An American Editor

April 20, 2015

On the Basics: Dealing with the Perennial Question of Setting Rates for Our Work

Dealing with the Perennial Question
of Setting Rates for Our Work

by Ruth E. Thaler-Carter

Whether you’re a writer, an editor, or any other publishing professional, coming up with rates for your work is a constant challenge. We’ve talked about this before and we’ll be talking about it throughout this millennium and into the next one, but it’s always worth discussing, simply because it is a constant concern. Even established writers and editors have to struggle with this challenge, thanks to the continually evolving world of online communications, bidding websites or services, efforts by professional associations, self-publishing, newcomers to the trade, and more.

How to Charge

Publications usually pay for writing by the word and, equally usually, those rates are determined by the editor or publication. There rarely is much room to negotiate, but you might be able to push up a rate by demonstrating expertise on a given topic, general experience and a publishing history, and good old chutzpah. Some publications will increase the pay rate as you become more known and valuable to them, starting you out at the low end until they know you’ll produce the quality they need and meet the deadlines they set, and raising your rate as the relationship continues.

Some writers will accept a lower per-word rate than usual in return for a guarantee of ongoing assignments from a publication. Certainty can be a big factor in negotiating rates.

It also can be possible to justify a low per-word rate by how quickly you can wrap up an assignment. You might usually get $1 a word for magazine assignments, but really want to write up a certain topic or get into the pages of a certain magazine that doesn’t pay that rate. If you can dash off a 1,500-word article at 15 cents a word, research included, in an hour, you just made $225 for that hour. If it takes two hours, that’s still more than $100 an hour. That per-word amount is ridiculously low, but the assignment or project rate is quite respectable.

It gets more complicated for editing work. As you may recall from other discussions here about rates, editors (and proofreaders) might be paid by the word, page, hour, or project. Even by the character.

Keep in mind, by the way, that charging by the hour could work against you as you become faster and more proficient or efficient — the faster you do the work, the fewer hours you work, the less money you earn. By charging by the character, word, or page, you can increase income as you increase proficiency and speed because you get more done every hour. If you charge by the hour, you actually lose money by working faster and more efficiently, because you have fewer hours to charge for. More hours to spend on other projects, of course, but not more profit from any individual project.

As Rich Adin has discussed in a previous post (see Business of Editing: The Quest for Rate Charts), membership organizations like the Editorial Freelancers Association (EFA) provide some publicly available guidance on rates based on what some of their members report, but those resources can be as problematic as they are helpful. There’s nothing wrong with sharing them with clients who haven’t worked with writers or editors before, but they shouldn’t be treated as the only option or as mandatory. Quote them with clients who offer rates that are lower than you accept if they support your preferences, and feel free to point out that they’re only guidelines when you want to charge more than such a chart shows, even at its higher ends of ranges. See below for some suggestions on “defending” the rates you want to charge.

Some organizations — the Editors Association of Canada is one — provide member-only rates information. That’s helpful in setting fees while reducing the number of prospective clients who might say things like, “But the EFA/EAC/whatever chart says this kind of work should only pay $X/hour, so why do you want me to pay you $X-times-2?” but it doesn’t help educate clients who try to pay ridiculously low rates.

Defending What You Charge

Once you figure out what you think you should charge, be prepared to defend that decision with some clients.

There will always be clients who try to bargain us down to lower rates for our work. You may have to explain the value that you bring to the client’s project — your years of training and experience, your skill level, your subject knowledge if appropriate; in short, why you’re worth what you charge. Not defensively, but from a position of confidence in that worth.

I tell prospective clients that my rates are based on my skills, experience, speed, and wide-ranging knowledge base. I don’t mention my need to pay my bills and cover my expenses; it’s too easy to let such “defenses” look whiny and unbusiness-like. I focus on why I’m a great match for that project or client. If that doesn’t work, I let it go. Life is too short to spend time on haggling over pay rates.

Sometimes you have to brace yourself to stand tough and tall about your rates. You probably will encounter prospective clients who say they can find someone less expensive. Fine. Don’t let them bully you into cutting your rate. Clients who try to bargain you down to less than you think you should be paid are likely to be headaches on other aspects of working together, including getting paid at all. Wish them luck, tell them you may still be available if the less-expensive options don’t work out — and consider increasing your quoted rate if they do come back to you because the cheaper editor turned out to be less than stellar at doing the actual work. (For another perspective, see Business of Editing: “I Can Get It Cheaper!”)

