Frequent Questions

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Tell me more about Full Measure . . .

How do I know you're the right editor or writer?

The short answer is: you don’t. There’s always a bit of risk working with someone new, and at the developmental level, much of editing is subjective—different editors will give you different notes. But here’s the longer (and much more optimistic) answer: there are plenty of ways to reduce that risk, and you can start by doing some detective work:

  • What are other people saying? We’ve got testimonials all over the website (and a ton extra stashed in a file cabinet somewhere—we’ll look for them if you ask).

  • How long have you been in business? Age is just a number, but almost fifteen years of experience is a good sign. Another good sign: the editors and writers can quantify their experience in some way. We stopped counting somewhere around 10 million words edited, 500K words written or heavily rewritten, and almost 175 satisfied authors and clients served.

  • What are your specialties? This one deserves an FAQ all its own! See below.

  • Can I see a sample of your work? Sure! Sort of. A good editor and writer works to preserve the privacy of clients and usually avoids getting into the on-page details of the work done with them. But a good editor and writer is also happy to conduct a sample on your work, usually up to about 1,250 words or so. If it’s writing work you’re looking for (blog posts, etc.), we can provide examples of our written work, too.

  • And perhaps most importantly: Are you going to be a pain in the ass to work with? This is a biggie. Editors and writers have different styles. Some are too brutal. Some are too kind. Some are just amateurs. Our clients call us “professional” and “creative,” and some even tell us that, after having worked with a string of so-so editors, they wish they’d hired us from the beginning. (We didn’t pay them to say that.)

What are your specialties?

One tiny question, so many dimensions. In general, some specialties are media based: books, PDF e-books, whitepapers, websites, online-learning modules, A/V scripts, articles, blogs, etc. Other specialities are genre/category based: fiction, nonfiction, sci-fi and fantasy, business and leadership, personal development, popular science, etc. And some are skills based: developmental editing, line editing, coaching, ghostwriting, and so on.

Full Measure has worked in all these dimensions. But our strengths are (1) almost any kind of editorial work with book-length fiction and nonfiction, (2) nonfiction subject matter such as entrepreneurship, business, management, marketing, leadership, or personal-development, and (3) content planning, execution, and management of e-learning projects.

That said, we think the best editors and writers are versatile, adaptable, and able to bring fresh, cross-disciplinary perspective to any number of projects. Is an editor experienced solely with copyediting erotica qualified to advise on the tone, structure, and market positioning of your PDF e-book about sales strategy for entrepreneurs? Probably not—but maybe, if you’re adventurous. But might a developmental editor who’s worked mostly in fiction be able to advise on narrative storytelling in nonfiction? Sure. Might a developmental editor who’s worked mostly with nonfiction be able to bring an analytical eye to plot holes, underdeveloped characters, and logical inconsistencies in your novel? Most likely.

“Helping authors match what’s on the page with what’s in their heads.” Sounds great! What does it mean, exactly?

Much of writing and revision is about standing astride the gap between reader and author and attempting to close that gap. The hows of closing that gap vary but usually have to do with bringing greater clarity, concision, and flow—stepping into the reader’s shoes and asking, “Am I getting this?” Author, linguist, and psychologist Steven Pinker calls this the curse of knowledge: “It simply doesn’t occur to the writer that her readers don’t know what she knows—that they haven’t mastered the argot of her guild, can’t divine the missing steps that seem too obvious to mention, have no way to visualize a scene that to her is as clear as day. And so the writer doesn’t bother to explain the jargon, or spell out the logic, or supply the necessary detail.” 

Writing and almost all creative work is about encoding ideas; reading and consuming that work is about decoding them. Full Measure watches out for what might get lost in translation.

Sounds good so far. What does working together look like?

Whom exactly will I be working with?

There’s a good chance you’ll be working with Matt (that’s me, writing this, using all the royal “we”), but if your project is complex and/or involves multiple levels of editing or content development, we can plan on assembling a league of extraordinary (and highly vetted) gentlemen and women.

A recent English major grad just told me he'd work on my book for $5/hour. What a bargain, right? Why am I even here, looking at your FAQs?

Go for it! There are some lines about “getting what you pay for” and “caveat emptor” we could share with you, but we’ll just say this: an English degree is great, but by itself a professional editor or writing coach or ghostwriter it does not make. (We didn’t mean that to near-rhyme; we don’t work on poetry, by the way—we’re really no good at that.)

Editing and writing are crafts honed over time and through experience. We challenge you to ask a recent English graduate to convincingly explain why the structure of your book might confuse readers in a particular market, in a particular kind of publishing climate, or why this or that character doesn’t seem to be working; or to work his way to your satisfaction through any of three dozen or more Kobayashi Maru–like scenarios that seasoned, creative, savvy editors, writing coaches, and ghostwriters navigate on a regular basis.

*We’re as capable of breaking those “rules” of grammar, style, and composition as we are of following them.

Speaking of, how do you price your projects, and how long does it all take?

Pricing is customized based on the level of editing or writing you’re looking for, word count, genre/category, turnaround time, and the number of revision rounds. Developmental edits of books of 50,000+ words can run anywhere between $0.03 a word and $0.06 a word or more, depending on complexity and time commitment, and can take 5–8 weeks or more, depending on how much revision and consultation is involved. Manuscript evaluations start at $750 for standard-length books, and full-length book ghostwriting starts at $35K and ultimately depends on word count, genre, the amount of primary and secondary research involved, and whether you plan on trying the traditional-publishing route and would like help drafting a book proposal that gets agents’ and publishers’ attention. Coaching is charged by the hour.

But our proposals and contract agreements are clear and precise—by the time you sign on, you’ll know exactly what you’re getting, how long it’s estimated to take, and how much money you’ll be investing in it. And we’re pretty sure we’ll be able to fit a project to your budget.

I want to hire you. What now?

Excellent! Check out the contact page, and we’ll take it from there.

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