Pricing the Work of an Editor

Received an interesting query recently from a fellow freelance editor:

I am in the process of becoming a freelance editor.

In trying to determine how much to charge for editing, I came across your web site. Would you mind sharing with me how you determine how much to charge a client?

I am currently negotiating with a potential client. He has a fiction book and some web pages he would like for me to edit for spelling, grammar, word choice, sentence structure, and clarity. When trying to determine how long it would take me to edit each of his web pages, I believe it would take me between 20-30 minutes per page. Is this typical, or am I too slow? His writing is difficult to get through. 692 words of prose took me an hour.

Please could you give me your professional opinion regarding how you might handle pricing for a client like this? Your web site is beautiful and lends itself to giving you the appearance of being knowledgeable and professional.

I look forward to hearing from you!

The thing is, this query is neither unusual nor surprising. In fact, pricing is an issue that most editors – like many, if not most, service professionals – deal with on a regular basis. The challenge becomes making sure you price what you are worth.

I made this case strongly in my reply:

Your questions about how to price are at the heart of every freelance editor’s business – and survival. One thing I have learned through years of experience is that you only hurt yourself by trying to price low in order to make sure to get the client. I happen to be on the high end for fees, because I offer a great deal of consultative and marketing experience beyond the pure editing.

There are some industry standards you can use to guide your pricing structure. For one thing, you must know word count, as opposed to the number of pages in a document. The industry standard is 250 words per double-spaced page using a 12-point font. Given those parameters for a page, most qualified editors can manage to read between 5 and 10 pages an hour. Based on that description, your 20 to 30 minutes per page is quite slow – but, again, I am unsure of how many words are on the pages in this particular manuscript. Of course, it is customary to factor the degree of complication/difficulty into your pricing – and if it is dense work that is just harder to plow through, you should definitely price accordingly.

One of the biggest challenges I think most editors face is the fact that we are in a highly specialized business that requires a very specific skill set. No, it’s not brain surgery or rocket science, but it is important work for which we have been well trained and deserve to be well compensated. The bottom line is that you need to learn how to deal with the prospects who are just shopping price. Chances are these people will not ever become your clients, because they want the cheapest rate, seemingly in spite of quality.

My answer to these queries is always to remind the writer that they are not shopping for a commodity like tires or laundry soap. They are looking to hire someone to attend to their life’s work – presumably a project into which they have poured considerable time and energy. Why, then, would they be willing to shop it to the cheapest editor they can find?

Good editing is expensive – but good editing will make or break acceptance by an agent or publisher. Good editing can position the writer as a credible expert, while lack of editing can potentially present them as a quasi-illiterate, even though they may be brilliant within their field. Good editing is the aspect that turns otherwise decent writing into outstanding writing that will edge out any competition, whether that’s in the form of Web copy, a short story contest, or a book proposal.

My friend and former client, Jeremy Tuber, wrote an outstanding article titled, "What It Says About You if You Are Willing to Cut Your Prices." In it, he takes to task those clients and prospects who try to wedge you down on price before agreeing to do business with you.

He describes a situation in which an affluent client asked him to reduce his price by 25 percent:

Instead of defending my quote or caving to his demands, I asked him, “If I was immediately able to reduce my price by 25 percent to compete with your other offer, wouldn’t that suggest that my initial quote to you had not only been over-inflated, but that it was unfair?” As you might have guessed, the surprised owner didn’t have an answer.

Here's a quick tip: No matter what business you are in, never reduce the price without also reducing the value. If a prospect asks you to reduce your price, ask them which item in the proposal they are willing to do without.

That advice translates seamlessly for editors. If someone asks you to reduce your price, tell them if you agree to that, they'll have to let you know which chapter(s) they would like you not to edit.

Use your best judgment when pricing your work. You know how fast you are, how accurate you are, and how much you can improve any single piece of writing. Choose a price - and then stand by it. The right clients will come, and willingly pay your fee. Let the rest find someone who is a lot less sure of their value and worth.

Once an editor, always an editor

My personal trainer teases that I have a lousy job because I’m always on the lookout for mistakes. He tells me, “No wonder you’re cranky — you spend all your time correcting things!” It’s true. As an editor, my job is to find mistakes and correct them . . . but I actually much prefer the description I offered a recent acquaintance on Tagged: "I make other people’s words work better for them.”

The problem my trainer alludes to, though, is that you can’t shut it off. This mistake-noticing part of my brain is always at work. I notice mistakes on signs, in newspapers and magazines, on product labels, in books, and in the close captioning on the cable TV in bars.

I also notice weird spacing issues. How often have you seen a sign like this?

Probably more than you realize – because it just didn’t catch your attention the way it would mine. This is not so much an issue of correct or incorrect as it is one of aesthetics.

