Literary Editors

4) No e-mail contact. If I cannot make first contact through e-mail I'm not interested. If the editor is UK based this isn't that big of a problem, but a lot of editor's are US based, which means postage isn't cheap and I'm a skinflint.

5) Restricted payment methods. When an editor has done enough to gain my interest, it's rather disappointing to find there is no accomadtion for credit card payment. Any non UK editor asking for cheques is ruling me out without trying. If you're looking for an editor check the payment methods offered before you do anything else.

6) Payment set on a "per hour" basis. Personally I find this very off-putting. I have no idea how long it takes to edit work. Please don't say you charge per hour then ask me to send in a manuscript plus cheque for the correct amount. If you are going to charge per hour, at the very least asses the manuscript first and give me a MAXIMUM fee you will charge.

7) Broken links. It goes without saying that a broken link gives a ba d impression. How can you trust an editor to work on your manuscript when they don't take enough time to make sure their own website works.

--Shortlisting the shortlist--

With all the editors narrowed down using the above reasoning, it's time to narrow that shortlist down even further. Here's where the writer has to decide exactly what they want out of the service.

1) Interaction. How much direct input do you want on the editing process. If you want to be able to get updates on progress, comment on changes or make suggestions based on comments recieved, you'll be wanting an editor or company that offerd a direct contact service, where the writer will be able to talk to the editor through e-mail or on the phone. (DO NOT use this communication to constantly bug the editor.) If, on the other hand, you're happy to hand the manuscript over and leave the editor to get on with it, then a large impersonal company will be just as useful to you as a small company or individual.

2) Servi c es offered. Check what type of manuscripts the editor deals with. There is no point sending a fantasy work to a thesis editor. Also check to see if the editor can forward to someone more appropriate.

3) References. Okay, this was in the first list too, but I'll say it again. Check the editors references and experience, but this time use it to rank your shortlist in order of preference. Experienced editors are going to be better - they've had more practice after all.

4) Compatiblitly. This is extremely important. There is NO point in contracting an editor you do not like or whose work you do not like. If an editor offers a sample, get one. Pay attention, not just to the sample itself, but also the conversation between yourselves. Make sure you're happy with both things. If you can't get a sample, read the on-line examples and see if you would accpet such editing on you work. If you're iffy still, e-mail them, see what sort of response you get. If at any stage this makes you uncomfortable, cro ss the name of your list.

5) Trust. Trust is a very subjective thing. If there is ANY doubt in your mind regarding the editor, cross them off your list NOW. This person is going to be changing your work. If there is no trust,t hey are not worth a penny to you.

6) Fee. Whilst you should be aware of the editor's fee from the beginning, this should be the last thing considered when ordering your shortlist. There is no point picking out all the editors who charge less than X amount only to find you hate them all. If a fee is very obviously beyond your budget, then elimanate it.