Of course, it’s always easier to hold the line on rates if you aren’t desperate for work. That’s why it helps to maintain a savings cushion, if at all possible, because when we’re desperate, we cave.

To Post or Not to Post

A tangent to the vexing question of what, how much, and how to charge is whether to publicize your rates once you decide what they should be.

The advantage of posting your rates at your website or creating a rate card that you can send to prospective clients is that the information is up and visible, and “tire-kickers” won’t bother you if your rates are too high for them. The disadvantage is that some clients who might be worth working for won’t contact you for the same reason, and some who would pay more than you expect will only offer what you post. By posting your rates, you lose your flexibility and ability to negotiate.

Many of us prefer not to post our rates because we like the option of negotiating payment client by client, even if doing so might involve more work each time. That’s certainly my preference. By not posting my rates, I can charge what I think a project is worth — or my time and skills for that project. I can charge some clients more and some clients less, depending on the nature of project or the client. I can benefit from a client with deep pockets and negotiate with one on a more limited budget.

Pressure to reduce our fees won’t go away. Neither will competition from newcomers, or clients with lowball rates, or websites where you bid for projects and are hired based on how little money you’ll accept. Beyond figuring out what we need to comfortably cover our expenses and administrative costs, as Rich Adin has often proposed (see, e.g., Business of Editing: What to Charge), we have to decide on our value and stand up for it.

Here’s to success in getting paid what you need and think you’re worth!

Ruth E. Thaler-Carter is an award-winning freelance writer, editor, proofreader, desktop publisher, and speaker whose motto is “I can write about anything!”® She is also the owner of Communication Central, author of the Freelance Basics blog for the Society for Technical Communication, and a regular contributor to An American Editor.

Related An American Editor  essays:

October 29, 2014

The Business of Editing: Fee Negotiations (Part III)

Part I addressed the first three preparation steps: (1) know your required effective hourly rate (EHR); (2) know your churn rate; and (3) establish your workweek parameters. Part II took us further along the preparation path, getting us through six additional steps: (4) determining what constitutes a page; (5) calculating the project’s size; (6) knowing the schedule the client expects; (7) determining how many editing days you will have; (8) calculating the churn rate that will be required to meet the schedule; and (9) determining what difference editing on weekends and/or holidays will make. Now, in Part III, we complete the calculations and put together our negotiation package.

Step 10: Calculating the Price

With all of the information gathered in the previous nine steps, we can calculate the price for the project. Although I have been working toward a per-page rate, you can as easily determine an hourly rate. (A project rate is simply the final calculation of number of pages times the per-page rate.)

Using the dates in the example in in step 7, your client comes to you on October 9 and says it has a manuscript that is 425 pages, an easy edit, but that must be completed by October 21 and asks for a price to do the edit. The first thing to do is ask for the complete manuscript so that you can do an independent page count.

We know that the likely number of editing workdays is 6 (step 7). That means you need to churn (step 8) approximately 71 pages per day (425 ÷ 6) or (assuming your workday is 5 hours) 14+ pages an hour (71 ÷ 5). We know that your churn rate is 10 pages an hour (step 2), so that based on the client’s count you would need to work approximately 50% faster to meet the client’s schedule and adhere to your established workweek.

Of course, when you do your own page count, you might find that, as I usually do, the client has underestimated the size of the manuscript. Here you have done the count (step 5) and discovered that the true page count, using your formula (1,600 characters = 1 manuscript page), is 631. This changes the required churn rate (step 8) from 71 to 105 per day (631 ÷ 6) or (assuming your workday is 5 hours) 21 pages an hour (105 ÷ 5). This is more than double your normal churn rate of 10 (step 2).

If we add the weekends to the editing time (4 days), the number of editing workdays increases from 6 to 10. That changes the calculations as follows: the required churn rate (step 8) to 64 per day (631 ÷ 10) or (assuming your workday is 5 hours) 13 pages an hour (64 ÷ 5). This is still more than your usual churn rate. The last option is to add in the holiday, which changes the calculations as follows: the number of editing workdays increases to 11, making the required churn rate 58 per day or 12 per hour — the 1 additional day doesn’t make much difference.

We know that your required EHR is $42 (step 1). At your normal churn rate of 10 pages an hour, your standard required per-page rate would be $4.20.

The question is what should be your minimum per-page rate for this project which has an increased required churn rate. A required churn rate of 12 pages an hour is a 20% increase required speed. Consequently, your per-page rate should also increase 20% so as to compensate you for the required churn rate; that is your minimum per-page rate should be $5.04.

