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Interviewed by Marjorie Vawter
 How did you break into the editing field?
It was largely because of my published author friends, Deb Raney and Randy Ingermanson. Deb urged me to consider it, and then Randy pitched my brand-new services to his mailing list. That helped me get enough business to launch my Web site. The majority of my clients come straight from there.
First we’d like to get to know you on a personal level. What are your hobbies and interests outside of the workplace?
I enjoy playing keyboard and leading worship at church. I also am working on starting up a marriage mentoring program at our church. I’m also developing the most alarming shopping habit now that I’m getting some income from editing!
Are you an avid reader? What’s your favorite book?
I adore reading! Favorite book—isn’t that like asking who my favorite child is? Yikes! I don’t know…among my current favorites are the Harry Potter series, any books by Julia Quinn, Jane Austen, and the Poison Study series by Maria V. Snyder. Now I feel bad for leaving out all the other books I love. This is just not a fair question!
What is a fact most people don’t know about you?
Let’s see—I don’t have a whole lot of secrets. I recently became mostly a vegetarian—as of September 2007, after the ACFW conference when my husband (who grew up on a cattle farm) decided he wanted to ditch the meat in order to hopefully stave off the heart disease that runs in his family. We still occasionally eat meat, but you know, I really don’t miss it. I’m absolutely amazed at how flavorful and fun our veggie meals are!
If you didn’t write or edit, what other occupation would you choose?
Probably some sort of life coaching. The whole philosophy behind it fascinates me, and I like psychology, but I think I’d find counseling too much of an emotional strain for me. I like how positive and future-focused coaching is.
If you could be any superhero, who would you be and why?
Oh dear, I’m not up on my Super Friends, I’m afraid. But according to the Superhero Quiz. I’m Superman, followed closely by Wonder Woman because I’m “intelligent, witty, a bit geeky and have great power and responsibility.” Wow. Who knew?
Tell us a little about your work history. Where have you been, and what are you doing now? What influenced your decision to become an editor?
I started out as a middle school English teacher, but moved into writing after we adopted our oldest daughter from China nine years ago. I am currently a published novelist with Steeple Hill and will have my third book out with them next year (Play It Again, SAHM.) Howard Books will publish a women’s fiction story about Chinese adoption called Lucky Baby in 2010.
I got into editing because some of my author friends whom I did critiquing and editing for encouraged me that I should consider editing for pay. I finally decided to go for it in 2006 and it’s been working out very well. I only edit full-length adult and YA fiction, and having that niche has really helped me get clients.
What are some specific examples of how God has used you through your business to be a light to the world?
I don’t advertise myself as a “Christian editor” and most of my clients actually come from outside the Christian community. It’s rare for me to discuss my faith with my clients simply because we’re focused on their editing needs. But one of the characteristics of the way I edit is that even though I provide tough, honest feedback, I try to encourage my clients that I believe in them and that they can reach their dreams. Many of them are fearful that maybe they don’t have enough talent, or that their story is “trash.” I take every opportunity that I can to convey to them how precious and valuable they are and that their ideas are not trash.
Jesus was all about showing love and value to the least respected members of his society. I like knowing that I can follow His example in how I treat my clients.
What are the most common mistakes authors make?
I only edit fiction writers, and the biggest mistake most of my clients make is having poor scene structure. They forget or don’t know that every scene has to have a mini story arc—goal, motivation, conflict that builds to a climax and leads into the next scene. They also tend to inadequately convey character emotion—opting for the old “telling instead of showing” method.
How did you break into the editing field?
It was largely because of my published author friends, Deb Raney and Randy Ingermanson. Deb urged me to consider it, and then Randy pitched my brand-new services to his mailing list. That helped me get enough business to launch my Web site. It’s a very well-done Web site (thanks to my brilliant Web designer, Kitty Mead at Ink2Art.com) and the majority of my clients come straight from there.
What organizational tips do you have for other editors?
1. Use an editing agreement or contract. I use one for any project over $100. It’s just good business practice and presents a professional image.
2. Get a top-notch Web site. Save up if you have to. But it’s worth every penny. Think of what audience you want to target and shape your Web site for what THEIR tastes are like, not your own preferences.
3. Look into hiring a virtual assistant. I’m doing interviews for that right now. I know Karen Del’Marmol, who is in our group, is a VA, and if you Google “virtual assistant” you’ll come up with a bunch of resources. VAs help with any administrative task you can think of, as well as some promotional and marketing assistance. You just can’t do it all yourself. It might seem as if you can’t afford to pay someone else to do these things, but it will free up your time and give you more support in your efforts to attract clients and serve them well.
What determines the length of time it will take to finish a project? Do you set deadlines?
I always do a screening critique first, that I charge for. This lets the client and me see if we’re a good fit to work together. It also gives me a chance to determine how much work is likely to be involved. I’ve turned down clients at this point because their manuscript needs more work than I’m willing to give.
I make it clear in my editing agreement that the estimated time for completion is simply an estimate. I figure it on the basis of a typical 80,000 word novel (takes me about 16-18 hours) and then adjust based on the client’s word count and how much more or less time I think it will take me given their writing skill and needs.
I do set deadlines for myself. I need them. And I believe having even an estimated deadline in the editing agreement helps clients trust me and not stress out if I e-mail them and need to take another day or two. I usually pad that deadline by a couple of days (or a weekend) in case something comes up and I need extra time.
