Maybe you want to become the next Sarah Dessen of YA fiction, or perhaps you created a series you know will rival the book-to-movie successes of “Hunger Games” and “Harry Potter.”

Either way, you should know that no road to authorship is paved with gold. It doesn’t matter which road you choose—there are pros and cons to both routes.

While authors who self-publish boast the wonders of creative control and higher royalties, they also bemoan the uphill climb it can be to reach an audience. Authors who publish traditionally say mainstream success is the only way to go, all the while they relinquish the ability to have a say in final book decisions and lose creative control. 

That means the answer to this age-old debate: “traditional vs. self-publishing” is inconclusive. The right path for you depends entirely on what you want from your author experience. 

Of course, you will ask yourself more than five questions about whether it’s better to self-publish or get a publisher, but these essential questions ought to provide you foundational answers for a complex and often confusing process.

Once you’ve worked through these questions, I recommend researching more on the topics that resonate with you. The world of publishing seems to change on a monthly basis, so it’s to your advantage to research your decisions before fully committing.

Now, let’s discuss five essential questions to ask yourself about self-publishing vs. traditional publishing.

• How soon do you want to release your book?
• How many people do you want to reach?
• How much control do you want over your book?
• How much do you want to earn?
• What is your primary goal?

1. How soon do you want to release your book?

Generally speaking, a traditionally published book takes at least one year to be published.

That doesn’t include the writing of the manuscript or the laborious and time-intensive process of pitching agents and waiting on a publishing house to accept your book. Timelines do vary, as smaller publishing houses can move faster, but it’s a safe bet that once a publisher has accepted your manuscript, it’ll be another year before it’s on sale.

In my experience as a co-author on the traditional publishing side, we needed a year before a publisher bought our book. It was another year until the book was on sale. All told, we waited two years after its writing to see the book in bookstores.

In stark contrast, you could self-publish your book tomorrow.

If all of your essential prep work was complete—editing, cover design, formatting—and you knew how to upload the correct documents to your preferred self-publishing platform, your book could be available to the masses within a day.

I wouldn’t recommend doing this, but quick-turnaround self-publishing is possible. (That benefit is also a deficit: Self-publishing suffers from drivel overload because the barrier to entry is too low.)

If your primary goal for your book is to release it as soon as possible, self-publishing is your choice.

Winner: Self-publishing.

But speed-to-market shouldn’t necessarily be your only deciding factor. Take these other questions into consideration before you make a firm decision.

2. How many people do you want to reach?

Most every writer wants the world to read their book. Or, at best, they want their target audience to find their book, read and review their book and become ardently devoted fans for the rest of the author’s life.

But, with rare exceptions, such fandom doesn’t just happen. It has to be built from the ground up, whether you plan to self-publish your book or seek traditional publishing. These days, both processes demand that the author has a platform.

For authors without a sizable platform attempting to reach readers, self-publishing can be a black hole. In “Publishing 101,” Jane Friedman wrote the blunt truth: “When writers chase self-publishing as an alternative to traditional publishing, they often have a nasty surprise in store: No one is listening. They don’t have an audience.”

If you don’t believe that, believe this: As of August 1, 2018, the Kindle store sold 6,922,403 titles. (Thanks to Claude Forthomme for helping me find that number.)

And because Amazon sells the majority of ebooks among all retailers, those millions of titles are your competition. Yes, you have the opportunity to reach Amazon’s millions of daily customers, but you also have to figure out how to get those customers to find your one-in-a-million book.

Unless you’re knowledgeable about the many publishing outlets available to self-publishers, you will likely rely on Amazon’s ecosystem for your sales. But that carries one looming caveat: little to no bookstore distribution.

Sure, your book could be ordered by a bookstore if a patron specifically requests it, but the likelihood of your self-published book being distributed to major bookstores across the nation is, well, slim.

The relationships that traditional publishers have with distributors and bookstores may be their greatest benefit to authors. 

Side note: Don’t fall for the lie that a traditional publisher will provide ample marketing dollars to back your masterpiece. They likely won’t. Even if they do front some money, your book better do very well in its opening week and first few months to warrant them investing any more.

Again: every author needs a platform. Don’t wait for anyone to build it for you.

Winner: Tie. It depends on your platform.

3. How much control do you want over your book?

If you want complete control of your book, you will self-publish. But it’s important to think through exactly what you’re taking on—or giving up—when talking about controlling your book.

Controlling your book means being fully responsible for every aspect of the book. This extends far beyond just writing the book.

You will have to spend time or money to ensure that your cover design, interior design, editing, rights, distribution, pricing and marketing are all accomplished to a level that can compete with traditionally published books.

You will either have to apprentice yourself to the many aspects of self-publishing or pay someone—or many someones—to help you. In “Publishing 101,” Jane Friedman calls self-publishing “a ton of work, like starting a small business (if you do it right).”

Still, you retain creative control. The freelancers you may hire work for you. You get to tell them what to do because you’re signing their paychecks.

In contrast, consider what else Jane Friedman advised: “When working with a traditional publisher, you have to give up a lot of power and control. The publisher gets to decide the cover, the title, the design, the format, the price, etc. You have to go through rounds of revisions and will likely have to change things you don’t want to change.”

To some authors, that’s terrifying. They wouldn’t be able to abide by changes that went against their creative sensibilities. It’s their book, after all.

Joanna Penn wrote about her friend Polly Courtney, who “famously resigned from her publisher on publication day because she was marketed as chick-lit when she writes gritty novels about social issues. She was angry and upset about losing that creative control. You may also get an editor you don’t agree with, especially as many of the more experienced editors move up in the company or are working freelance for more money.”

But, for other authors, giving up that control is freeing. They don’t have to spend the time, money or brainpower on the seeming incidentals of getting a book published. They can focus on writing, then on writing the next book.

Whether you pursue self-publishing or traditional publishing, you’ll have to give up something: time, money or control. Which of those are most important to you?

Winner: Self-publishing.

4. How much do you want to earn?

Unfortunately, we can’t all be John Scalzi, who accepted a 10-year, 13-book deal for $13.4 million from Tor Books after a rather well-known and lucrative move from self-publishing to traditional publishing.

Today, earning a living from book sales is hard, but it is an uphill battle.

While the average self-published author can’t make a full-time living from their books, there are outliers—Rupi Kaur, Andy Weir, Hugh Howey, E. L. James, etc.

But the same can be said for the majority of traditionally published authors. Most aren’t making a full-time living from their books, especially when the average book advance is between $5K-$20K.

What I’m trying to unsubtly suggest is what Jane Friedman says so well in her book: “Anyone in it for the coin should find some other field.”

Now that I’ve warned you against the lure of publishing riches, here are the frustrating and unhelpful facts about earnings per book when it comes to self-publishing versus traditional publishing.

With royalties ranging from 30 to 70 percent, you stand to make more per book by self-publishing.

The challenge for you self-publishing will be distribution. It’s easy to get into Amazon where 70% of all book sales happen. But it’s tough to get eyeballs unless you have good ads, a good platform, and good keywords and categories.

In contrast, traditional publishing offers increasingly lower advances (unless you’re famous or have written a book that leads to a bidding war). Royalties are lower than in self-publishing as well—that is, if you even earn out your advance. Up to 80 percent of books never earn back their advance, meaning that the author never receives royalties (“Publishing 101”).

The frustrating, confusing aspect is that traditional publishing offers better distribution. Simply put, your book is available in more places.

The question comes down to this: Would you rather earn more per book but have to drive your own distribution by self-publishing, or would you rather earn less per book and hope the traditional publishing process helps your reach?

Winner: Tie.

5. What is your primary goal?

This is the tiebreaker question.

What if you’ve read this far and each of your answers has canceled out the previous answer? What if, by this point, you’re more confused than when you began?

Consider your primary goals:

• If you want to get your book to market as fast as possible, self-publish your book
• If you want to reach the most readers, learn how to start building your author platform because that’s the key to selling books whether you self-publish or traditionally publish
• If you demand creative control over every aspect of your book, self-publish

Your primary goal may not even be listed in this article, but you need to define what success looks like for your book. Then work backward from there.