However, this works only if you work weekends as well as your normal workweek. So we need to know what would be the rate for your normal workweek. The required churn for your standard workweek is 21, which is 210% faster than normal. If we apply this to your required EHR, your minimum per-page rate comes to $8.82.

The question now becomes: What is giving up your weekends worth? That is, what premium needs to be charged for that sacrifice. This is subjective; we all value such time differently. For this essay, let’s say the premium should be 20%. That would make the per-page fee $10.59. This becomes the starting point for the price negotiation.

I’m sure you are asking why we had to know the required EHR; after all, we could have come to this same point without it. But we couldn’t have. Based on surveys I have done of colleagues, editors who haven’t calculated their required EHR generally charge less than that number and when they are faced with the situation here, generally just do a multiple of what they normally charge. But the required EHR has to be the basis so as to ensure that you are not losing money.

The next calculation you can do is based on your wanted EHR. It is done the same way and it can be the basis for the negotiations to come, but under no circumstance should your basis be less than your required EHR.

Putting It Together

The next step is to put all the information and your requirements in a negotiation email. Such an email might look similar to this:

I have looked at the files and completed a page count. The page count for Smith & Jones is 631 manuscript pages, which is 48% greater than your estimate of 425. (The formula used to calculate a manuscript page is 1,600 characters without spaces = 1 manuscript page.) Just to let you know, in skimming the manuscript I noted these problems, which concern me: ______________. I also noted that several of the chapters will require heavy editing.

The schedule is exceedingly tight. As I have expressed to you previously, my normal workweek is Monday to Friday, excluding holidays. A normal editing workday consists of 5 editing hours. I would have at most 6 editing workdays to edit this manuscript. That means I would have to edit 105 pages a day or 21 pages an hour. The schedule is simply too tight and the problems too many to edit at such a rate and still assure a high-quality edit.

The only reasonable way to do this project is to work weekends as well as normal editing workdays. Adding weekends adds 4 additional editing workdays. That reduces the editing rate to 64 pages a day or 13 pages per hour, a significantly more reasonable editing rate and one that, although still high, I believe would permit a high-quality edit. Because of the need to work outside my normal workweek, and because I believe in providing only high-quality editorial work to clients, the rate for this project will be $11 per manuscript page.

Although not a perfect solution (nor a perfect email) the foregoing process has proven itself, in my experience, to be a successful way to negotiate a higher rate because the request for the higher rate can be justified. It may well be that you will need to negotiate down from the initial price you demand, but at least you will have the facts at your fingertips and you can knowledgeably determine what your bottom-line price will be.

Richard Adin, An American Editor

The Business of Editing: Fee Negotiations (Part I)
The Business of Editing: Fee Negotiations (Part II)

October 27, 2014

The Business of Editing: Fee Negotiations (Part II)

In Part I, we discussed the first three preparation steps: (1) know your required effective hourly rate (EHR); (2) know your churn rate; and (3) establish your workweek parameters. In this essay (Part II), we discuss steps 4 to 9: (4) determining what constitutes a page; (5) calculating the project’s size; (6) knowing the schedule the client expects; (7) determining how many editing days you will have; (8) calculating the churn rate that will be required to meet the schedule; and (9) determining what difference editing on weekends and/or holidays will make. Finally, in Part III, we complete the calculations and put together our negotiation package.

Step 4: Have a Set Method for Determining What Constitutes a Page

What constitutes a page is debatable. Some people use the 250 words equals 1 manuscript page formula, others count characters without including spaces, using anywhere from 1,600 to 1,800 characters to equal 1 page, others use characters including spaces. And I’m sure there are other methods in use. Contrary to what some people — and clients — claim (usually about the 250-word formula), there is no established, required, must-follow formula. In addition, each of us can defend the method we have chosen. What is important is that you have established a method and that you consistently apply it. It must not only count text, it must also account for “uncountable” items, such as equations done in MathType or figures that are given to you as graphic files. Whatever method you use, you must be able to articulate it and defend it and — most importantly — use it consistently, not occasionally.

