You've written a book or a short story, and you're hoping to have it published. Whether that happens with a big publishing house or a small press, or it's a self-publishing venture through Smashwords, Createspace, or Kindle Direct, you will undoubtedly want an editor to help it stand out, and finding one is a lot like shopping for the right pair of shoes. It can be difficult and sometimes tedious, but it's always worth it when you find the right one.
That being said, I'm also looking for the right kind of client, and I'm very selective about who I'm willing to take on. If I decide I can't work with you, that isn't to say your writing can't be fixed. It just means I'm not the one to do it. Though it seems like you should be able to just hire me and put me to work, I've done this long enough to know it takes more than money to do this job. I have to feel that spark. I have to see that glimmer of a diamond lurking beneath the rough.
Does your work qualify? I won't know until I read your sample. While it's hard to narrow down exactly what I'm looking for, I can list a few things that factor into my decision to take on a new client:
1. A basic understanding of the language. Although part of my job description is hunting out typos and grammatical and punctuation errors, the minimum skills should be such that I can comprehend you. Know the basic function of commas, periods, and quotation marks. Decent spelling is also a plus, as well as properly formatted dialog. There are a lot of resources online that can teach (or re-teach) those pesky English rules. I have to look them up for my own work almost daily. Every writer should have a copy of Elements of Style by Strunk and White or a bookmark on the web for their favorite grammar helper resource. If you're ever in doubt about something relating to language, look it up. The more objectively correct your work is, the more I can focus on the actual storytelling.
2. Correct formatting, or none at all. I'd rather see no formatting at all than a balls to the wall attempt at needless typesetting. Properly formatted manuscripts (at least for the submissions process and e-publishing) are not supposed to look like published novels. This means no fancy page and chapter headers or designer cover pages. I'll be happy to show you the basics of constructing a title page and nailing down proper headers, margins, and page numbers. But I like to see at least an approximation of the right approach, because it shows me you're at least attempting to learn.
3. Coherent action. Being able to tell where your characters are in relation to the scene and other characters, and a basic understanding of movement and time is of utmost importance. What they're doing and saying isn't as important. I can help you develop those things. But I have to know you can properly convey basic action and movement to your readers. I have to know where they are in relation to space, time, and other characters, because I cannot train that into a story any more than I can train a cat to walk only on its hind legs.
4. At attempt at evocative language through the use of creative vocabulary and metaphor. The magic of fiction is you're not restricted to writing like it's English Comp class. I want to get a real feel for your creativity by the way you illustrate a scene in my mind. A piece of fiction should feel like a living thing. I cannot breathe all the life into your piece. It should already be breathing on its own, even if only just barely, before I get it. If your story reads like a bland laundry list of nouns, verbs, and prepositions, you're not ready to pay for an editor.
These are just a few of the things, and of course you may think your work already exhibits the above items and then some. If so, I would love to read a sample. It's always my hope to be able to click with a new writer and his or her work. But if for some reason I don't make that connection, don't take it personally. I have a lot of competition, and they're always looking for great clients.