In the end, no matter which route you take, pursue that path with as much passion and care as you placed into the writing of your book. No one will champion your book unless you’re it’s first and greatest champion.

The original version of this story was written by Blake Atwood. We updated the post so it’s more useful for our readers.

Photo via Dean Drobot / Shutterstock 

And, most importantly, is it going to break the bank and wipe out your revenue? 

I wish I could give you a firm rule, something like proofreading will always cost one cent per word, copyediting two cents per word, and developmental editing three cents per word.

Wondering how much does an editor cost? Keep reading!

The truth is much hazier than that. How much a book editor costs depends on several factors.

So my goal here is to flesh out those factors and give you a sense of how much book editing might cost.

Freelance editing rates vary widely from one editor to the next, so I’ll also help you think through how to compare different editors and decide which one to hire.

How much does an editor cost? 

How much an editor costs, as with any self-publishing service, depends on a lot of factors. That said, for copyediting/proofreading, you’re generally looking at $1,000-$3,000 per book. For developmental editing—the higher level stuff—you’ll be looking at $5,000 to $10,000 USD per book.

There’s obviously a lot of room in there, so let’s break down some hard numbers and actual rates. 

Many writers point to the Editorial Freelancers Association rates page as a guide toward setting editorial rates. (Disclaimer: I’m a member of the EFA.)

The EFA rates page lists various editing and writing tasks and their attendant hourly rates as self-reported by EFA members who took the rates survey. They break down editing into five subcategories and list proofreading as a separate category.

(Tip: they also list per-hour and per-word rates for writing work.)

For comparison purposes, let’s look at the editing rates and use an average page-per-hour and an average hourly rate. For instance, the EFA lists basic copyediting of 5–10 pages per hour at a cost of $30–$40 per hour, so I’ve assumed 7.5 pages per hour at a cost of $35 per hour. The other total calculations also use their respective average rates.

For a 70,000-word book, your editing costs could be:

• Developmental editing: $.08 per word, or $5,600 total
• Basic copyediting: $.018 per word, or $1,260 total
• Proofreading: $.0113, or $791 total

It’s easy to extrapolate from this what your total expected editing cost could be. Fantasy, sci-fi, and epic novel writers should be forewarned.

For a 120,000-word book, your editing costs could be:

• Developmental editing: $.08 per word, or $9,600 total
• Basic copyediting: $.018 per word, or $2,160 total
• Proofreading: $.0113, or $1,356 total

While these are simply one website’s average estimates for editorial costs, they serve as a reliable benchmark.

If you end up paying more for an editor, you might be glad you did. As in life, so too in books: you often get what you pay for.

7 questions to ask before hiring an editor

Think through these questions when trying to figure out how much to spend on your editing project. They’ll help you figure out how much you’ll need to pay an editor to review your book.

1. What kind of editing do you need?

What does a book editor do? Not all editing is created equal. Here are a few different kinds of editing:

• Developmental editing: big picture, content editing, macro editing
• Copyediting: micro editing, grammar editing, flow and structure editing
• Proofreading: consistency check, format and layout

Developmental editing costs more than copyediting, and copyediting costs more than proofreading.

2. What’s your total word count?

Book editors for hire typically charge by word count or page count. Some charge by the hour, but that’s rare, especially for editing long books.

Knowing your total word count is essential to an editor’s cost estimations for taking on your project.

3. How complex is your book?

Editing academic work to a niche style guide will cost more than editing a novel per the Chicago Manual of Style.

Editing a book with hundreds of footnotes or endnotes should cost more than editing a book without citations.

In other words, the complexity and niche of your work will affect the book editing rate.

4. What’s your deadline?

How quickly do you need the work done? The more flexible you are with your deadline, the less you might pay.

If you ask for your 100,000-word novel to be copyedited within two weeks, you might have to pay a premium for such a fast turnaround, especially if your editor is already booked.

5. What’s your writing experience?

Do you consider yourself a beginner, mid-level or expert writer?

By default, beginning writers will need more help, which means more time, which can mean more money.

An experienced editor can often take a look at an excerpt from a manuscript, get a feel for your experience level, and deduce the amount of time they need to edit the full manuscript.

For beginning writers: always look at hiring an editor as an investment in both your book and yourself. With the right editor, you should grow as a writer because of the feedback.

6. What’s your editor’s experience level and/or demand?

A novice editor will cost less than an editor with decades of experience and multiple best-sellers in their portfolio.

Of course, you get what you pay for, and an experienced editor might bring more value.

Likewise, if you want to work with an editor who’s in high demand and booked six months out, you’ll likely have to pay more than if you choose to work with an editor who has lots of room in her schedule.

7. What’s your flexibility?

If an editor is booked solid, can you afford to wait six months to get the editor you want?

Or, will you pay a premium to jump their queue if they offer such an option? Or, will you choose a lesser-known or less experienced editor at a lower price so that you can have your editing accomplished faster?

How to compare editing costs (free download)

If you’d like to get truly organized about your search, download this simple book editing checklist to help in your search for an editor who meets most of your desired criteria and offers freelance editing rates you’re willing to pay.

I say “most of your desired criteria” because it’s rare to find an editor who will meet all your criteria.

For instance, you may have to pay a few hundred to a few thousand dollars more for your top pick. Or, you may find someone at your precise price point, but their experience isn’t quite what you’d like it to be. You must be the one to assess what trade-offs you’re willing to make.

By using that checklist, you should be able to quickly and easily compare the editors you’re vetting.

If you’re given an hourly rate for freelance editing, ask the editor how many pages per hour they can edit, then extrapolate their per-word rate.

Compiling this information is a headache (especially for math-averse writers like myself), but seeing every editor’s rate as a per-word rate will help you better compare editors.

To learn more about editing as a whole, and the entire publishing process, check out the resource below.

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

As for your host on today’s article, I’m a full-time book editor, author and ghostwriter.

I’ve written, coauthored, or ghostwritten eight books and have edited dozens more. I’m well-versed in self-publishing, and I’ve helped a handful of clients craft proposals for traditional publishing, one of which was picked up at the tail end of 2016.

In other words, I’m in the trenches every working day.

Through this column, I hope you’ll learn what I wish I would have known about editing and editors when I first became serious about writing as a business.

To that end, let’s get to what may be the most pressing topic for a new author seeking to self-publish.

How to find an editor

You could search the Internet for “editor,” “book editor,” or “Help, I need an editor ASAP,” but you will be overwhelmed with choices.

Even that last search phrase has more than 200,000 hits, and most of those seem to be video editors. So how are you supposed to find the right editor for your book?

Try each of these steps until you find one that nets you at least a few good leads.

1. Seek referrals from other writers

The best advertising for an editor is a satisfied client.

Talk with your fellow writers, whether online or in real life, and ask who they recommend.

However, you may encounter a Catch-22: better editors’ schedules may be packed, and you may not want to wait a few months for them even to begin working on your book.

That’s when you proceed to Step 2.

2. Seek referrals from that referral

If your writer friend has provided a glowing review of his or her editor, but that editor doesn’t have room for you in their schedule (or they don’t provide the specific kind of editing you need), kindly and quickly ask that editor for a referral to another editor.

Most experienced editors have professional connections they’ll be more than happy to leverage in order to help a writer.

But what if you don’t have any writer friends who’ve used an editor?

3. Check pre-vetted lists

Instead of searching the entire Internet for an editor, consider these sites that have already compiled lists of qualified, capable editors:

• Self-Publishing School Recommended Book Production Partners: You do need to be a customer of theirs to access this list. But these are some of the best around.
• “Need a Good Book Editor? Top Recommendations”: As an editor herself, and after being asked far too often for editorial recommendations, author K. M. Weiland created this list based on writing experts whose opinions she trusts.
• The Editorial Freelancers Association: In addition to searching its directory, you may also submit your editing need for free, but be warned: you might receive dozens or even hundreds of replies.

