to Market Your Own Book?

Here’s the big truth:
No matter which path you choose, you’ll market your own book.

But self-publishing demands more intentional marketing—things like:

  • Growing an online presence

  • Building a newsletter

  • Running ads (optional, but helpful)

  • Networking with book reviewers or influencers

  • Crafting a launch plan

If you love connecting with readers and enjoy learning new skills, marketing can be exciting.

If the thought of promoting your own work makes you shrink into your hoodie, traditional publishing may feel like a safer path.

5. Do You Want Creative Freedom Without Gatekeepers?

Self-publishing allows stories that don’t fit neatly into publishing trends—genre-blends, quirky plots, niche topics, unconventional structures.

You don’t need permission to publish your book.

For many writers, that freedom is priceless.

6. Do You Have an Entrepreneurial Mindset?

This might be the biggest factor of all.

Self-publishing isn’t just writing—it’s running a micro-publishing business. You don’t need to be a marketing expert, but you do need to be:

  • Curious

  • Persistent

  • Willing to experiment

  • Open to learning

If that sounds energizing rather than draining, self-publishing aligns well with your strengths.

7. What Are Your Long-Term Goals?

Different goals lead to different paths.

If you dream of:

  • Literary awards

  • Seeing your book in bookstores nationwide

  • A spot on the best-seller lists

  • Working with a big-name publishing house
    → you may want to pursue traditional publishing.

If you dream of:

  • Full creative control

  • Faster releases

  • Building a sustainable author career on your own terms

  • Keeping most of your royalties
    → self-publishing may be the best route for you.

    So… Is Self-Publishing Right for You?

There’s no wrong answer—only the one that fits your personality, goals, and creative vision.

Self-publishing is perfect for writers who want flexibility, ownership, and speed. Traditional publishing is perfect for writers who want industry support, validation, and a more structured path.

And remember:
You can always choose differently next time. Many authors publish some books traditionally and self-publish others.

If you want help prepping your manuscript—whether you plan to self-publish or submit to agents—I’m here to support you through the editing process.





Grammar Mistakes that are Hurting Your Brand

🚨 Attention, business owners & content creators! 🚨

Your words represent your brand just as much as your logo, website, or product. But even the best businesses lose credibility when grammar mistakes slip through. Here are some common ones that can hurt your brand:

  • Your vs. You’re

    • You’re is an abbreviation for You Are: “You’re welcome.”

    • Your shows ownership: “Is this your computer?”

  • Their/They’re/There

    • Their shows ownership: “Is this their computer?”

    • They’re is an abbreviation for They Are: “They’re going to the fair.”

    • There refers to a place: “Put the computer over there.”

  • It’s vs. Its

    • It’s is an abbreviation for It Is: “It’s my computer.”

    • Its shows ownership: “The dog wagged its tail.”

  • Random Capitalization

    • Don’t capitalize a word if it isn’t the start of a sentence or a proper noun.

  • Overusing apostrophes

    • Do not add an apostrophe to make a word plural.

✔️ Strong writing = strong branding.
✔️ Clear grammar = clear communication.
✔️ Professional editing = professional image.

✨ A polished brand voice builds trust, while sloppy grammar chips away at it. Don’t let simple mistakes get in the way of your message!

The difference between proofreading, copy editing, and developmental editing

If you’re researching publishing, you’ve probably seen the different types of editing being discussed. It can be hard to determine what kind of editing you need



1. Developmental Editing: Big Picture Focus

Also called: substantive editing or structural editing
Purpose: Strengthen the overall structure, content, and flow

Developmental editing happens early in the editing process. This is where your editor helps you shape your ideas, organize your content, and make sure your work makes sense to your target audience. It's less about grammar and more about what you're saying and how you’re saying it. This is the most expensive type of editing.

What it includes:

  • Identifying plot holes or gaps in logic

  • Clarifying your message or themes

  • Reorganizing chapters or sections for better flow

  • Improving pacing, tone, and voice

  • Giving feedback on character development (for fiction)

Best for: Authors working on a first draft or needing help developing their ideas and structure.

2. Copy Editing: Line-by-Line Polish

Also called: line editing (though some consider these slightly different)
Purpose: Improve clarity, consistency, and correctness at the sentence level

Copy editing is the next layer down. Your story or article is already solid in structure—but now it’s time to fine-tune your language. A copy editor will make sure your writing is clear, grammatically correct, and in line with your chosen style guide (like Chicago or AP). This type of editing is generally cheaper than developmental editing but more expensive than proofreading. It is also the type of editor that most authors tend to hire.

What it includes:

  • Grammar and punctuation corrections

  • Consistency in spelling, capitalization, and formatting

  • Sentence clarity and flow

  • Word choice and tone improvements

  • Fixing repetition or awkward phrasing

Best for: Writers with a complete draft who want their writing to shine before publication.

3. Proofreading: The Final Check

Also called: final pass or quality control
Purpose: Catch typos, formatting issues, and minor mistakes before publishing

Proofreading is the last step before your work is published or submitted. It’s a surface-level review that catches anything that slipped through the cracks. This is generally the cheapest form of editing. However, most, if not all, authors cannot just hire a proofreader and not a copy editor.

What it includes:

  • Typos and spelling errors

  • Punctuation mistakes

  • Formatting issues (headings, spacing, fonts)

  • Incorrect page numbers or captions

Best for: Final drafts that have already been edited but need one more careful look.