Wouldn’t it just look better if it read ?

Friends and networking associates tell me they’re always intimidated (and extra careful) when they send me e-mail. I tell them I’d be lying if I said I didn’t notice almost every mistake, even when I’m not intentionally looking for them. But I don’t look down or think less of anyone for being a poor speller.

There is absolutely nothing to be ashamed when it comes to one’s grammar and/or spelling proficiency. No matter how bad the spelling or how egregious the grammar errors, none of that is representative of how smart a person is or how important the information she wants to share. In fact, it is widely reputed that Albert Einstein, the unquestionably genius physicist, was so bad at spelling that he was initially assumed to be retarded. According to the 1998 ScienceGoGo.com article, "Ten Obscure Factoids Concerning Albert Einstein," Factoid #3 is:

He Was a Rotten Speller. Although he lived for many years in the United States and was fully bilingual, Einstein claimed never to be able to write in English because of "the treacherous spelling." He never lost his distinctive German accent either, summed up by his catch-phrase "I vill a little t'ink."

Being a poor speller, however, is not an excuse for sloppy work, whether it’s Web copy, memos, or an eBook. People like me have jobs for a reason. And if paying for editing is beyond your budget, at least have the common sense to run your writing past someone a little more grammar-oriented than you.

It’s good to know I’m not alone in my peculiar pursuit of spelling and punctuation precision. Neil Neches, a writer for the New York City Transit Authority received a full write-up in The New York Times for his use of a semicolon on a subway placard. His handiwork? A sign reading: “Please put your newspaper in a trash can; that’s good news for everyone.”

My trainer may be right — there does seem to be something just a little neurotic about a job that causes me to always be on the lookout for mistakes. I can shift that paradigm a bit, though, when I view it not as always looking for mistakes, but rather, as being consistently on the lookout for ways to improve the world, one word (or semicolon) at a time.

Finding the Need Beneath the Need

Had an interesting conversation with a man I’ll call “Client A” yesterday, which caused me to rethink a recent success with another individual I will call “Client B.” The discussion was about clarity . . . as service providers, whether we take the time to clarify the precise needs of our clients, to be exact.

Regardless of the business you’re in, a lot of what you’re selling has little to do with the product or service you supply; it has much more to do with the emotional and psychological effects achieved through those products or services. This is a tough thing for many business owners to grasp, but its impact is unbelievably significant to our overall success or failure. Although I’ve understood this concept theoretically for some time now, it was only recently that it came home to me, in real terms, just how important it is for me – and for all business owners – to understand this psychological component to our businesses.

Client A is a graphic designer who is writing a book in which he offers other designers insider tips on how to go from being “starving artists” to having thriving graphics businesses. The interesting thing is that two-thirds of his book is so universally applicable that it could be useful to people in almost any industry, the reason being that customer service drives the business. And Client A understands that as well as any business owner I have ever met.

Moreover, he gets that a significant component of customer service is understanding the client’s psychology. What is it that’s causing them to need your product or service right now? How big is their pain? And how much are you able to put yourself in their shoes to (a) truly understand their pain, and (b) be able to offer a customized solution that fits all their needs, both the readily apparent needs as well as the deep, dark, unspoken needs that neither you nor they may initially recognize at the outset of your relationship?

Client A said that in his explorations of existing texts, articles, and Web posts on the subject of running a successful graphic design firm, the one piece that seems to be consistently overlooked is the psychology behind an individual’s need to hire a designer in the first place. Whether the client’s goal is to build brand identity, find a more useful tool for connecting with their customers, or develop a unique way to truly set themselves apart from everyone else in their industry . . . there’s a psychological need driving their engagement of the graphic designer. And the same is true in virtually every industry.

Financial planning comes to mind as I think of this. Say a person decides they need professional advice as they begin to think about retirement and planning for their future. During the exploratory conversation, however, it turns out that they’re having a bitter battle with family members over their recently deceased father’s estate . . . and it was that battle that ultimately ignited their desire to get their own finances in order now. They didn’t make the connection when they called the planner; but once the planner begins asking questions and drilling down past the surface needs, the psychological components reveal themselves.

In my case, the issue arose when Client B was trying to decide between hiring me and another editor to work on her book about a subject that comes out her own intimate, personal experience. She underwent an excruciating ordeal that tried her marriage and made her question her own self-worth as a woman, and is now writing this book with a goal of helping others who may be experiencing something similar.

Client B forwarded to me some of the comments the other editor had made about her work, asking my opinion of both the other editor’s analysis, and whether or not I would be able to offer similar skills as a part of my editing service. The interesting part was that the other editor’s comments were technically very, very strong. In fact, I think I might in the future borrow a page from her playbook, with regard to the way she addressed certain aspects of my client’s writing. The problem was that her feedback sorely missed the mark when it came to addressing my client’s actual needs, which turned out to be deeply psychological in nature. Yes, my client wanted proof that the editor she would hire had the functional skills to do a good job with her prose. But it was far more important to her that this person also would be able to understand the human side of the brand-new-to-her process of sharing such an intimate personal experience in a book she would publish and make available for the whole world to read.