Whether you use these sites or other compilations, be sure to read up on how a list was curated.

Did the editor have to pay to be listed? (The EFA requires a yearly subscription.) Did someone else have to vouch for their work in order to be added? (Other writers vouched for editors on K. M. Weiland’s list.) Could they simply add themselves? (Fiverr, Upwork, etc.)

Always conduct due diligence.

4. Utilise Social Media

Social media platforms like Twitter, LinkedIn, and Facebook offer invaluable resources for you when seeking an editor. Within these platforms, there are numerous groups and communities dedicated to writing, editing, and publishing.

You can join these groups to network with fellow authors and editors, share experiences, ask for recommendations, and even find editors directly advertising their services.

By engaging with these online communities, writers can tap into a vast pool of editorial talent and connect with professionals who can help refine their work to its fullest potential.

5. Professional Organizations

Professional organizations such as the American Society of Journalists and Authors (ASJA) or the Chartered Institute of Editing and Proofreading (CIEP) serve as invaluable resources for you when seeking an editor.

These organizations typically have directories or databases of experienced editors available for hire, along with resources and guidelines to help writers navigate the editing process effectively.

By joining such organizations, you can gain access to a network of reputable professionals who can provide expert editorial services tailored to your specific needs.

Additionally, these organizations often offer workshops, conferences, and other events where you can further develop their skills and connections within the editing community.

6. Writer’s Conferences 

Writer’s conferences, such as the Association of Writers & Writing Programs (AWP) conference, offer fertile ground when seeking editors.

These events attract a diverse array of literary professionals, including editors from publishing houses, literary magazines, and freelance backgrounds. When attending these conferences, you can seize the opportunity to network with editors during panel discussions, workshops, and networking events.

Many editors participate as speakers or panelists, providing valuable insights into the editing process and offering opportunities for one-on-one interactions.

By engaging with editors at writer’s conferences, you will be able to forge meaningful connections, pitch work, and potentially secure editorial partnerships to enhance the quality of your writing projects.

7. Local Writing Groups

Local writing groups serve as excellent resources for writers in search of editors.

These groups often consist of passionate writers who are eager to support one another in their writing endeavors. Within these communities, writers can often find members who have experience working with editors or can provide recommendations based on their own experiences.

Additionally, writing groups may host events or workshops focused on the editing process, where writers can learn more about finding and working with editors effectively.

By participating in local writing groups, writers not only gain access to potential editors but also foster connections with fellow writers who can offer valuable insights and support throughout the editing journey.

8. Literary Magazines and Journals

Literary magazines and journals are valuable resources for writers seeking editors to refine their work. Many of these publications offer editing services or can connect writers with experienced editors in their network.

For instance, “The Paris Review” provides editorial services for writers looking to polish their manuscripts before submission. Similarly, “Granta” offers manuscript consultations where writers can receive feedback and guidance from experienced editors.

These opportunities not only help writers improve their work but also provide valuable networking connections within the literary community.

Additionally, some literary magazines like “Poets & Writers” maintain directories of editors, making it easier for writers to find the right editorial support for their projects. By engaging with literary magazines, writers can access a wealth of editorial expertise to elevate their writing to the next level.

9. University Writing Centers

University writing centers provide great opportunities for writers when seeking editing assistance. These centers typically employ trained writing tutors who can provide feedback on drafts, assist with grammar and style, and offer guidance on the editing process.

For example, the writing center at Harvard University offers one-on-one consultations where writers can receive personalized feedback on their writing projects. Similarly, the University of California, Berkeley’s writing center provides online resources and workshops to support writers at all stages of the writing process.

By utilizing university writing centers, writers can access expert editorial support and improve their writing skills in a collaborative and supportive environment.

10. Online Forums and Communities 

Online forums and communities, such as Reddit’s r/writing, serve as vibrant hubs for writers seeking editors. These platforms provide spaces for writers to connect with editors, exchange feedback, and share resources.

For instance, the subreddit r/HireAnEditor offers a platform for writers to post job listings and connect with freelance editors for various projects.

Additionally, forums like Absolute Write and WritingForums.org host sections dedicated to editor recommendations and services.

By engaging with online writing communities, writers can tap into a diverse pool of editorial talent, receive valuable feedback on their work, and establish professional relationships that enhance the quality of their writing projects.

11. Self Publishing Platforms

Self-publishing platforms like Amazon’s Kindle Direct Publishing (KDP) or IngramSpark are other viable avenues for writers seeking editing services.

These platforms often offer editing packages or connect writers with professional editors who specialize in their genre.

For example, KDP’s Author Services provides editing options ranging from basic proofreading to comprehensive editing services. Similarly, IngramSpark offers access to Ingram’s network of professional editors who can assist writers with refining their manuscripts.

By utilizing self-publishing platforms, writers can access affordable and reliable editing services to ensure their work is polished and ready for publication.

How to vet an editor

After discovering a handful of editors who seem like a good fit, you’ll want to spend more time ensuring that they’re the right person for you and your book.

After all, you’ll be closely working with them on something that’s likely very close to you.

By investing time up front to find the best candidate, you may just succeed in landing a great editor on your first try, saving you the hassle of further back-and-forth emails with more editors.

Vetting an editor can be as simple as two steps, though each of these steps could require a fair amount of work on your part.

1. Do your research

Before contacting an editor, comb through your prospective editor’s website.

Carefully read about the kinds of editing they offer. Browse through the books they’ve edited. Read their endorsements.

If you’re really intent on learning about what it’s like to work with that particular editor, consider reaching out to one of that editor’s clients. Find the editor on social media to see what he or she is like apart from their writing work. Conduct a search with just the editor’s name to see what the rest of the web may say about them.

2. Ask specific questions

Don’t waste your time (or theirs) to discover information that’s already online.

Do as much homework as you can before contacting an editor by email or phone. However, you will undoubtedly have specific questions that can only be answered by contacting your prospective editor.

Here’s a list to help you think through what you ought to know about your editor before contracting to work with him or her:

• What types of editing do you offer?
• How much do you charge?
• How long have you been editing?
• Can you put me in touch with other clients you’ve worked with?
• What experience do you have in [insert your genre]?
• What’s your process in working with writers?
• What software do you use to edit?
• Will you send me a contract before work commences?
• Can we schedule a face-to-face meeting [or Zoom] prior to beginning work together?
• How often (and how) will you be in contact with me during the editing process?
• Do you offer a sample edit?
• When is payment due?
• What are my options for payment?
• Will you be nice to me?

For more questions for your editor, check out this article. Despite what they may do to your manuscript, most editors I know actually are nice people.

They love to read as much as you do, and their goal for your book is the same as your goal for your book: to make it the best it can be with the time and resources allowed to them.

Finding the right editor for your book can be challenging, but if you approach it from a professional mindset and follow the suggestions in this article, you should be able to find someone who can make your book shine.

May your search for an editor be short and successful.

Have you worked with an editor before? Share your experiences in the comments below.

Have you ever wondered if there’s a rule for word count? If you’re curious about how many words in a novel is too many (or not enough), then this is the guide you’ve been searching for.

Because yes, there are “rules.”

For example, at a breakout session I led at a writers’ conference a writer said to me, “My memoir is 270,000 words long.”

An editor friend of mine, Shayla Eaton with Curiouser Editing, was sitting in on the breakout. We gave each other knowing glances and, because I didn’t want to break this poor memoirist’s literary heart, I nodded at Shayla to take the lead. Soon after I heard someone mention the words in a novel they had, I held my breath and let the moment pass.

As nicely but as directly as she could, she explained to the memoirist that a 270,000-word memoir was excessive. Even if she self-publishes, the cost per copy would be high, and few readers would slog through such a tome—particularly for someone who’s not famous.

And no agents, editors, or publishers would even look past that word count.

