I'm a Book Editor. Here's Everything Writers WASTE Money On.

[00:00:00]I worked at a Big Five publisher and a top literary agency, and over the years I've seen countless aspiring authors throw hundreds, even thousands of dollars at things that will never get them published, and skip the things that will actually make a difference. So, today I'm being honest about what's worth your money as a writer, what you can skip, and what sounds like a good idea, but actually isn't. I'm mostly talking about traditional publishing, but a lot of this applies to indie authors as well. Let's start with where writers spend a fortune thinking it'll be a shortcut to getting published, but unfortunately it isn't. Workshops and conferences. Don't get me wrong, I'm not saying all workshops and conferences are bad. I've had plenty of clients attend them and learn a ton. But, are they a necessary expense, and do they significantly improve your chances of getting a literary agent? No, and not really. There are so many events aimed at aspiring authors. There are flashy, in-person, multi-day conferences in gorgeous locations that you have to travel to. There are competitive workshops run by prestigious literary institutions. There are genre-specific conferences like ThrillerFest in New York City. And there are huge publishing industry events like the AWP conference.

[00:01:18]These events vary a lot in cost. A one-day virtual program might run you a hundred to three hundred dollars, but a multi-day in-person conference could run you into the thousands, especially once you add travel and a hotel. Are any of them worth it? It depends on what you're looking to get out of it. If you're hoping that you'll meet an agent at this event and it'll be your big break, that likely isn't going to happen. It is true that many conferences offer agent pitching sessions, which you pay for on top of your admission fee, where you get a few minutes in front of an agent. It can be a nice opportunity to test out your pitch and get some feedback, which is what these sessions are designed for.

[00:01:58]But, most of the time they don't replace the standard querying process. The best case scenario is that the agent will like your pitch and invite you to submit your query to them. And I've had clients experience that. But, simply signing up for one of these pitch sessions isn't the magic backdoor to a book deal that many aspiring authors think. So, don't spend your savings on them. So, when are these events worth it? If the programming and the speakers genuinely interest you and if you value the community aspect. Writing is a lonely endeavor. If being in a room full of other writers lights you up and energizes you, then it could be worth it. But, if you're only signing up because you think you'll meet a publishing professional who will open doors for you, then save your money because that rarely happens. A lot of the guidance that writers pay money for via these workshops and conferences is available for free online. That's literally why I started this YouTube channel 6 years ago. So, if you're not already subscribed, now is a great time to join us. I have so many more writing and publishing insights to share with you that you won't want to miss.

[00:03:04]Speaking of writers spending money hoping it'll boost their reputation, let's talk about another area where I see dollars wasted. Writing contests.

[00:03:12]You'll find hundreds of online contests inviting you to submit a short story or the first chapter of your novel for an entry fee for the chance to win some kind of prize. Some are run by well-known literary institutions and a bunch more are run by no names. Are any of these actually worth it? Will winning a contest make your author bio more impressive to literary agents? Winning a contest certainly won't hurt your author career, but it's not likely to be the huge reputation boost you expect. Unless it's one of the few run by a prestigious literary organization. What honestly catches agents' attention is a strong query letter and a strong manuscript, not a laundry list of obscure writing contest placements. In fact, if they love your pitch and your sample pages, they're not likely to care what is or isn't in your author bio at all. So, if there's a reputable contest that you genuinely want to enter and the fee is reasonable, go for it. But, don't think you have to rack up writing contest credits and spend hundreds of dollars just to look legitimate to an agent.

[00:04:16]Now, for something else I'm seeing more and more writers spend money on, writing software. I have many clients who swear by their writing tools and apps and can't imagine drafting without them. The most common ones include Grammarly, which will run you about $12 a month for the pro subscription and helps you smooth out your grammar, style, and clarity. There's also ProWritingAid, which is specifically designed for creative writing. The premium version is $10 a month and also offers grammar and style checks, but can also analyze your writing for things like readability, pace, and repetition. Note that both of those tools have AI features, so if you want to avoid generative AI in your writing, which I strongly recommend, then you'll want to limit which of the features you use. And then there's Scrivener, which is a word processor built for creative writers that helps you organize long projects and keep all of your materials and drafts in one place. That's a one-time $59.99 fee. If these tools solve a problem for you and help you write more efficiently, that's great. They can be super helpful. But, I have just as many clients who write everything in a plain Google Doc or Word Doc and do just fine. The writing is what makes you a writer, not the tool you use. Now, let's talk about another category of paid tools that I don't think enough writers are using, publishing databases. If you're planning to traditionally publish, I absolutely recommend paying for two industry tools, but only once you enter the querying phase. They make the whole process so much easier and more strategic. The first is QueryTracker. It helps you find agents who are currently open to queries in your genre, keep track of the queries that you've sent out, and see real-time data on agents' response times and request rates. There's a free version, but the premium subscription is only $25 a year. The other site I recommend is Publisher's Marketplace. This is where most traditional book deals get announced, so you can see which agents are actively selling books in your genre and what recent book deals they've made.

[00:06:23]It's the closest thing to up-to-date insider information that you can get as an outsider. It's either $30 a month or you can buy a one-day pass for $10 to do all of your agent research at once. You don't need to pay for these tools while you're still in the drafting phase, but once you're getting ready to query, I do think they're worth it. Now, I actually want to talk you out of purchasing this next thing, and I bet some of you will disagree with me. Beta reading. Beta readers are people who read your manuscript before it's published and tell you what they think. The pace dragged in the middle. The ending was confusing. The protagonist was unlikable. They're meant to simulate your target audience and give you their overall reactions and impressions. Think of it like a pulse check. Did you like the story or not? What were your major highs and lows with it? This feedback can be super valuable and help you make strong revisions. But, here's the thing.