It can feel like it would be easier to walk
down the street naked than to hang your words,
thoughts, and opinions out publicly.

If you’ve ever written a book – or even an article – you know what it’s like to put your words out there for other people to read, digest, dissect, comment on, and agree with or disagree with. And when you’re new at it, it can feel like it would be easier to walk down the street naked than to hang your words, thoughts, and opinions out publicly, for everyone to see . . . and, potentially, take a swing at. The good news is that it’s not all that often that people actually want to take a literal or figurative swing at you. Unless, of course, you write incendiary commentary, of the likes of Ann Coulter or Al Franken . . . but, generally speaking, such controversial writers have been at the game for a while.

It does get easier, as time goes on, although some writers will tell you they never entirely overcome that initial trepidation. And as many experienced writers will tell you, it’s a challenging thing to get over the desire for external validation about your work – which can come in the form of selling loads of books or having people Digg you or e-mail your blog posts around. However, the only way you can ever really begin to write true is by divesting yourself of that need for others’ approval so that you write strictly from your heart.

My client is still learning about writing true – and it was my recognition of this fact that landed me her gig. Can I do an equal job on the technical work that the other editor laid out for her? Sure. Was that the deciding factor in her choice to hire me? Not at all.

Whether you’re a carpet cleaner, a surgeon, a personal trainer, a wedding planner, a dog groomer, or an attorney . . . how well do you really understand the psychology behind your clients’ need to hire you? I have a suspicion that the deeper you can go, in terms of identifying the true, but often deeply buried need, the more value you will bring to your clients, the greater rapport they will feel with you, and the more likely they will be to both stay with you and recommend you to others.

Bad Spelling: Not Always a Laughing Matter

­WARNING: The following post is not PC. If black humor offends you, stop reading now and click over to Reader’s Digest or Garrison Keillor.

To appreciate this story, you really have to know Todd. He is a Certified Financial Planner™, but he’s unlike any financial advisor you’ve ever met. He is, of course, smart, charming, and well-versed in financial matters, but his approach is holistic, educational . . . spiritual, even. And what’s more, he’s funny.

He jokes that in the year since we met, my sense of humor has increased noticeably and measurably, just due to his humorous influence and subsequent, if unintended, tutelage in the art of funniness.

Being an unconventional planner, we figured Todd's company, Azmyth Financial, should keep unconventional hours: 10 a.m. to 2 a.m., 6 days a week, sounded pretty good. Don’t try to schedule an early a.m. session, though – that is the time he specifically reserves for rest, rejuvenation, and the challenging dreamwork and visioning that enables him to serve his clients with a more intuitive, spiritual, nonjudgmental, holistic approach than any other financial planning service in the galaxy. Lately, though, he’s been choosing to close up shop by midnight – a tad on the early side.

“But if a client needed you – you know, in a financial emergency – you’d stay open, right?” I asked the other night.

“Oh, sure,” he said agreeably.

“You’d be there to talk them down if they were ready to jump off a bridge at 2 a.m.?” I asked further, for clarification.

“Don’t joke about that. That’s serious. It’s really happened,” came his quick response.

“To you? You’ve actually had to talk someone off a ledge?” I asked, incredulous. He’d never mentioned such an act of bravery and heroism.

“Well, no, not to me personally. But it has happened,” he explained. “And it’s much more likely to happen in my industry than in yours,” he quipped. “I can just see it now:

‘It's obvious. I’ve always been a rotten speller, and I'm always going to be a rotten speller. I can’t go on. I must end it now.’

‘No, no - you’re a good speller, really – and a great writer. Please come down
from that ledge.”

‘I can’t. I never know whether it’s a comma, colon, semicolon, or a dash. And the its . . . forget the its. Is it it’s or its? Who knows? How can I ever hope to keep it all straight? It’s no use . . . I’m jumping.’

‘No please. Don't jump . . . we can work this out. It’s not so bad. We can fix it. There are tutors. Editors. SpellCheck!!’"

OK – so it turns out Todd’s right – again. I’m much less likely to find myself facing such a dramatic, life-or-death scenario...although I did have a client once who called me at 11:30 p.m. to ask if a particular comma on page 83 of the 27th draft of her book was really necessary.

Now, I realize that jumping to one’s death – whether over their, they’re, and there, or a pending lawsuit and potential financial ruin – is really never funny. I get that. But Todd truly is a gifted planner who can help virtually anyone in any financial circumstance, whether it’s getting out from under a mountain of debt or handling assets in excess of several million dollars. And if you called him with a 2 a.m. emergency, I have not doubt that he really would help you.