The prose could be as fleet-footed as Fitzgerald’s. The life story could be as compelling as Lincoln’s. The platform could be as broad as Oprah’s. But no agent would get to know that because they’d see “Memoir: 270,000 words” and hit delete before reading further.

So, what word count should a memoir be? 

For that matter, how long should any book be? How many words are in a typical novel? What’s the ideal book word count? 

If you’re writing your first novel or any book, you’re probably asking these questions.

The long answer is, well, longer.

Why Do Novel Word Counts Matter?

Word count matters because every book, regardless of genre, has an inherent contract with the reader. But that contract is dependent upon the book’s genre.

For instance, when a reader picks up a thriller, they have certain expectations of what they’re about to read. That includes scenes like “the hero at the mercy of the villain,” but it also includes book length. Because thrillers are about pulse-pounding action and maybe some character development (especially if it’s part of a series), the word count isn’t massive. Thrillers tend to be 70,000 to 90,000 words.

If you’re not a thriller author, I won’t keep you in suspense. At the end of this article, you’re going to find a guide to suggested word count length for most every popular genre.

My point is that your genre will likely dictate your word count. There are exceptions, like YA books that exceed 250,000 words, but those tend to be outliers, and first-time authors rarely, if ever, get to be an outlier.

Additionally, knowing your word count before you start writing can help you better plan your narrative arc as well as your writing schedule.

Wait…How Many Words in A Novel?

And what’s the average length of other types of books?

Before diving into the specifics of genre-based word counts, let’s look at the broader picture of average book length.

For most publishers, a book is “novel-length” when it’s between 50,000 and 110,000 words.

At a writers conference I recently attended, publishing veteran Jane Friedman said 80,000 words is good for most fiction, below 60,000 isn’t novel length territory, and above 120,000 is likely too much.

Writer’s Digest recommends 80,000 to 89,999 words as a “100% safe range for literary, mainstream, women’s, romance, mystery, suspense, thriller and horror.” That’s approximately 300 pages of double-spaced type.

In “Outlining Your Book in 3 Easy Steps” on Storygrid, editor Shawn Coyne says, “The average novel today is about 90,000 words. Big, epic stories get anywhere from 120,000 to 200,000 words.” But, he also mentions that “The Wizard of Oz was 40,000 words. The Old Man and the Sea was about 25 to 30,000 words, tops.”

Coyne uses the Nanowrimo word-count length of 50,000 words for his examples, calling 50,000 words a good foundation to build upon.

So what does that mean for you, author?

If you’re working on a novel-length book, aim for 50,000 words at the very least, but it’s better to aim for 90,000. Editorial trimming is inevitable.

However, you’ll also want to take your genre into account.

What Should My Book Word Count Be?

The following are average word-count ranges by genre.

General Fiction Word Counts

• Flash Fiction: 300–1500 words
• Short Story: 1500–30,000 words
• Novellas: 30,000–50,000 words
• Novels: 50,000–110,000 words

Fiction Genres Word Counts

• Mainstream Romance: 70,000–100,000 words
• Subgenre Romance: 40,000–100,000 words
• Science Fiction / Fantasy: 90,000–120,000 (and sometimes 150,000) words
• Historical Fiction: 80,000–100,000
• Thrillers / Horror / Mysteries / Crime: 70,000–90,000 words
• Young Adult: 50,000–80,000

Children’s Books Word Counts

• Picture Books: 300–800 words
• Early Readers: 200–3500 words
• Chapter Books: 4000–10,000 words
• Middle Grade: 25,000–40,000 words

Nonfiction Word Counts

• Standard Nonfiction (Business, Political Science, Psychology, History, etc.): 70,000–80,000 words
• Memoir: 80,000–100,000 words
• Biography: 80,000–200,000 words
• How-To / Self-Help: 40,000–50,000 words

All of these are average book word count ranges and should not be taken as the definitive word count you must reach in your book. We all know of outliers within each genre that have been published well under, or well over, these word counts.

Use these numbers as a baseline for your writing goals.

Know what readers expect in terms of your genre’s word count (even if the reader isn’t aware of their expectations when it comes to how long a book is).

How Many Words Per Page Can You Expect in a Book? 

This is another common question, and for most writers it should be easy to answer by using a “word count” feature in your writing tool.

If you’re writing in Microsoft Word,”word count” is an option under “Tools.” Prefer something different? Here’s how to find word count in Google Docs. You can also track word count in Scrivener.

The average single-spaced document typed in 12-point font contains about 500 words per page, but that can vary pretty drastically depending on your formatting.

So, if you have an hour to write and aim to get down 300 words, you might wonder, how many pages is 300 words, and the answer is less than one! Doable, right?

If you’re thinking bigger and wondering, for example, how many pages is 50,000 words, simply divide your target word count (50,000) by 500 (since that’s the average words per page). Your answer here is 100 pages.

Don’t let those commas instill fear. Fifty thousand words isn’t that much divided into five days a week for a year. That’s only 193 words per writing day!

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

Unless you prefer your friends to be story nerds or those who lean toward obsessive-compulsive tendencies when it comes to grammar, you shouldn’t necessarily seek to befriend your editor.

However, you should seek to do everything in your power to be a professional friend of your editor. One of the simplest ways to do that, which too many authors fail to consider, is formatting.

Why Formatting is Important

When you skip over the basics of how your manuscript is formatted, you’re subconsciously showing a lack of respect for your craft (and your editor). If you send a poorly formatted manuscript to your editor, they very likely won’t say anything, but I can promise you that they’re thinking one of two things.

1. I can hardly read this manuscript
2. I’m wasting my time reformatting this manuscript

In these instances, an editor will either edit your manuscript as-is or spend the time you’re paying them for to do the work you could have (and should have) done yourself.

But once you incorporate the standardized basics of formatting a manuscript in preparation for your editor, you’ll see that it will save both you and your editor a lot of time and frustration.

How to Format Your Book

While this article attempts to offer standardized recommendations, some editors, literary agents or publishing houses may have their own formatting stipulations. Always be sure to scan websites for that information, and when in doubt, ask.

The following formatting recommendations hold true for both fiction and nonfiction manuscripts in the United States. Any accepted variations are noted, and comments are appreciated with regard to differences for international markets.

Here’s what’s expected for a standard manuscript format.

1. Use black, 12-point, Times New Roman as the font

Yes, Times New Roman is boring, but it’s essentially on every computer ever made.

Don’t use a cool font for effect. Save that for your book’s interior design, which comes much later after the editing process.

Font trivia: Times New Roman is no longer used by The Times.

2. Use the U.S. standard page size of 8.5×11 inches and set your margins to 1 inch on all sides

Starting a new document in Word defaults to these parameters, but if you’re exporting to Word from your word processor of choice, double-check the output to ensure your page size and margins are correct.

To set page size in Word, go to File>Page Setup and look at the drop-down menu for Page Size.

To set margins in Word, go to Format>Document.

3. Set alignment to left justified

Left justified text is also known as ragged right text. The text will align itself along its left side, leaving its right side nonuniform (unjustified).

To set alignment in Word, select all of your text, then click the left justification icon in the Home tab or select Format>Paragraph and choose “Left” in the Alignment drop-down box.

4. Use a single space after periods

If you were trained to type two spaces after a period, retrain yourself.

In the digital age, use a single space. (For why, see “Space Invaders.”)

Tip: if your manuscript has two spaces after a period, use your word processor’s Find and Replace tool. Type two spaces into “Find” and one space into “Replace” then hit “Replace All” with reckless, typing-teacher-be-damned abandon.

5. Use double-spaced line spacing

This may be the greatest help to your editor.

You want to ensure they see your every last word, so give your words room to breathe on the page.

Tip: if you’ve already written your book with different line spacing, select all of your text in Word, click Format>Paragraph, then select “Double” in the drop-down box under “Line spacing.”

6. Indent all paragraphs by .5 inches, and don’t hit tab or space to indent

This may be every editor’s pet peeve. Setting tabs and hitting tab aren’t the same thing.