[00:07:17]Beta reading used to be something writers got for free. They'd have a bookish friend offer to read their manuscript or they would exchange manuscripts with another writer and both offer feedback. That's traditionally how beta reading has worked. But, somewhere along the way it became a paid service, and I'm not entirely sure why. Now, you'll see hundreds of people on platforms like Upwork and Fiverr offering beta reading services, many with very shallow credentials, if any.

[00:07:46]And I've also heard reports of authors getting scammed by these people who are just taking their manuscript, feeding it into AI, and generating a beta reader report. Beta reading is not a substitute for a professional review of your manuscript. So, in my opinion, it's not worth paying for. If you have people in your network who are offering to read your manuscript or trade manuscripts with you for free, by all means get that feedback. But if what you're really looking for is comprehensive constructive feedback that will really help you take your story to the next level, I'd save your money for a real expert, which brings me to developmental editing. I'm a developmental editor myself, and I've built a team of the best developmental editors in the business who formally worked at Big Five publishers and top literary agencies. I absolutely believe in the value of developmental editing, but I'm not going to tell you that you have to hire a developmental editor, or else your book is doomed. Because the reality is more nuanced than that. The truth is, it is a significant investment, and it may or may not be worth it to you depending on your publishing goals and your other access to feedback. If you're going the traditional route, you do not need to pay for developmental editing before you query literary agents. Many literary agents will edit your manuscript once they have agreed to represent you, and once you get a book deal, you will be working with an editor at your publishing house. But, and here's the big but, if you don't work with a developmental editor prior to querying, your manuscript has to be extremely strong on its own, which means you need to have access to someone who understands the publishing industry standards, understands the mechanics of great storytelling, and can offer you thorough, high-quality feedback. Maybe this is someone who has published a book themselves or is a writing mentor.

[00:09:38]Because no writer can see the flaws in their own work. You need external eyes.

[00:09:43]Querying is extremely competitive, and agents get dozens of queries every single day. So, your manuscript has to be the cream of the crop. For a lot of writers, especially who don't have a high-quality critique partner or mentor in their corner, working with a developmental editor fills that gap and helps them see the issues in their work that they're blind to. And then, they're often more successful in the querying process. That's how I've helped authors sign with more than 20 agencies. Now, if you're self-publishing, the conversation around editing is different because you don't have a publisher. You are the publisher, which means that the editing will be your responsibility. And I'm begging you, please don't skip it. You want to put a high-quality book into the market, and readers will be able to tell the difference between a book that's been professionally edited and one that hasn't. So, to recap, if you're traditionally publishing, paying for developmental editing isn't a requirement, but you should consider it if you don't have access to high-quality feedback elsewhere. And if you're self-publishing, you should absolutely hire a developmental editor. Editing is expensive, but it doesn't come close to the price tag of this next item, which is by far the most expensive on this list and the thing writers ask me about all the time, an MFA, the Master of Fine Arts. This is the highest degree you can earn in the craft of creative writing.

[00:11:07]Many programs are competitive, and it's an impressive credential. But, getting one will cost a pretty penny, unless you have a fully funded program or a scholarship. Depending on the program, you're likely looking at tens of thousands of dollars, and at some private schools, you're looking at closer to $100,000. So, is it worth it?

[00:11:27]If you think you need an MFA to become a successful author, you're wrong. Most published authors don't have one, including huge names like Stephen King, Colleen Hoover, and George R.R. Martin.

[00:11:39]Because getting an MFA doesn't guarantee a literary agent or a book deal. In fact, I have three friends who all completed the same prestigious creative writing program. Only one of them went on to get a literary agent and publish her book with a big five publisher. The other two are still querying years later. So then, what's the point? An MFA could be worth it for you if you value the structured environment and want the dedicated time to devote solely to your writing. It gives you a built-in community of serious writers and mentors who can hold you accountable. But if you're just getting one because you think it'll guarantee a publishing deal or make you a legitimate writer, think again. Consider if it's really an investment you truly want to make because it is so expensive. And I know plenty of extraordinary writers who never set foot in a formal writing program. Now, let me end on the one purchase I will always support you making: craft books. There are so many fantastic books on writing that will help you level up your skills. Some of my favorites include Story Genius by Lisa Cron, which helps you understand your protagonist's psychology and how it drives the plot. Save the Cat Writes a Novel by Jessica Brody, which is a popular plot beat sheet that many of my clients use. And for improving your line level writing, Dreyer's English, which was written by my former colleague Benjamin Dreyer, who was the copy chief at Random House. Another one you won't want to miss is my book, The Modern Guide to Querying Literary Agents. It contains everything I learned on the inside about how to actually catch an agent's attention, along with never-before-seen statistics from 4 million actual query letters. I'll leave the link to pre-order it down below. I believe any money you spend on craft books will pay dividends in improving your writing over time. But the best part is, you don't even have to buy all of them if you don't want to. You'll be able to find all of those books at your local library. So, borrow them, take notes, and soak in the knowledge. And while we're talking about books, here's the cheapest and most effective writing advice I will ever give you. Read. Read more books, especially books in the genre you're writing, because every book you read will teach you something about storytelling and craft. And a library card costs you absolutely nothing. I hope this showed you that you don't have to spend money on a fancy degree or a flashy conference to be a legitimate writer. Some of the most talented writers I've worked with spent almost nothing. They improved their craft, they revised, they got honest feedback, and they kept going. If this inspired you, then watch this video next where I reveal 10 things I wish every aspiring author knew, including the hard stuff that no one talks about. Thanks so much for watching, and happy writing. [music] >> [music]