Jim: In this episode, we’re diving into the world of how to find and editor with my dear friend Karen Ball. We first met back in 2007, bonding over our mutual love for the TV show Alias Smith & Jones.
Since then, Karen and I have become close friends. She was the executive editor for my first three novels, and she’s a brilliant editor; some might even say legendary. She’s led editorial departments at some of the world’s top publishers, so she knows her stuff. She’s playful, smart, a straight shooter, and full of wisdom.
Karen, along with her friend Erin, just wrote a new book called Finding and Working with an Editor: Everything You Need to Know for a Nearly Pain-Free Edit (affiliate link). Thomas and I always say that editing is the most critical part of marketing a novel because your book is a 300- or 400-page brochure for your next one. Great editing is vital.
Why is it so important to have an exceptional editor?
Karen: I get this question a lot, especially from indie writers who say, “I don’t need an editor.” I just look at them and say, “Listen, I need an editor.” I’m a published author and one of the best editors out there, but I’d never edit my own work. You can’t see the problems in your own manuscript. You’re too close to the story, too invested in the characters, and you know too much that’s not on the page. You miss the holes. You need a fresh set of eyes and someone who understands structure, plot, and character development. Your old English teacher, no matter how great, won’t cut it.
Thomas: But my old English teacher is so cheap!
Karen: And your edit will be worth what you paid for it. Editing fiction and nonfiction are completely different tasks. You might find an editor who can do both (I do both), but it’s a different mindset. You need an editor who understands the type of writing you’re doing.
Thomas: Nonfiction editors need to grasp the art and science of persuasion. It’s not just about good prose; it’s about guiding readers from one perspective to another. The ancient Greeks, like Aristotle, wrote extensively about persuasion. If your editor doesn’t understand persuasion, your nonfiction book will fall flat.
Karen: They also need to know how to organize content to follow a logical flow of persuasion. I’ve worked on books where the logic jumped from A to Z to Q to W. An editor has to tell the author, “This will confuse readers. Start with this, then move to that, and keep it cohesive.”
What mistakes do authors make when looking for an editor?
Karen: One big mistake is hiring someone who knows English but doesn’t understand the art of putting a book together just because they’re cheaper. Don’t skimp on hiring an editor. You need someone who knows what they’re doing, has a passion for it, and views editing as a service to the writer.
Another mistake is choosing an editor for their prestige but who doesn’t have a servant’s heart. I once worked with an editor at Tyndale who said, “I could write this book better than the author.” I told him, “Then shut up and do it. Don’t tell me you can do better; go write your own book and put in the work.”
Don’t cut corners when hiring an editor.
Thomas: And don’t skimp on the cover design either. Those are the two places to invest your money.
How do indie authors find an exceptional editor?
Karen: Our book, Finding and Working with an Editor, lists vetted editor networks.
If you’re part of a writers’ group like ACFW (American Christian Fiction Writers), ask other writers, “Who have you worked with? What did you like or dislike about them?” Do your due diligence. Don’t just Google “freelance editor” and pick a random website. Many people claim to be editors, but they often lack the skills or passion to truly help you.
Thomas: you can also ask editors for a list of books they’ve edited, then contact those authors to ask about their experience. People either love or hate their editors. There’s rarely a middle ground. For example, the team that edited my book Courtship and Crisis was amazing, and I’d recommend them in a heartbeat. I even dropped everything to write a blurb for one of them. But others have editors who trigger near-traumatic reactions just by mentioning their names.
Karen: Some writers vent about editors who didn’t understand their vision. That’s why due diligence is key. Also, understand that it’s partly about personality fit. An editor who frustrates one author might be perfect for another. Be professional when sharing feedback about an editor. Instead of saying, “They tried to take over my book and treated me like an idiot!” Instead, say, “This editor didn’t get my book’s message.”
Jim: That’s a great point, Karen. Sometimes, it’s simply a personality mismatch, such as having an analytical editor working with an expressive author. It’s worth the effort to find the right fit.
Karen: I’ve only had one bad fit because I’m all about relationships and serving authors.
Steve Laube, an agent I worked with, used to say, “Karen, I’m not ‘puppies and kittens,’ but you are!” I love words and writers, so I’m their advocate. But one male author told me, “I don’t need your encouraging emails. Just give me the facts and let me rewrite.” I respected that and adjusted.
