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Even though I taught seventh to tenth grade English in the public schools (1978 – 2005) and was the advisor/teacher of an internationally recognized, award-winning, high-school journalism program, I am not a perfectionist (an ARG) when it comes to editing. I do my best as an imperfect mortal with dyslexia.

My students did well (above average) on standardized tests. I taught the basic rules of punctuation, the differences between a simple, compound and complex sentence, and how to write a basic essay in addition to an introduction to the parts of speech. The textbook I used was Warriner’s English Grammar and Composition (I have two editions on my resource shelf) with almost 600 pages filled with the complexity of the English language.

The literacy level of my high school students—in the same class—ranged from second grade and up.

However, most of my time as a public school teacher…

Even though my editing process did not discover every mistake, my manuscripts were clean enough to be awarded the Editor’s ChoiceAward (4% of books published by iUniverse earned this award); the Publisher’s Choice Award (1%), and the highest score for grammar from two Writer’s Digest judges.

In addition, both of my first novels were reviewed by the Midwest Book Review that has a policy to reject books that do not measure up to industry standards.

Although my novels will not earn praise from most ARGs, editing the work myself, I saved thousands of dollars because I did not hire a freelance editor. In fact, if you read The Business of Editing: Killing Me Softly by Rich Adin, you would have discovered that hiring a freelance editor is not a guarantee that your work will be edited to the level of perfection demanded by most ARGs.

Instead, my first two novels…

The ideal audience for all authors is made up mostly of avid readers.

The National Assessment of Adult Literacy in the US (1992 – 2003) says 13% or 28 million adult Americans are proficient (can perform complex and challenging literacy activities) at the quantitative literacy level while 95 million are intermediate (can perform moderately challenging literacy activates), 63 million basic (can perform simple and everyday literacy activates) and 30 million are below basic (no more than the most simple and concrete literacy skills).

My literacy level is proficient but not perfect when it comes to editing. In other words, I am not an ARG.

Of the 123 million adult Americans that read at basic or above, few are experts at editing but many read books. A high literacy level does not equal a high editing level. It just means you have a…

There are different levels of copyediting. Some work may need only a light touch while other manuscripts require heavy editing and the price is flexible. To learn more, I suggest you visit Editors Forum.org.

The Editors Forum says, “A freelance copyeditor corrects errors, queries the author about conflicting statements, requests advice when the means of resolving a problem is unclear, and prepares a style sheet.”

Writer’s Digest, a magazine established in 1920, says, “Smart full-time freelance writers and editors annually gross $35,000 and up—sometimes into the $150,000-200,000 range.”

For trade copy editing of books, Writer’s Digest says that the high hourly rate is $100 and the low is $16 with the average $46. If charging a page rate, the high is $20 a page and the low is $3.75 with $8 the average.

Remember—the editing rate is flexible but the final cost may be determined by the complexity…

Forget about the anal-retentive grammarian (ARG) with a photographic memory and instant recall that has memorized all 532 pages in the fourth course of Warriner’s English Grammar and Composition textbook.

This ARG perfectionist may write a cryptic, critical one-star review on Amazon blasting an author for having only a few mistakes in his novel, but that is not important as you will discover.

Instead, as independent, self published authors we must ignore the ARGs and focus on the avid reader who is often forgiving of the occasional bump/mistake. For these readers, the story—plot, characterization, theme, conflicts and power of writing—is more important.

However, if the avid reader is distracted by too many mistakes, do not expect this audience to be forgiving. In fact, do not expect an avid reader to finish the novel or recommend it to friends.

I’m a gambler and at this point I am betting…

Authors have one challenge most artists outside of writing do not have.

Most artists, such as painters, do not need to worry about developing skills in the logical, analytical, fact-based side of the brain. Instead these artists work almost exclusively out of the holistic, feelings based, emotional side of the brain where the imagination and creativity blossom.

Unfortunately, for authors, the craft of writing requires using both sides of the brain with an emphasis on the left side of the brain’s organized, analytical, fact-based logic where editing skills hide.

Writing the rough draft of a book length manuscript is the easy part of an author’s work and mostly this work takes place in the right side of the brain.

For editing and revisions, authors must switch gears to the left side of the brain where these skills work. If those skills have not been developed, the author—as an artist—is crippled.

I found this cartoon on a blog the other day. Unfortunately, I can’t furnish attributes, so whoever came up with this drawing, well done. You must love books, too.  

I was offering tips and tricks to my new Kindle owner friend Jason, when I pulled mine out of its cover to look at the back. The cover doesn’t see the light much, and collecting autographs is a bit of a silly thing, in my opinion, but I got in the habit of asking speakers at The Amaz!ng Meeting to sign my Kindle, if I actually had one of their books on my device.

My first signature was Scott Sigler, which I obtained when he visited Houston a couple years ago during a book promotion. My second autograph was Eugenie C. Scott, who is director of the National Center for Science Education.

Other signatures I’ve obtained include