Why the Distinction Matters

Hiring the right kind of editor at the right time helps you:

  • Avoid wasting money on proofreading a draft that still needs developmental work

  • Receive the right kind of feedback to meet your goals

  • Produce the best possible version of your work

Think of it like building a house:

  • Developmental editing is the blueprint and framing

  • Copy editing is the finishing of the walls and installing fixtures

  • Proofreading is the final walk-through to make sure the doors close and the paint is perfect

In Summary

Type of Editing Focus Area When to Use It

Proofreading Typos, formatting Final draft before publication

Copyediting Grammar, clarity, style After structural revisions

Developmental Editing Structure, content, ideas Early drafts

Whether you're self-publishing a book, submitting an article, or preparing marketing materials, understanding these editing stages can help you choose the right professional (or process) at the right time.

Need help figuring out which type of editing your project needs? Reach out—I’d be happy to guide you! My email is awestediting@gmail.com or you can find me on Facebook at @Amanda West Editing.

How to Find an Editor

Finding a good editor is an important part of the writing process for self-publishing authors. It’s important to find an editor you can work well with. This article will focus just on copyeditors and proofreaders.

Ask your writer friends for recommendations.

Look on professional organizations’ websites. The Editorial Freelancers Association (http://www.the-efa.org/) in the US has a membership directory where you can search for editors who work on your subject matter. Most other organizations have something similar.

Find somebody who works with your subject matter/genre. You want to find an editor who is knowledgeable about your genre. If you are a non-fiction author, you probably won’t get what you’re looking for in an editor who has only edited fiction books.

Contact several editors. It’s a good idea to contact several editors to see who you would work best with. Not every editor will be a good match for you, and that’s okay.  

Look at websites and social media accounts. If an editor has a website and social media accounts for their business, it’s a good clue that they are professionals and editing isn't just a hobby.

Sample edits. It’s a good idea to contact several editors and get a sample edit. Most will offer a free short sample edit. This will allow you to determine if you like their editing style. The sample will allow the editor to determine the level of edit needed and how long the project would take them and how much it would cost you. You should send the same sample to each editor so you can see the differences in their work. I like to request five pages from the middle of the manuscript since it has usually been worked less than the beginning. This gives me a better idea of the shape of the rest of the manuscript.

Don’t focus only on price. Editing is not cheap. You are paying for the editor’s knowledge and experience. It is not something you should skimp on. There are plenty of editors who charge less but still do quality work.

 

Capitalization of titles

Today I'm going to talk about one specific use of capitalization: titles. This will include royal titles (King, Queen) and titles used in place of names (Mom, Dad).

Titles:

  • Only capitalize if you use the person's name.
    • King Henry VIII was married six times.
    • King Henry VIII divorced Queen Katherine of Aragon.
  • Do not capitalize if referring to the generic office/title.
    • The king was married six times.
    • King Henry VIII divorced his queen, Katherine of Aragon.
  • This rule is the same for all titles, offices, etc. For example:
    • Pope John Paul; the pope
    • Senator John Kerry; the senator
    • the prince; Prince of Wales

Personal titles

  • When using a personal title (Mom, Dad, Grandma, etc.), there is a simple rule to determine if you should capitalize it. Ask yourself "Would this sentence make sense if I put the person's real name instead of the title?" If yes, it should be capitalized. 
    • Mom is the best.
    • I love you, Grandma.
  • Do not capitalize if the title is preceded by a word such as "my", "her", etc.
    • My mom is the best.
    • I love my grandma.

Is there another use of capitalization that you have trouble with? I'm happy to answer your questions. Thanks for reading!

Apostrophes

Today I'm going to talk about apostrophes. This is probably the most misused punctuation I see, and it is my personal pet peeve.

The primary use for apostrophes is to show ownership. 

the owner's car

the children's toys

The mistake I see most often is using an apostrophe to make a word plural:

the guy's

When a word ends with "s", there are two ways to use an apostrophe and both are correct:

Add "'s":

the boss's desk

Add an apostrophe:

the boss' desk

To make a plural word show ownership, simply add an apostrophe.

the guys' night out

Wrong: the guy's night out (this means their is only one guy)

The other use for an apostrophe is in a contraction. The apostrophe goes where the letter that is left out would go.

Doesn't NOT does'nt

I hope you enjoyed this post and let me know if you have any questions!

 

Semicolons

A lot of people are intimidated by semicolons and don't know how to use them. Once you know how to use them, they really aren't that difficult.

Semicolons are used to link two independent clauses that are closely related. If you don't remember from elementary school, independent clauses are clauses that can stand on their own. So basically, a semicolon is used in place of a period. Here's an example: 

I can't go out tonight; I have a big test tomorrow. 

The sentence also makes sense with a period instead.

I can't go out tonight. I have a big test tomorrow.

One thing that is not correct is using a semicolon followed by a conjunction. Choose one or the other.

I can't go out tonight; because I have a big test tomorrow. 

When figuring out if you are using a semicolon correctly, ask yourself a couple of questions:

  1. Can the two sentences stand on their own? 
  2. Are the two sentences related somehow? 

If the answer to both is yes, congratulations you just figured out how to use a semicolon! 

For a funnier explanation, check out The Oatmeal's comic.

Let me know in the comments if you have any questions. I am always open to suggestions for further blog posts. 

Welcome to my blog!

Hello and welcome to my blog. If you are here you probably already know that I am a freelance copy editor and proofreader. I specialize in working with independent and self-published authors. I love helping authors make their work the best it can be and have a little part in helping them realize their dreams. I hope to make my website a place where authors can come to get advice and hopefully learn to become a better writer. Feel free to contact me anytime through my website or at awestediting@gmail.com