How can authors best maximize their experience with an editor?
Karen: Start with a conversation. If you haven’t already had the conversation while vetting your editor, begin by talking about who you are, your style, and what you want from the editor. Set clear parameters.
You’re the boss. Tell them if you want suggestions in the text, comments, or footnotes. If they push back and say they prefer writing in the text, you can say, “I hear you, but I need it this way.” This conversation might reveal whether it’s a good fit or not, and you may have the opportunity to part ways amicably. It also gives the editor freedom to work within your guidelines.
Another tip is to ask them to edit the first chapter and send it to you for review. I do this with every book. I send the edited chapter and say, “This is my style. Let me know if anything bothers you or if you want changes.” I want the process to be as pain-free as possible—though I know editing is never entirely painless.
Does your editor need to love your genre?
Karen: They don’t need to love it, but they must respect it and understand its requirements. An editor who scoffs at romance won’t do your book justice. Passion for the genre is a bonus, but what matters most is their passion for your story, structure, and character development. They need to edit knowledgeably, regardless of their personal taste.
What are some common mistakes first-time indie authors make that you’d love to warn them about?
Karen: I often send my authors a list during a macro or substantive edit, pointing out weaknesses like overused phrases. My editor, Julie Schwarzberg, once sent me a list of words I overused. I realized my characters were nodding, grinning, and smiling so much they’d be bobbleheads! Editors can help by flagging these habits.
One author I worked with sent me a manuscript, and after my revision letter, she emailed back, thrilled, saying, “You didn’t mention ‘show versus tell.’ I finally nailed it!” That’s rewarding for the writer and editor when you have a good relationship.
How can an author become their editor’s favorite client?
Karen: You simply need a teachable heart. Understand that the editor is there to highlight weaknesses, not to call you a hack. They’re partnering with you to draw out your best writing. If you need to vent, give yourself an hour to scream or cry privately. Then, go back, read their feedback, and focus on what resonates with you. Fix what needs fixing. Also, recognize that the editor brings strong skills, but it’s ultimately your book. If you feel a suggestion doesn’t fit, you can respectfully say, “I hear you, but I want to keep this.” That’s your right.
Jim: That’s huge. I remember you saying, “Jim, these are just ideas. It’s your book.” That was so refreshing, especially as a first-time author. It gave me permission to keep what felt right.
Karen: I once edited Passing by Samaria (affiliate link) by Sharon Ewell Foster, which I acquired based on a lyrical chapter. But when I got the full manuscript, it didn’t fit my usual fiction expectations, and I panicked, thinking I’d made a mistake. I edited the first chapters and sent them to her, asking for feedback. She wrote back, “I’m not enjoying this—you’re trying to change my voice.” That stung, especially since I was used to being called a genius. But after praying and reflecting, I realized she was right. I told her, “It’s your book. We’ll keep your voice.” It became a bestseller because her unique voice was so powerful. That taught me to always say, “These are suggestions. It’s your book.”
Jim: You’re a heart-centered person, Karen, passionate about helping writers beyond their novels. You and your friend Erin host a podcast. Can you share a bit about it?
Karen: Write From the Deep is about writing from tough places and grounding your heart in faith to tackle the challenges of writing. Erin and I both want to encourage and equip writers. We cover issues writers face, share scripture for foundational support, and feature guests like Jim Rubart, Terry Blackstock, and Robin Lee Hatcher, who discuss how Bible journaling transformed her writing. We don’t monetize the site; it’s all about helping writers.
Featured Patron
C.L.R. Peterson, author of Lucia’s Renaissance
Heresy is fatal in late Renaissance Italy, so only a suicidal zealot would so much as whisper the name of Martin Luther. But after Luther’s ideas ignite a young girl’s faith, she must choose–abandon her beliefs or risk her life in the turbulent world of late sixteenth-century Italy.
Sponsor
- Exclusive Monthly Q&A Episode
- Special Monthly Episode Bundle where we package several popular episodes on a specific topic and give you private access.
- Ebook of your choice of one of James’ novels, Rooms, Book of Days, or The Chair
- 25% discount on the MyBookTable Pro WordPress Plugin
- 50% discount on The Five Year Plan to Becoming a Bestselling Author
- Learn more
Related Episodes