If you’re a tab-hitter or space-space-space-space-spacer, select all of your text in Word, then set indentation using Format>Paragraph. Under “Indentation” and by “Left,” type .5. under “Special,” then choose “First line” from the drop-down menu.

Note: Generally, the first paragraph of any chapter, after a subhead, or following a bulleted or numbered list isn’t indented.

7. Format paragraphs according to genre standards

Fiction authors should use indented paragraphs without full paragraph breaks. Nonfiction authors may opt for no indentation so long as paragraphs are separated by a full paragraph break.

Tip: Crack open a book in your genre to see what the paragraphing conventions are, then emulate.

8. Use page breaks

To begin a new chapter, don’t just keep hitting return until you create a new page. Rather, use page breaks.

In Word, place the cursor at the end of a chapter, then click “Insert>Break>Page Break” in Word’s top menu.

9. Number your pages

Don’t begin numbering on your title page. Rather, begin numbering on the page your story begins.

To place page numbers in Word, double-click within the header area of the page on which your story begins and click “Insert > Page Numbers,” then select your preferred options. Choose to place your page numbers at the top left of the page.

10. Send your manuscript as one Word document (.doc /.docx)

You don’t have to compose your masterpiece in Word, but because Word’s “Track Changes” feature is still the de facto editing tool of choice, your editor will appreciate receiving a Word file.

And whatever you do, never send your editor individual chapters as separate files.

Alternate Option: Use Software to Help Learn How to Format a Book

While you can do most of these steps in Microsoft Word or Google Docs while writing your manuscript, when it comes time to turn it into a format that is used in the marketplaces, you’ll probably want specialized book formatting software. This kind of software can help you with both ebooks and paperbacks.

While there are a number of options out there, one of the best is Atticus. It will help you produce professional-looking books easily, with no technical background. Plus, with all of its features, you can customize your book and make it truly unique.

What to do next

These 10 easy-to-follow steps will put you on your editor’s good side. While each of these issues typically doesn’t take too much time to rectify, the problems are compounded when an editor has to fix more than a few.

Want more help formatting your book? Check out this related article on “Book Format: 7 Common Mistakes & How to Avoid Them.”

Just remember, when an editor receives a well-formatted manuscript, they can immediately begin the work that you’re actually paying them to do: editing!

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

Photo via Chinnapong/Shutterstock

Now, these guys and ghouls don’t regularly visit me, but they are a source of fear from time to time. And what’s often most troublesome is that I can seldom tell if they’re going to turn into a monster when we first meet.

Plus, I’m not the only one they visit.

I surveyed a group of editor friends on Facebook and discovered they’ve been visited by these monsters too.

Editorial monsters

1. The ghost

This possible editing client frightens me with their exuberant abuse of the exclamation mark in their first email. They’re so excited to work with an editor that they can hardly wait to take the next step.

But when I reply, the ghost vanishes, never to be seen or heard from again.

The ghost silently glides by the cardinal rule of working with an editor: At all steps in the editing process, seek to communicate clearly and in a timely manner.

2. Frankenstein’s monster

This would-be client has written a book that’s a monstrous mishmash of genres, styles, tone or plot. The editor (and therefore the eventual audience) doesn’t know what to expect from one chapter to the next, or even one sentence to the next.

And the monster’s creator, thinking that what he’s made is the pinnacle of creation, doesn’t see the readily apparent flaws in the book that everyone else sees.

Frankenstein’s monster doesn’t truly know what he is, but he expects someone else to make sense of it for him. When editors start doing that, they effectively turn into ghostwriters.

3. The werewolf

After receiving edits, the werewolf bares his fangs. He turns from a reserved client into an irate animal.

In less time than it surely takes to review his edits, he fires off an email of unprecedented anger and bile. He can’t believe how ruined his work is now. He may be nicer the following morning.

The werewolf has failed to learn respect for experience and expertise or just doesn’t know how to argue his point without being combative.

4. The vampire hunter

She questions an editor’s rates. The vampire hunter believes most freelance editors are bloodsuckers who move from one paycheck to the next, seeking their next victim, er, client with little regard to the dripping-red pages they’ve left in their professional wake.

The vampire hunter may rely on outdated numbers or unfounded anecdotal evidence for their beliefs about rates. Instead, she should have an honest, open conversation with her chosen editor about the value that editor offers for such a rate.

5. The zombie

Barely alive, the zombie doesn’t want to do much work on her own. She may not do any work. She’s slow to accept changes or reply to time-sensitive communications. She also wants to dine on an editor’s brain so as to somehow consume that knowledge without doing the educational work the editor has done.

The zombie needs to realize that the work of creating a book is work all the way through. Handing off the book to an editor does not mean the zombie’s work is done. She still needs to be involved, especially when an editor asks a question. Don’t make an editor wait more than one to two business days for a response.

6. The witch

The witch demands magic. She knows her prose is as awkward as a three-eyed newt, but she believes an editor can turn even that into something princely.

The witch may need to ride her broom into a writing workshop before submitting work. Or she may need to enlist some beta readers to see if her work is even ready for an editor.

7. The shapeshifter

He agrees to one thing but asks for another. For instance, he may request and sign a contract for copy editing but ask for “just a quick read through” as well.

The shapeshifter should understand the different types of editors, what kind of editing they need, and what kind of editing their hired editor offers. This should be done when vetting an editor.

8. The mummy

Wrapped up in their own little world, the mummy takes so long to reply to emails or calls that the editor is certain they’ve fallen asleep — or worse.

Like the ghost, the mummy fails at the chief commandment of working with an editor: communicate!

9. The (copy)cat

This fabricating feline sprinkles plagiarized content around their books like catnip, hoping no one will notice.

Never plagiarize. Editors can sniff out that content almost instantly. Even if they can’t, plenty of online tools exist to help editors doublecheck suspected plagiarism. Plus, once you’ve plagiarized just a little, it calls your entire manuscript into question. The result? An editor won’t want that cat to cross their path again.

10. The blob

This ever-growing monster keeps adding content to his manuscript even as it’s being edited. Even worse, they keep adding content after it’s been edited!

The blob needs to know when to say when. He should do his best to achieve his best work before sending it to an editor. Any substantial changes during or after the editing phase should be — you guessed it — communicated to the editor.

How not to work with an editor

Now, this isn’t a complaint article about editing clients. Rather, it’s meant as a curtain-parting glimpse into what editors deal with in terms of unprepared, underprepared, or naive clients. It’s what not to do when working with an editor.

Additionally, many of these “monsters” come by it honestly. Because they don’t live, breathe and eat writing and publishing as editors do, they just don’t know what’s conventional or expected. Most editors understand this and are glad to help new authors learn the ropes — so long as the author is receptive to expert advice.

Be a monster this Halloween, but don’t be a monster to your editor.

We frighten easily, which is ironic given how much red we see.

Photo via fizkes / Shutterstock 

When I started as a freelance editor, I couldn’t put my finger on the problem. But, as my client list grew, I realized why I was secretly getting frustrated with a few of their books.

Highly experienced editor Shawn Coyne expresses the problem succinctly and memorably: “A lot of people just want to dump their goo on an editor and have the editor form that into something for them.”

When weary writers submit their premature manuscripts to editors too soon, both parties will inevitably become frustrated.

For the most part, I don’t believe first-time authors do this knowingly. They just don’t know any better. They’ve written what they believe is a workable first draft, and because they want to do the process right, they begin looking for editors for hire.

But a first draft should never be sent to an editor, unless you’re working with — and willing to pay — a developmental editor to help you create a workable draft.

Why premature manuscript submissions happen

Authors who submit under-cooked books are subconsciously motivated by the twin specters that haunt every writer, every day: fear and resistance.

They may fear they don’t have what it takes to be “a serious writer,” so they send their “goo” to an editor in the hopes that the editor can affirm their work and make it monumentally better.

Unwittingly, these authors place the burden of failure (or success) onto their editors’ shoulders.

