Applying “Good, Fast, Cheap” to Editing
When hiring someone for a service, there’s an idea that you can have two out of “Good, Fast, Cheap,” but not all three. For writers who are looking to hire an editor to work on their project, it’s worth it to understand how this concept applies to editing. It’s also good for authors to consider what their priorities are when deciding what’s most important.
Scenario
Let’s say that Audrey Author has heard that Edie Editor is amazing at what she does. Audrey contacts Edie and says, “I’ve written a fantasy novel that’s 120,000 words, and I’m looking for a copy editor. I have a budget of $600, and since I’m planning to publish it in three weeks, I’m hoping you can have it back to me next Friday.” Edie has a booked schedule for the next three months, and her typical rate is four times higher than what Audrey is offering.
In this scenario, Audrey would like Edie to return a (presumably) good copy edit, done quickly, for a very low rate. Is this feasible? Maybe. But it’s likely that Audrey can only get two out of the three things she wants out of an edit.
Option 1: Good and Fast but not Cheap
Since Edie has a booked schedule, it’s unlikely that she’ll be able to turn around a copy edit of that length in less than two weeks. If Audrey is willing to pay a higher rate, though, then Edie may decide that it’s worth it to work nights and weekends to meet Audrey’s deadline.
Many editors will charge a rush fee on top of their normal rate to turn projects around more quickly than usual. That means Audrey would probably have to pay Edie’s going rate (which is two cents per word, or $0.02, rather than the half a cent per word, or $0.005, that Audrey can pay), plus an additional rush fee if she wants her edit done by her deadline.
Option 2: Good and Cheap but not Fast
If Audrey has a project that Edie finds compelling, then Edie may decide that she will accept the rate Audrey is offering—but not the timeline. Edie may agree to work on the edit over a long period of time. Maybe she hits her daily editing goal for her regularly scheduled project, so she has an extra hour to work on Audrey’s edit. This means the project will stay within Audrey’s budget, but she won’t get the edit back quickly.
Option 3: Fast and Cheap but not Good
If Audrey’s budget and timeline are fixed rather than flexible, then if Edie agrees to take on the project with those terms, she’s likely not going to spend the amount of time she typically would on the edit. That doesn’t mean the edit isn’t good—but it means that the edit won’t be as good as it could be.
Editors who are working on projects under tight deadlines and for low rates likely can’t—or won’t—devote as much time to editing as they might otherwise if the circumstances were more favorable. Maybe an editor usually does two passes, but they’ll only do one this time. Maybe they usually do a back-and-forth with the author to clean up the tracked changes, but they won’t this time. Maybe they usually read every word thoroughly, but they’ll only skim this time. Or maybe they will only run a spelling/grammar check and PerfectIt, then call it a day. I would wager that most editors don’t want to turn in what they would consider a sub-par edit. But sometimes, circumstances warrant that. As long as the client knows that their edit may not be as thorough as it could be if they could give more time or if they were able to pay a higher rate, then that’s between the client and the editor.
That said, getting an edit that’s fast and cheap doesn’t mean it’s not good. Some editors may offer discounts or promotions. Some may be just starting their own business, so they may be willing to work for a lower rate in exchange for testimonials or additions to their portfolio.
Figuring out your priorities
Since many will argue that it’s impossible to get Good, Fast, and Cheap, you’ll want to determine what’s most important to you and understand what you might be sacrificing.
Getting a fast edit
If you’re on a time crunch, then your priority is probably getting the edit back quickly. That might mean paying a rush fee (sacrificing “cheap”) or giving up aspects of the editing process, such as doing fewer editing passes or not including an editorial report (sacrificing “good”). You could also try to find editors who happen to have space in their schedule for your project, which could mean that you don’t have to pay extra or give up quality, but that might be tough to do since editors’ schedules often fill up weeks, months, or sometimes years in advance.
In the future, if you know that you’ll be looking for an editor in the next six months, it doesn’t hurt to reach out to your ideal editors early to talk to them about your project. The earlier you talk to them, the more likely it is that one of them will have room in their schedule for you. Also, if your timeline can be flexible (such as saying that your next book will be out in the fall rather than giving a specific date), then it’s more likely that you’ll be able to work with the editor you want.
Getting a cheap edit
If you’re on a tight budget that’s fairly low, then your priority is probably getting the edit for cheap. That might mean working with an editor who is less experienced, offering a promotion, or just charging a low rate for whatever reason they choose (sacrificing “good,” maybe). It could also mean asking the editor if they’re willing to negotiate on other things, like the timeline (sacrificing “fast”) or not including everything they typically do in an edit (sacrificing “good”).
In the future, if you want to work with your ideal editor, you may not be able to do so for cheap. See if you’re able to set aside money and save up for editing over time if you know you’ll want to hire an editor who charges a specific rate.
Getting a good edit
If you’re focused on the quality of work, then your priority is probably getting the best edit possible. “Good” editing is subjective, and it all depends on what you want. What’s considered a good edit to one person may not be a good edit for another. Getting a good edit might mean paying for a top-notch editor (sacrificing “cheap”) or trying to get in on that top-notch editor’s full schedule (sacrificing “fast”).
Talking to different editors and asking for sample edits are strategies for making sure you work with someone who’s going to give you the type of edit you’re looking for. Keep in mind that not all editors do sample edits, and if they do, they might charge for them.
Getting all three?
The question then becomes whether it’s possible to get Good, Fast, and Cheap without sacrificing any of them. If the stars align, maybe. Or if you’re flexible in your definitions, then probably. I think it’s possible to work with the editor who’s right for you (“good”), who you’ve saved up for because you talked to them and knew their rate (“cheap”), and on the timeline you want because you got on their schedule early (“fast”). I know those aren’t quite the definitions of those words, but by adjusting your outlook, I believe you can get all three.
Final thoughts
The idea that you can only pick two from “Good, Fast, Cheap” can apply to working with an editor, and it’s important to know which one you’re willing to sacrifice if it comes down to it. In an ideal world, you might be able to get all three. What do you think? Is it possible to get an edit that’s good, fast, and cheap?
