Maybe for the OP it would be useful to know what the editorial process offers.
To be very clear - I didn't pay anything close to what is quoted here.
My first developmental edit was with @Teresa Edgerton on what is now Abendau's Heir. She covered character arcs, story arcs, language used and clear guidance for the route forwards.
Later, Teresa edited the whole trilogy for me through Tickety boo and we worked on building on the first book. I didn't just learn things for Abendau but writing going forwards. Sone big tips, some little.
I then used Boneman for Inish Carraig and, again, this was the same process of indepth review and feedback.
Waters and the Wild had a publisher's edit following that same pattern.
The Dusty Zebra then copyedited for me, polishing, clarifying and removing my clunky sentences - which is vital on an edited book so that all the sections remain equally strong.
I have worked with beta readers, writing groups and critiques. They all have a role. But they are not the same as the editorial relationship. Not at all (except he who doesn't take payment above, with the twitchy ears).
Sometimes, hard though it is, we do need to invest and I would never publish without an edit and copy edit anymore than without a professional cover.
But you can get much better value out there.
To be very clear - I didn't pay anything close to what is quoted here.
My first developmental edit was with @Teresa Edgerton on what is now Abendau's Heir. She covered character arcs, story arcs, language used and clear guidance for the route forwards.
Later, Teresa edited the whole trilogy for me through Tickety boo and we worked on building on the first book. I didn't just learn things for Abendau but writing going forwards. Sone big tips, some little.
I then used Boneman for Inish Carraig and, again, this was the same process of indepth review and feedback.
Waters and the Wild had a publisher's edit following that same pattern.
The Dusty Zebra then copyedited for me, polishing, clarifying and removing my clunky sentences - which is vital on an edited book so that all the sections remain equally strong.
I have worked with beta readers, writing groups and critiques. They all have a role. But they are not the same as the editorial relationship. Not at all (except he who doesn't take payment above, with the twitchy ears).
Sometimes, hard though it is, we do need to invest and I would never publish without an edit and copy edit anymore than without a professional cover.
But you can get much better value out there.