Or, maybe the writer has been working on their book for three months, or a year, or many years, and they’re so tired of looking at the thing that they send it off because they just want to be done with the process. In Steven Pressfield’s parlance from The War of Art, that’s Resistance.

In fact, Pressfield writes, “Resistance is experienced as fear; the degree of fear equates to the strength of Resistance. Therefore the more fear we feel about a specific enterprise, the more certain we can be that that enterprise is important to us and to the growth of our soul. That’s why we feel so much Resistance. If it meant nothing to us, there’d be no Resistance.”

How much does a first-time author’s first book mean to them? The world.

So how much Resistance can they expect? Planet-sized.

When you’re up against a foe like that, I don’t blame authors who’d rather have the editor fight that battle.

But that’s not our job. As the writer, this is your fight.

When should I start reviewing editors for hire?

The question that arises then is: When is the right time to hire an editor?

Consider these questions, and be brutally honest with yourself in answering them before figuring out how to find an editor:

• Have I done as much as I can to make my manuscript the best I can?
• Am I looking for an editor because I’m tired of looking at my manuscript?
• Have I attempted any book editing on my own?
• Has any experienced writer read my work-in-progress or early drafts? (Tip: find a local writing group or critique group.)
• Do I need to learn more about the craft of writing before proceeding with further work on my book?
• Do I have the nagging feeling that something undefinable isn’t quite working in my manuscript?
• Do I understand the cost, both in time and money (freelance editing rates), of hiring a professional editor, and have I budgeted for both?
• Do I know the difference between developmental editing and copyediting? And if I’m tired of working on my book but want to get it done, do I have the budget to hire a developmental editor to help me cross the finish line?
• If you’re self-publishing: Am I rushing the process simply to crank out another book?
• Am I sending my book to an editor because I’m afraid I don’t have what it takes to be a writer? In other words, am I hoping that a professional editor can shape my goo into the masterpiece I have in my mind?

The real question before looking for editors for hire

I hear the fear that sits within every writer’s heart when a first-time author and client asks me that one question I dread: What do you think of my book?

What they’re actually asking is: Is it any good?

If an editor answers that question — they often won’t unless they’ve been hired for a manuscript critique — they’re likely going to be bluntly honest. Why?

If they’re experienced and good at what they do, they’ve read a ton of books. They know the industry. They know what’s considered publishable. And they will stack that knowledge against your book, and your book may not come out looking so well.

Every writer suffers from doubt that their book will be good or even acceptable.

When John Steinbeck wrote East of Eden — a phenomenal book — he recorded this in his journal, which was later published in Journal of a Novel: “I know it is the best book I have ever done. I don’t know whether it is good enough.”

To me, that’s one of the more astounding admissions of self-doubt from a writer who had experienced both critical and commercial success. In other words, even Steinbeck feared that the “goo” of his manuscript wasn’t ready.

Steinbeck needed at least six years to write East of Eden based on notes he’d taken about the Salinas Valley for most of his life. Arguably, he needed his lifetime to write what he considered his masterpiece. He wrote, “I think everything else I have written has been, in a sense, practice for this.”

Toward the end of that years-long journey, as he dove headlong into finishing East of Eden, Steinbeck wrote letters to his friend and editor, Pascal Covici, which were posthumously published in Journal of a Novel in 1968.

When considering whether or not your book is ready for an editor, think about Steinbeck’s challenge to himself: “You can’t train for something all your life and then have it fall short because you are hurrying to get it finished.”

Writer, this is your fight. If it’s your first, prepare for 15 rounds.

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

Photo via GuadiLab / Shutterstock 

Thomas Jefferson might as well have been describing how to break into ghostwriting when he wrote, “I’m a great believer in luck, and I find the harder I work the more I have of it.”

In the summer of 2014, I quit my job to pursue full-time self-employment as an author and editor. Knowing that a majority of my income would likely not come from my books, I focused on seeking editing work.

In less than a year, I shifted my focus to ghostwriting, a professional avenue I thought would be forever closed to me because I simply didn’t have the connections. I knew no celebrities, political figures or rich business types, but I did have three key assets: experience, patience and luck.

This isn’t just my story either. In taking an informal poll of online connections who also ghostwrite books, common threads of experience, patience and luck wove through every story of how they first got paid to help other people tell their stories.

Why you should consider ghostwriting jobs

Before I cover the practical aspects of how to become a ghostwriter, let’s consider why you should add “Ghostwriter” to your writing services:

• You’ll get paid upfront. No more waiting on royalties like you would for writing your own books!
• It’s lucrative. With the right clients, you can earn substantially more than other writing services you provide.
• No need for marketing. Because your name isn’t on the book, you don’t have to do any marketing to sell the book, which means you can proceed to the next project ASAP. Authors who don’t enjoy marketing often see this as even more beneficial than how much they earn from ghostwriting projects. (Unfortunately, you will still have to market yourself to get clients, but that’s content for another post.)
• You can keep emotional distance. Because the book is not your own child, you’ll be able to see its strengths and weaknesses clearly, bringing a helpful perspective to the client.
• The subject matter is fascinating. When you choose the right clients, you learn as you write: about other people’s lives, their professions and industries you otherwise might not come across.
• It will help you write better. Ghostwriting consistently challenges your writing skills. If you’ve ever had trouble meeting your daily word count goals, try ghostwriting a book for a client who has already paid you!

With those considerations in mind, it’s little wonder that writers want to know how to break into ghostwriting, but the process isn’t easy or fast. Becoming a ghostwriter is equal parts patience, determination, experience, confidence, marketing, and, well, luck.

It’s that last part that most aspiring ghostwriters don’t want to hear, but it’s true — and we’ll get to why luck is a necessary ingredient in a moment.

How to become a ghostwriter

So how do you get started in this lucrative profession?

Here are some tips for how to become a ghostwriter.

1. Gain experience

Journal. Blog. Guest post. Write for publications like The Write Life. Send letters to the editor. Make insightful comments on websites. Self-publish a book (properly edited, of course). Create a family email newsletter. In whatever ways you can, write, write, and write some more.

And don’t forget to read. “If you don’t have time to read, you don’t have the time (or the tools) to write,” Stephen King wrote. “Simple as that.”

Read high-brow, low-brow, classics, and today’s popular books. Alternate between fiction and nonfiction — nonfiction authors must know how to tell a compelling story. Read the best books on writing and storytelling, like King’s On Writing and McKee’s Story.

Put in your 10,000 hours of reading and writing. Earn the right to write for others.

2. Be patient

Ten thousand hours is 1.14 years, but that means you’d have to be doing that one single thing every hour of every day. Let’s say that five days a week you read for an hour per day and write for two hours per day, a generous assumption for most writers with full-time responsibilities outside of writing. At that rate, it will take you 12.8 years to become an expert writer.

My story witnesses to this Gladwellian opinion. I began to take my writing seriously as a freshman in college at the age of 18. Every one of my post-college jobs was related to reading or writing, but I also suffered serious doubts about my abilities and so let the blinking cursor blink for long stretches at a time. Sixteen years later, I was offered my first ghostwriting gig.

By no means do I believe myself an expert. Hemingway, who one could argue was an expert, said it well: “We are all apprentices in a craft where no one ever becomes a master.”

Patience doesn’t mean biding your time until the right person contacts you. Patience means constant practice until you’re ready for the right person to contact you.

3. Prove yourself…and then get lucky

Of the six online ghostwriters who responded to my question about how they broke into ghostwriting, every single one said they’d been working on smaller writing projects before “getting lucky” and breaking into ghostwriting:

• Mike Loomis started in multimedia curriculum development and book and product marketing before realizing he could help authors through offering ghostwriting services.
• Pat Springle wrote for two organizations who loved what he produced and helped others finish their manuscripts before launching into a successful 20-year career as a ghostwriter.
• Alice Sullivan wrote web and magazine copy for Country Music Television (CMT) during an internship before being asked by a major publisher to ghostwrite two books.

