Whether you’re planning to self-publish your book, seek traditional publishing, or figure it out as you go, the bottom line is that, if you’re writing a book, you need an editor. Even if you’re already a strong writer. Even if you know the Chicago Manual of Style like the back of your hand. Some authors may be tempted to skip the editing in order to save money or time. While that’s certainly understandable, the reality is that, if you want to produce a polished, professional, and captivating book (or if you want to catch agents’ and publishers’ eyes), investing in professional editorial support is the way to do it.
Why? A few reasons.
Self-Editing Isn’t Enough
Many authors consider themselves strong editors and assume self-editing their work is enough. It’s not. You may be a fantastic editor, but when it comes to your own work, I guarantee you all bets are off. And that’s because you’re simply too close to the book to see your own mistakes. At the macro level — the plot, characters, setting, etc. — you know how you want your story to read, so to you, it reads that way. In your mind, your protagonist is likeable though flawed, with a clear objective and an incredible drive to get what he wants. So when you read your drafts, that’s what you see. And it’s the same at the micro level, when you’re looking at stylistic problems and even plan old typos. You’re so familiar with what should be there that you may struggle to see what is.
A professional editor, on the other hand, is coming to your manuscript with a fresh eye, with both the objectivity and the clear perspective to spot — and fix — what you’re missing. (And, for the record, even professional editors need editors when we put on our writing hats.)
And Neither Are Your Literary Friends
Another way authors try to get around professional editing is by asking their bookish friends and eagle-eyed relatives for both big picture feedback and proofreading help. And again, asking your trusted friends — or even rounding up some beta readers — for their two cents is a great idea. Truly, these early readers can give you a strong sense of how your target audience will approach the book. However, they come with three key drawbacks:
1. They may hold back for fear of hurting your feelings.
When you ask your friends and family for feedback, the biggest obstacle is the best obstacle: they love you, and they want you to be happy. So, they may soften their feedback for the sake of your feelings, and while that’s very kind, it doesn’t do you any good as an author. A professional editor, on the other hand, doesn’t have quite the same level of concern for your feelings. Yes, we have incredible respect for our clients and we always, always aim to deliver feedback in a way that is constructive and productive. But at the end of the day, it’s our job to give you the feedback you need to make your work better — even if we know it won’t be easy to swallow.
2. While they can tell you what they don’t like, they may not be able to articulate why or show you how to fix it.
You’ve been there, haven’t you? When you don’t like something — in a book or a movie or a fashion magazine or anywhere else — but you can’t quite put your finger on why? That’s likely going to be the case with many of your early readers. They may be able to say “I got bored here,” or “I didn’t like this character,” or “I didn’t understand why this happened,” but you’ll be on your own to figure out why. That doesn’t mean their feedback is useless — it’s actually very valuable. But when you’re working with a professional editor, she can more specifically pinpoint why chapter 15 gets boring or why that sidekick isn’t resonating with readers. And, more importantly, she can offer you concrete, actionable suggestions for how to fix it.
3. They’re volunteers
Lastly, no matter how skilled your friends and family and beta readers are at providing feedback, the reality is that they’re volunteers. They’re likely squeezing in your manuscript between their full-time job, sixteen Zoom meetings, kids’ online classes, and whatever else is on their plates. And while I’m sure they’re more than happy to help you, their bandwidth is simply limited. An editor, on the other hand, is contractually obligated to give her full focus to your book for as long as you work together. (A writing coach may even be there for you from start to finish.) Yes, all this attention comes at a price, but the return — in the form of a cleaner manuscript, sharper writing skills, and increased confidence — is well worth it.
Your best friend may be a whip smart reader, and your Aunt Sally may be a grammar whiz, and both of them are amazing resources. If they’re willing to give their time, please take it! After all, the stronger your manuscript is before it goes to the editor, the more the editor will be able to focus on the details that will truly take it to the next level. So, self-edit your manuscript, use your beta readers, and ask Aunt Sally to take a pass with her red pen. But don’t stop there. For your book to be the best it can be — and for you to be the best author you can be — an editor is a nonnegotiable.