Step 5: Determine the Size of the Project Yourself

When clients approach me, they often send me their estimate of the project’s size. As I indicated in Step 4, I have an established method for calculating a page and I apply it to the project. I never accept the client’s estimate as a basis for setting a price. Every time I give a price for a project, I include my page count and a statement describing how I calculate a page. Important: You need to be both consistent and honest. Usually, the estimates my clients give me are too low, my page count is higher. But occasionally the client’s estimate is higher than my page count. When that occurs, I do not submit my price based on the client’s estimate; I submit it based on my count and point out that my count is less than their count. Client trust is very important when negotiating a fee. It is, in my view, foolish to jeopardize that trust by using my page calculation method when it benefits me but the client’s estimate when it benefits me. I always invite my clients to apply my formula and verify the page count. Under no circumstance do I vary from my established method of calculating a page. If a client insists on a different method, I decline the project. I know what my method represents and I know how it fits into my overall evaluation of a project. I cannot say the same for any other method.

Step 6: Know the Client’s Schedule

The last bit of information needed is the client’s schedule — when must the project be completed by? I also want to know if sample chapters are needed and their due date. Clients often send me a batch schedule, such as Chapters 1–10 by September 30, Chapters 11–20 by October 8, and so on. I always thank them for the schedule and tell them that I cannot agree to meet any such schedule. The best I can do is agree to submit weekly batches. It may be that I will end up meeting their schedule, but I cannot know until I edit a chapter how difficult the chapter is nor how much time it will require. All I will agree to is an end date. Editors need to manage client expectations. Editors should not agree to be pushed into unreasonable schedules and certainly not without adequate compensation.

The Calculation

With the information in steps 1 through 6 in hand, I am ready to begin (a) determining the price I will ask and (b) assembling the data to justify the price.

Step 7: The Calculation: How Many Editing Workdays?

I usually start with a calendar in hand so I can count the number of editing workdays available to complete the project. Remember that I have an established my workweek (step 3), and my workdays are only Monday to Friday. If the client contacts me on October 9, 2014, and wants the project completed by October 21, I check the calendar and discover that October 11, 12, 18, and 19 are weekend dates and October 13 is a holiday; the workdays are — at most — October 10, October 14–17, and October 20 and possibly 21; that is a maximum of 7 editing workdays but more likely 6. That calculation assumes that the client will deliver the files on the day I am contacted. The day I receive files is a bookkeeping day for the project, not an editing day, so if, in our example, the client contacts me on October 9 but won’t deliver until October 10, then the first editing day will be October 14. Knowing how many workdays you have to edit the manuscript is important in setting your price as well as for defending your price.

Step 8: The Calculation: What Will Be the Required Churn Rate?

If I have determined that the project consists of 721 manuscript pages and that at maximum I will have 7 editing workdays to complete the project, then I can determine that I need to edit 103 pages per 5-hour workday or approximately 21 pages per hour. If I am to provide a high-quality edit, that number is high. If the client has told me that in its estimation the manuscript needs a medium or heavy edit, those numbers are nigh impossible. If I only have the more realistic 6 editing workdays, the numbers are approximately 121 pages per day or 24 pages an hour, an even more improbable editing rate.

Step 9: The Calculation: What Difference Do Weekend and Holiday Days Make?

Adding in the weekend days to our example adds 4 editing days and adding in the holiday adds a fifth editing day. Adding 5 days changes the calculation to approximately 60 pages a day or 12 pages an hour for a 12-day schedule and approximately 66 pages a day or approximately 13 pages an hour for an 11-day schedule, both much more reasonable. In Part III, we’ll complete the calculations and put together our negotiation package.

Richard Adin, An American Editor

The Business of Editing: Fee Negotiations (Part I)
The Business of Editing: Fee Negotiations (Part III)

October 24, 2014

The Business of Editing: Fee Negotiations (Part I)

(Note: Although this essay is from the perspective of an editor dealing with a publisher or packager, the basic principles of negotiating remain the same regardless of what you do or with whom you are negotiating.)

A common complaint of editors is low fees. I know that the pressure is on for editors to lower their fees, and I also know that fees have been essentially stagnant since the mid-1990s. Contributing to this economic “depression” are the Internet, which has changed the marketplace from local to worldwide, and publishing industry consolidation, which has led to increased outsourcing to the lowest-priced supplier, which has further led to outsourcing to “full-service” packagers who supply production services to publishers and purchase services of freelancers to provide the editorial services.

The problem we face is twofold. First, packagers often bid an editing price without having manuscript in hand. They get a few samples, look them over, and then, expecting to outsource the editorial work, bid a price for editing services that is the maximum price the publisher-client will pay as part of the whole production package. Built into the bid price is an expected profit for the packager on the editing component. For example, to get the publisher’s work, the packager may bid $3.50 a page for editorial work expecting that the maximum it will pay a freelance editor is $3.00 a page (and it may well offer the freelancer even less). (Note that these prices are drawn from air for purposes of discussion and are not being represented as actual pricing.)