In my case, I proofread bills and laws for the Texas Senate, directed communications for a large church, wrote copy for a law firm, edited a content marketing website, and became a self-employed editor before breaking into ghostwriting through a fortuitous referral. At the time, I thought I was lucky to have earned the opportunity to write for someone else and be paid for it.

That job has led to two more direct referrals, which makes me feel even luckier to have been granted that first step into the world of ghostwriting.

But before getting lucky, I gained experience and practiced patience. The luck would never have been achieved without them.

Looking for other writing work? Check out this article, where you’ll find more options to get paid as a writer.

Perhaps this quiz can help you decide.

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

Photo via GuadiLab / Shutterstock 

For a brief moment after completing a first draft, writers sit back, breathe a sigh of relief, post a self-congratulatory humblebrag about finishing our manuscript, and then immediately think about that one character whose arc we forgot to complete, or that we’re pretty sure we overused the word “that,” or that those squiggly red lines scattered throughout our manuscript are surely incorrect.

In other words, the joys of #amwriting give way to the trials of #amediting.

As a strong (and biased) believer that every author needs an editor, your first line of literary defense shouldn’t be a professional editor. Rather, you need to learn how to edit —and really, how to self-edit — before sending your manuscript off to be edited by someone else.

Book editing at its best

As a full-time editor, I witness dozens of simple mistakes authors constantly make. If only they’d take the time to learn and incorporate better self-editing techniques, they would become better writers, endear themselves to their editors, and maybe even save money on a professional edit.

Furthermore, beta readers and early reviewers will be grateful for the creation of a readable early draft.

If you’re ready to self-edit your book, consider these 10 tips for book editing.

1. Rest your manuscript

“Not that the story need be long, but it will take a long while to make it short.” — Henry David Thoreau

When you’ve finished typing the last word of your masterpiece, set it aside for a few days. If you can stand it, set it aside for a week or more. In On Writing, Stephen King relates that he places his finished drafts in a drawer for at least six weeks before looking at them again.

Why rest your draft for so long? You want to try to forget everything you’ve written so that when you do come back to self-edit, the book almost seems as if someone else wrote it. You want fresh eyes, and the best way to do that is to rid your mind of what’s been filling it for so long.

2. Listen to your manuscript

“So the writer who breeds more words than he needs, is making a chore for the reader who reads.” — Dr. Seuss

Hearing your words spoken makes mistakes glaringly obvious. You can enlist a (patient) friend to read it to you, or you can go the friendship-saving route, which has the benefit of being free: use your computer’s built-in speech synthesis function.

If you’re a Mac user, click the Apple logo at the top left of your screen, select System Preferences, click Accessibility, then click Speech. Choose a System Voice and Speaking Rate you can tolerate, then select “Speak selected text when the key is pressed.” If you want to change the keyboard combination, click “Change Key” and follow the directions. I prefer Option+Esc.

Once you’ve enabled your preferred shortcut key, simply highlight any text (within any program) that you want to hear read aloud. Then hit your shortcut keys and follow your words on-screen as your computer reads them aloud.

For PC users, make use of Narrator, part of the system’s Ease of Access Center. Press “Windows+U” and click “Start Narrator.” Since the program is intended for blind users, it will automatically begin to read any text your mouse encounters. To turn this off, hit “Control.” To have Narrator read a paragraph, place your cursor at its beginning and type “Caps Lock + I.” To have Narrator read an entire page, press “Caps Lock + U.”

3. Search for troubling words

“Writing is easy. All you have to do is cross out the wrong words.” — Mark Twain

All writers have specific words and phrases that (which?) always cause them to (too?) second-guess whether (weather?) they’re (their?) using them correctly. If you know what your (you’re?) troubling words are, use your word processor’s search function to locate every possible variant of that word or phrase.

To help you consider what your troubling words might be, here’s a good starting list, excerpted from the first chapter of Grammar Girl’s Quick and Dirty Tips for Better Writing:

• a lot/alot
• affect/effect
• can/may
• further/farther
• good/well
• i.e./e.g.
• into/in to
• it’s/its
• lay/lie
• less/fewer
• that/who
• their/they’re/there
• then/than
• who/whom
• your/you’re

If you’re unsure of how to properly use these words, there’s no shame in looking them up. Grammar Girl likely has the answer, or check The Write Life’s post on how to edit for invaluable tips.

4. Remove or replace your crutch words

“I can’t write five words but that I change seven.” – Dorothy Parker

Do you know the top 10 words you use most frequently in your manuscript?

Outside of necessary articles and prepositions, you may be surprised at what words you tend to use over and over. One client of mine used “suddenly” too often, making every action seem unnecessarily rushed. Personally, my crutch words tend to fly in the face of the age-old encouragement for all writers to “eschew obfuscation.”

In other words, I tend to cash in ten-dollar words when five-cent words suffice.

Scrivener makes it simple to discover your crutch words and is available for Mac, iOS, and Windows users. In Scrivener’s top menu, go to “Project > Text Statistics,” then click on the arrow next to “Word frequency.” If necessary, click the “Frequency” header twice to sort your words by frequency. You’ll then be presented with what could be a jarring list of the words you might be overusing. (To include your entire manuscript in the frequency count, be sure to have your entire manuscript selected in Scrivener’s Binder.)

For Microsoft Word users, there’s a free Word Usage and Frequency add-in, but other, less technical online solutions may also help, like TextFixer.com’s Online Word Counter or WriteWords’ Word Frequency Counter.

No matter how you determine your crutch words, go back through your manuscript and see where you can remove or replace them.

5. Remove all double spaces at the end of sentences

“I try to leave out the parts that people skip.” — Elmore Leonard

If tapping two spaces following your sentences is an age-old habit ingrained into you since before the dawn of modern digital typography, may I suggest ingraining another practice?

Conduct a find-and-replace search after you’re done writing. In Word, type two spaces in “find” and one space in “replace” and hit enter.

Voila! You just time-traveled your manuscript into the 21st century. (If you’re interested in why you should only use one space, read Slate’s Space Invaders: Why you should never, ever use two spaces after a period.)

6. Search for problematic punctuation

“An exclamation point is like laughing at your own joke.” — F. Scott Fitzgerald

Are you a comma chameleon, adapting that otherwise innocent punctuation mark to do work it was never meant to do? Or does your manuscript need a semicolonoscopy — a thorough check-up on proper semicolon and colon placement?

If you know you have trouble with certain punctuation marks, conduct a search for that mark and figure out whether you’re using it correctly. If you’re still unsure, let your editor fix it, but make a note to ask him why.

7. Run spell check or use an automated editing program

“Be careful about reading health books. Some fine day you’ll die of a misprint.” — Markus Herz

Writers sometimes become too accustomed to the colorful squiggles under words and sentences on their digital pages; I know I do. In an effort to get ideas on the page, we might run rampant over grammar and usage.

Yet those squiggles mean something. At the very least, run spell check before sending your manuscript to an editor or beta reader. It’s a built-in editor that I’m not sure every writer uses to their advantage. You may not accept every recommendation, but at least you’ll save your editor some time correcting basic errors.

You might also consider trying out automated editing programs; The Write Life provides an overview of the best grammar checkers. I have yet to try them all, but I’m a fan of Grammarly.

8. Subscribe to The Chicago Manual of Style

“To write is human, to edit is divine.” — Stephen King

When an editor returns your manuscript, they may cite particular sections of The Chicago Manual of Style. If you’re unfamiliar with this Bible of the publishing industry, you may not be aware of precisely why the editor made a certain change.

By subscribing to CMOS (it’s only $39 a year), you’ll be able to look up issues on your own before sending your manuscript off to an editor or beta reader. Sure, you shouldn’t get too hung up on some of the issues (editors have their jobs for a reason), but learning more about the mechanics of writing can only help you become a better writer.

You can also buy the hardcopy version of The Chicago Manual of Style, but I recommend the online version for its ease of use.