In the meantime, you can call me 24/7 if you ever need help figuring out whether it’s affect or effect.

On balance, I’d say it’s a tossup as to whose work is more valuable in a civilized society such as our own: a sound recommendation for appropriate asset allocation or help spelling recommendation. You decide. And let me know. There's a Starbucks latte riding on the outcome of your decision.

There's No Shame in Being a Bad Speller/Poor Grammarian

IThe following is the transcript of a recent voicemail I received from a client:

Hi, Laura. It's Elizabeth*. I really hope I caught you in time. You know that article I sent you to edit? Don't open it! I mean, I hope you didn't look at it yet. I just reread it, and realized it's terrible. I need to rework it. I'll see what I can do with it later this afternoon, and send you my improved version tonight or tomorrow. Thanks.

Unfortunately, Elizabeth still has not sent me the revision.

It's a funny thing about writing. Many people have absolutely no confidence at all in their ability. Thing is, they are often more skilled than they give themselves credit for. And for those whose ability is less than stellar, that's the whole reason they hire an editor, isn't it?

What I'd like to convince my client, Elizabeth, though — and everyone else out there who feels like she does — is that there is absolutely nothing to be ashamed about, with regard to her writing skills. No matter how bad the spelling or how egregious the grammar errors, none of that is representative of how smart she is or how important the information she wants to share with her audience.

In a 2000 Suite101.com article, "What Does Your Spelling Say About You Behind Your Back?" Sandra Linville references Marilyn Vos Savant's book, The Art of Spelling: The Madness and the Method. Vos Savant wrote her book after conducting a 1998 survey in her Parade Magazine column, in which she asked, "What does your spelling really say about you? Is spelling ability a measure of your education, intelligence, desire, or none of the above?"

In her article, Linville explains, "The survey garnered more than 42,000 responses, indicating that better organizational skills benefit spelling ability, rather than intelligence. However, Vos Savant realizes that inept spellers can look inept in other ways. A misspelled word can kill a job offer or result in a rejected proposal. She also states that an English-speaking perfect speller doesn't exist."

Corresponding with Vos Savant's theory, it is widely reputed that Albert Einstein, the unquestionable genius physicist, was so bad at spelling that he was initially assumed to be retarded. In fact, according to the 1998 ScienceGoGo.com article, "Ten Obscure Factoids Concerning Albert Einstein," Factoid #3 is:

He Was a Rotten Speller. Although he lived for many years in the United States and was fully bilingual, Einstein claimed never to be able to write in English because of "the treacherous spelling." He never lost his distinctive German accent either, summed up by his catch-phrase "I vill a little t'ink."

Renowned social scientist Howard Gardner has done much research on the concept of multiple intelligences. Essentially, although each of us has many ways in which we learn and perceive information, we generally have one primary area where we excel.

Although Gardner originally determined seven different intelligences, an eighth one, naturalistic intelligence, has recently been added to the list. Brief descriptions of each intelligence are:

Verbal/Linguistic — This intelligence is related to words and language, both written and spoken. It dominates most educational systems in the United States.

Logical/Mathematical — Often called “scientific thinking,” this intelligence is related to inductive and deductive thinking and reasoning, numbers, and the recognition of abstract patterns.

Visual/Spatial — This intelligence relies on the sense of sight and being able to visualize an object, including the ability to create internal mental images/pictures. People who enjoy mediation and guided imagery or hypnosis are commonly very visual or spatial learners.

Intrapersonal — This intelligence relates to inner states of being, self-reflection, metacognition (i.e., thinking about thinking), and awareness of spiritual realities.

Interpersonal — This intelligence operates primarily through person-to-person relationships and communication.

Bodily/Kinesthetic — This intelligence is related to physical movement and the knowing/wisdom of the body, including the brain’s motor cortex, which controls bodily motion.

Musical/Rhythmic — This intelligence is based on the recognition of tonal patterns, including various environmental sounds, and on sensitivity to rhythm and beats.

Naturalistic — This intelligence is based on the sensing of patterns in and making connections to elements in nature.

So although verbal and linguistic may arguably be perceived as the most commonly emphasized of the eight intelligences, it is far from the only one. The fact is that each us has special skills — and it's not always spelling and grammar. Those may be my personal strengths, but just ask my niece about my fiasco as a sub, teaching math to her 6th grade Montessori class.

My client who said she needed to rewrite her article before she sent it to me reminded me of those people who feel they have to clean their houses before the housekeeper arrives. That one also baffles me. If we could all just get past our shame about our deficiencies and focus on the things we do well, life would be so much easier.

* This name has been changed to protect my client's identity.