The second problem is that the packager’s bid price sets publisher expectations. Knowing that it can send editorial work to a packager and pay no more than $3.50 a page means that when the publisher contracts directly with a freelancer, it already has a ceiling established on what it will pay. Consequently, the freelancer becomes bottlenecked because of pricing established by someone else.

The question becomes: Can the freelancer negotiate a different price?

This three-part essay discusses preparing to negotiate. This essay (Part I) discusses the first three preparation steps: (1) know your required effective hourly rate (EHR); (2) know your churn rate; and (3) establish your workweek parameters. Part II discusses steps 4 to 9: (4) determining what constitutes a page; (5) calculating the project’s size; (6) knowing the schedule the client expects; (7) determining how many editing days you will have; (8) calculating the churn rate that will be required to meet the schedule; and (9) determining what difference editing on weekends and/or holidays will make. Finally, in Part III, we complete the calculations and put together our negotiation package.

Understand that we are speaking of negotiating, which is something quite different from saying to a client, “My minimum price is $4 per page,” and nothing more — basically a take-it-or-leave-it proposition. When negotiating a fee, the editor needs to be able to provide and maintain a justification for the asked for price; that is, there must be some strength to the editor’s position.

Step 1: Know Your Required Effective Hourly Rate

The beginning point always has to be the required effective hourly rate (EHR), which we have discussed numerous times (see, e.g., the essays on calculating fees that begins with Business of Editing: What to Charge (Part I)). Fees come in three flavors: wanted, market, and required. I want to charge a fee of $50 an hour, the market rate is $35 an hour, and I require $42 an hour. (The market rate is the rate the client offers you when the client first contacts you for the project. There is no general “market” rate for editors that can be pointed to as the rate that most editors charge and receive for their services.) If what you want to charge is less than the market rate but more than the required rate, then you should be charging the rate you want. On the other hand, if, as in the example given, what you want and what you require both exceed the market price, you need to have a strong argument as to why clients should pay you above the market.

The problem that most freelancers face is that they do not know what their required EHR is, even though this is the number that, in terms of pricing, they cannot go below, at least not if they want to remain in business and pay their bills. The rate we want should always exceed the required rate, yet I know freelancers who, when they have finally calculated their required EHR were shocked to discover that their wanted rate was below their required EHR. Thus, even if they were able to charge their wanted rate, they would still be losing money.

Step 2: Know Your Churn Rate

This, too, is a subject we have discussed before (see, e.g., Business of Editing: Workdays & Schedules). Each of us works at a different speed. Some of us can provide a high-quality edit at a rate of 10 pages an hour, whereas others can produce the same high-quality edit at a rate of 5 pages an hour. Regardless, we need to know our editing speed — our churn rate.

We also need to know the number of hours a day we can effectively edit; that is, the maximum number of hours we can work and produce a high-quality edit. In my experience, and in speaking with colleagues, the consensus is that editors generally can edit effectively for a maximum of 5 hours a day, after which quality starts to decline.

If we can churn 10 pages an hour for 5 hours a day, it means we can edit a maximum of 50 pages in a day, assuming that there is nothing in the manuscript that alters this rate, such as hundreds of references of which few are complete or correct.

Step 3: Establish Your Workweek Parameters

It is important (also as discussed before) to have an established workweek. Many editors work whatever is required to complete the work, but that is different from establishing a set workweek. For example, my established workweek is Monday to Friday excluding holidays. My established workweek does not include Saturday, Sunday, or Thanksgiving. In fact, for some holidays, like Thanksgiving, the holiday days off include the day before the holiday through the weekend.

It is important to establish a workweek and to let clients (and potential clients) know what it is. Whenever I give a quote, I make it a point to tell clients what my workweek is. I emphasize to clients that I do not work on weekends or holidays. And when a holiday is coming up, I let clients know that my office will be closed, although I might check email. If I didn’t have set hours and workdays, clients would assume that I work days, nights, weekends, and holidays and assume that no special fee is needed to get me to work those hours.

These are the first three steps in negotiation preparations — know your required effective EHR, know your churn rate, and establish workweek parameters. Part II tackles steps 4 through 9.