9. Format accordingly

“The Real-World was a sprawling mess of a book in need of a good editor.” — Jasper Fforde

While preferred styles may differ from one editor to the next, you can show your professionalism by formatting your manuscript to conform to industry standards.

Such formatting makes it easier for beta readers to consume, and editors prefer industry-standard formatting, which allows them more time to edit your actual words instead of tweaking your formatting. Here are some basic formatting tips:

• Send your manuscript as a Word document (.doc or .docx).
• Use double-spaced line spacing. If you’ve already written your book with different line spacing, select all of your text in Word, click Format > Paragraph, then select “Double” in the drop down box under “Line spacing.”
• Use a single space following periods.
• Use black, 12-point, Times New Roman as the font.
• Don’t hit tab to indent paragraphs. In Word, select all of your text, then set indentation using Format > Paragraph. Under “Indentation” and by “Left,” type .5. Under “Special,” choose “First line” from the drop down menu. [Note: Nonfiction authors may opt for no indention, but if they do so they must use full paragraph breaks between every paragraph.]
• The first paragraph of any chapter, after a subheader, or following a bulleted or numbered list shouldn’t be indented.
• Use page breaks between chapters. In Word, place the cursor at the end of a chapter, then click “Insert > Break > Page Break” in Word’s menu.

10. Don’t over-edit

“It is perfectly okay to write garbage — as long as you edit brilliantly.” — C. J. Cherryh

Set aside an hour or two to go through this list with your manuscript, but be careful about over-editing. You may start seeing unnecessary trees within your forest of words, but you don’t want to raze to the ground what you’ve toiled so hard to grow.

A middle path exists between exhausting yourself in a vain attempt for perfection and being too lazy to run spell check. Do yourself and your book a favor and self-edit, but be careful not to go overboard.

If you’re creating a professional product, your self-edits shouldn’t be your last line of defense against grammatical errors. In other words, I don’t offer this post to write myself out of a job. Even in going through the self-editing steps above, you’ll still need an editor to ensure that your manuscript is as polished as possible.

Plus, going through the editing process with a professional editor will help you become a better self-editor the next time you write a book.

Do you self-edit? What tips and tricks work best for you?

This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.

Photo via GuadiLab / Shutterstock 

It’s not my intention to raise my elitist, Apple-shaped nose at them. Rather, their response dictates my answer. PC users get the hard answer: “Have you considered switching to a Mac?”

I’m kidding, but only slightly. The comparative ease with which Vellum 2.0, a Mac-only product, creates ebooks and print editions should make all PC authors consider making the switch…or at least befriending one Mac user who’ll let them borrow their computer for an hour.

I may be overselling Vellum, but for my money, which I’ve gladly given them on multiple occasions, they have released an app that marries ease of use with fantastic design — both of the app itself and of the ebooks and print editions it’s capable of creating.

Here’s my review of Vellum software for self-publishers.

Editorial note: There is a new book formatting software in the market, Atticus, which does what Vellum does, but is $103 cheaper and works for all computers, not just Macs. So keep that in mind. And if you want to read a full review of Atticus, here it is. 

Book formatting software and other options

Those who have yet to experience the joy of using Vellum are relegated to choosing from among a few time-consuming or costly processes:

• Hire a professional book designer for both your ebook and print edition layouts, which can cost into the thousands of dollars depending on the intricacy or complexity of your layouts. If you have the money, this is the way to go, especially if you’ve vetted the interior designer. Their experience is worth the expense, but not all writers or self-publishers can afford such costs, and particularly if they plan to release multiple titles.

• Upload a Word document to Kindle Direct Publishing or the affectionately known “meatgrinder” at Smashwords and hope for the best. (And then try not to pull your hair out.)

• Learn the intricacies of Calibre, a powerful piece of ebook software that’s more usable by programmers than authors.

• Learn to lay out your own book in Adobe InDesign, a powerful desktop publishing app that gives you the finest of control over your design. Unfortunately, it also requires dozens of hours to master and a monthly subscription to an app you may only use intermittently.

I’ve tried each of these, whether with my books or those I’ve helped clients create. Each one has its shortcomings, either in too much time wasted seeking design perfection or too much money spent waiting for a designer to finally finish the book.

So I’m going to share a better option with you. Yes, there’s a better way to DIY your self-published book!

While I’d used Vellum to create ebooks before, the release of Vellum 2.0 introduced a game-changing feature: print formatting.

Now, the time and expense I have to invest in creating stellar books are, at the very least, halved.

What is Vellum software?

Vellum is a book-formatting software. You can use it to create beautiful ebooks and print books that you can sell anywhere, including Amazon.

The opening screen of Vellum is straightforward.

I can click on an already existing project or import a Word file. For this review, we’ll be looking at Sins of the Five Fathers, a posthumous mystery novel written by my uncle that I self-published with him.

By clicking on Sins of the Five Fathers, I’m taken to the book creation screen:

Clicking on any item in the left-hand sidebar reveals a new page to edit in the center area. With the book title selected, I can edit the book’s metadata. Clicking on “Ebook Cover” at the top of the center area allows me to drag and drop the ebook’s cover into the book.

When a user incorporates Word’s styles into their manuscript, such as always using the “Title” style in Word for each of the author’s chapter titles, Vellum is smart enough to know to import each of those chapters as separate chapters. Even when Vellum isn’t quite smart enough to figure out every section or chapter, reorganizing and renaming each part, section or chapter is a breeze.

For instance, by clicking on the configuration icon next to a chapter header, I can easily convert the chapter into a number of other predefined chapter types, e.g., Prologue, Epilogue, Afterword, About the Author, etc.

The “Styles” panel in the upper left provides multiple templates for the layout of specific aspects of a book, e.g., Heading, First Paragraph, Block Quotation, etc.

In future releases, I’d like to see more granular control of these aspects and the ability to save customized templates. But, I believe the provided templates provide enough variation to satisfy any author seeking to create a traditionally formatted book.

Adding text features is just as easy. Right-clicking within the text brings up a context-aware menu that allows you to add features like Subheads, Ornamental Breaks, Images, Alignment Blocks (for right-justified, left-justified or centered text) and more.

Lastly, the most powerful aspect of Vellum is its exporting capabilities.

I learned the intricacies (and sometimes maddening nuances) of exporting my first book via Scrivener. By far, Scrivener is still my preferred word processor — this article was written in Scrivener — but its exporting capabilities are almost too powerful. It can be overwhelming and time-consuming for most authors to attempt.

In my opinion, this is where Vellum shines.

By going to the top menu and selecting “File > Generate Books,” I can choose which file types and trim size I’d like to export to. As you can see below, ebook options include Kindle (.mobi), iBooks, Nook, Kobo, Google Play, and Generic EPUB.

For print, Vellum offers a variety of popular trim sizes:

• 5 x 8 inches
• 5.25 x 8 inches
• 5.5 x 8.5 inches
• 6 x 9 inches
• 5.06 x 7.81 inches
• 5.5 x 8.25 inches 

They offer additional trim sizes for international books, mass market paperbacks and large print.

The proof of any ebook formatting software is in, well, the proof. Here are a few images of the Createspace print edition proof of Sins of the Five Fathers:

What about Vellum for windows?

Unfortunately, the company only makes Vellum for Mac; there’s no PC version.

If you’re looking for a Vellum equivalent for windows, you might consider Scrivener.

While I prefer the ease of Vellum for book formatting, Scrivener provides a similar service, as well as many more features.

How much does Vellum cost?

Vellum software is an investment.

It costs $199.99 to create unlimited ebooks or $249.99 to create unlimited ebooks and paperbacks.

But it’s worth the cost, especially if you’re planning to write, format and publish multiple books over your writing career. Compare this to the options I offered at the start of this post, and you can see why it’s worth considering!

Of course, more features abound, but what I’ve shared in this brief review are the features I’ve used the most. I’ve been quite pleased with Vellum, and it’s now become an integral part of my publishing process.

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This is an updated version of a story that was previously published. We update our posts as often as possible to ensure they’re useful for our readers.