How do you determine your fees?
I initially used the EFA estimates as a guideline. I charge by hour and keep a time sheet to give to the client at the end of the project. I also pay attention to what other service industries are currently charging per hour (Web design, graphic design, coaching, VA, etc.) because editing is just as much an art and skill as any of these other services, and it should be compensated accordingly.
I decided to set my fees in the mid-to-high end. I felt that my publishing experience and work with other published novelists qualified me as a fiction expert. But it was still nerve-wracking to wonder if anyone would actually pay me that much to edit their work. I’ve found that they do, and it’s given me confidence to charge what I think I’m worth and what I need in order to keep my business innovative and healthy.
Is a contract a necessity?
It is for me for any service over $100. I don’t require a contract for a screening critique or one hour of writing coaching, for example. But I do think that when people are trusting me with large amounts of money—usually when they don’t have a lot to spare—I owe them the security of having our working agreement spelled out. I think it preempts a lot of misunderstanding and keeps both the client and me from feeling like we’ve been taken advantage of.
I always present it as “this is my business policy so that we both are clear on what we’ve agreed to.” And I call it an Editing Agreement instead of a contract, so it doesn’t sound quite as scary. I use very plain language and keep it short—two pages. And I make it clear that they are free to ask questions or request any changes they’d like to make to it.
I hear some editors fear that a contract will hinder their relationship with the client or make it seem like they don’t trust their client. For me, I think it’s definitely an asset to our relationship and helps them trust me as a professional.
Do you take electronic submissions or hard copy?
Electronic only. I don’t have time or desire to work with a hard copy. Funny thing, though, when I edit my own work, I HAVE to print it out or else it just doesn’t work.
Now, tell us about your writing.
I have two novels published with Steeple Hill. (SAHM I Am, and @ Home For The Holidays.) Both are “mom-lit” comedies about a group of stay-at-home moms who are friends through an e-mail discussion loop. Their story is told through their e-mails to each other.
My third book, Play It Again, SAHM, is a continuation of this story. This time, I’ve been asked by my editor to include text messaging and online chatting, too—so it should be a fun time.
I just received an offer from Howard Books (CBA imprint of Simon & Schuster) for Lucky Baby which is a story about a couple who adopt a child from China. The theme of that story is abandonment and how each of the main characters has been abandoned by their families in different ways. Obviously, it’s a bit heavier than my SAHM series, but I hope to sneak in a few smiles along the way.
Does being a writer help or hinder your work as an editor?
Both! Being a writer is what allowed me to become an editor and what helped me understand what to look for as I edit a novel. It’s also hard to split my time between my two businesses and give each one the attention it needs to thrive.
Right now, I’m alternating between “Editing Weeks” and “Writing Weeks.” However, I have to take off most of March and all of April from editing in order to finish the third SAHM book that is due May 1. So it’s a bit of a juggling act.
How do you balance freelancing with other areas of your life?
I say no to a lot of other things. I have to prioritize. I also lower my expectations on myself and my family when it comes to keeping house. We do pretty much the minimum that needs to be done to keep us all fed, clothed, and healthy. Then we just do panic-cleaning when the in-laws come for a visit!
Recently, my big goal has been to outsource as much as I can. Thus, the VA-hiring project. And I’m looking at a business in my town that will do our laundry and run errands for me, too. Right now, my husband is doing most of that stuff in the evenings and on weekends, and he needs a lighter load as well. If this all goes well, and I continue to get more business as a result, then my next goal is to hire a cleaning service!
I also set limits. I try not to work past 5:00 in the evening, and I take weekends off. It’s better for me to be self-disciplined during my editing hours and be realistic in how much I schedule for the week, than to end up living in front of my computer and ignoring the rest of my life.
Do you have any advice for those who are just starting out in their freelance editing careers? For those who are seasoned editors?
Newbies: Approach this as a real business start up. Contact your local Small Business Administration to see if they have entrepreneur workshops. Read and study how to start your own business. Get an excellent Web site. Present yourself as professionally as possible. Study how to write good Web site copy so that you get good search engine ranking for your key words. A great Web site isn’t cheap, but any business you start requires an investment. Try not to go into debt, but do make that investment.
Also, find your niche. Too many editors try to advertise as doing it all, and that muddies your professional image. You will get more clients and be able to charge a higher amount if you are perceived as a specialist. Figure out what kind of editing you excel at and do just that.
And finally, don’t low-ball your prices. If you’re actually good enough at editing to do it professionally, then you’re good enough to get paid. You will get higher quality clients and actually more clients if you are charging a mid-range price. When you low-ball, you send the message “I’m not confident in my expertise” to almost every potential client, except those who are too uninformed to know better. If you want to be able to help clients who can’t afford to pay more, then offer a sliding scale of some sort. But when you low-ball, you don’t help yourself and you don’t help the professionalism of the freelance industry.
Seasoned: Some of the same applies. Develop a niche, get a great Web site. Treat your clients well—make them feel like being your client is like being part of an elite club. That’s an area I’m currently working on myself.
Create a better support system. Get a VA, utilize autoresponders, streamline your business practices. Keep refining everything that your client sees, so that you present an ever-more professional image. I know this is a process, but as you have the resources to do it, it will pay off in more and better clients.
And of course, we ALL need to always be improving our editing skills and striving to offer our clients the very best.
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