Richard Adin, An American Editor

The Business of Editing: Fee Negotiations (Part II)
The Business of Editing: Fee Negotiations (Part III)

April 28, 2014

The Practical Editor: Define Your Terms, Then Negotiate

The Practical Editor:
Define Your Terms, Then Negotiate

by Erin Brenner

Recently, I saw a job ad that advertised for a copyeditor for a 5,500-word academic article. The article had already been accepted for publication, according to the ad, and the author was looking for a light copyedit, most likely to make a good impression on the assigning editor.

Even if the article will be edited in-house, this is a good call. The cleaner the copy, the more likely the assigning editor will hire this writer again.

I have an occasional client for whom I do such work, and she is thrilled with the results. The copyediting not only produces cleaner copy, it helps her to be more confident. The editing has led to her receiving more assignments. And why not? Assigning editors are busy folks, too, and the easier you make it to publish your article, the more likely they’ll call you again for another.

What’s a Page?

Back to the ad. The author is willing to pay $9 a page for the project. Does this sound good to you? Before you say yes, ask yourself this very important question:

What does the author mean by page?

Many folks in the publishing industry define a manuscript page as 250 words, and the Editorial Freelancers Association encourages that definition.

However, you can define a page in whatever way makes the most sense to you. As Ruth Thaler-Carter notes in a previous blog post (see The Commandments: Thou Shall Establish the Rules of Engagement Before Beginning a Project), Rich Adin uses a character count.

The key is to ensure you and your client are using the same definition of a page.

Let’s say the author from the ad is using the 250-word definition. That’s a 22-page document, resulting in a $198 payday:

5,500 words/250 words per page = 22 pages
22 pages × $9 per page = $198

If you can edit seven pages an hour, you’ll complete the project in 3.14 hours. Even if you round up your total to 4 hours to account for administration work on the project, you’ll earn $49.50 an hour. That’s a good rate in my book.

Even if the editing take longer, say four pages an hour, you’ll spend 5.5 hours on it. Round it up to 6.25 hours, and you’ll earn $31.68 an hour. Depending on your circumstances, this could still be a good rate. (However, it’s always a good idea to calculate your required effective hourly rate [see Thinking About Money: What Freelancers Need to Understand] ahead of time.)

But let’s say the author means one page is equal to a page in the Word file, not an uncommon occurrence. How many pages is this according to our 250-word definition? The total will vary greatly depending on several variables, including font, font size, leading, length of paragraphs, and margins. If you haven’t seen the document or been given a page count, you’re taking a risk on being able to make a decent hourly rate on the project.

How much of a risk?

In Ariel 12-point type, with a couple of boldfaced headers per page and a 1-inch margin all around, 5,500 equals about 10 pages. At $9 a page, I’d earn $90 on this job. If I edit at seven pages an hour, I’m earning just $22.50 an hour. If I edit at four pages an hour, $14.40 an hour. Ouch!

And let’s not forget that this is an academic article; it’s very likely the article includes citations. Are these footnotes or endnotes, which aren’t automatically included in Word’s word count? If you’ll be responsible for editing those citations, your editing pace and subsequent hourly rate dropped again.

Define and Negotiate

It’s crucial, then, that you’re using the same definitions as your client. This could be a good, quick job or a miserable money loser. Ask your author the following:

  • How do you define a page? Offer your own definition and see if they’ll accept it.
  • What do you mean by “light copyedit”? Try to discover what the author specifically wants done to the article.
  • What are my responsibilities regarding citations? Are they included in the word count?
  • Can I see the entire manuscript first? Determine for yourself whether you can edit it to the client’s satisfaction in a timeframe that earns you a decent paycheck.

At this point, you should have enough information to determine whether that $9 per page is acceptable. If the answer is no, it’s time to negotiate:

  • Tell the author how much you would charge to do what’s needed or wanted. Emphasize what the eventual outcome of such an edit would be. Sure the manuscript will be cleaner, but so what? Your job is to explain the “so what”: higher quality leads to better reception by the assigning editor, a greater chance for more work, a more positive reception by readers, and a rise in the author’s reputation.
  • Tell the author what you would do for the offered rate. If the author is truly cash-strapped but wants your services—and you want to work with this author—you could do less editing for less money.

Define your terms with the client. Negotiate for what you want. And if you and the author can’t agree, gracefully let them go on their way.

Erin Brenner is the editor of the Copyediting newsletter and the owner of Right Touch Editing. You can follow her on Twitter. Erin is also a guest presenter at various conferences on topics of interest to freelancers.

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