You can — but the result will require a full translation edit before publication.

Machine translation may capture basic meaning, but it does not produce a natural, publishable German version. Tone, rhythm, and narrative flow still need to be rebuilt.

It also often creates inconsistencies — for example, the same name or term being translated differently across chapters.

Proofreading corrects grammar and spelling.

Machine translation, however, does not create a finished text — it creates a draft that still needs to be written properly.

Translation editing goes much further — it corrects meaning, tone, and narrative flow, ensuring the text reads naturally in German and remains consistent throughout.

No. Not for anything that will be published.

Tools like Google Translate or DeepL can produce understandable text, but they do not handle tone, genre, or context correctly.

Even short sections — like a blurb — are immediately recognizable to readers. Once that impression is there, many will assume the entire book was translated the same way.

For readers, this doesn’t just sound unnatural — it breaks immersion immediately.

It varies significantly.

Machine-translated text is not a finished manuscript — it is a starting point.

The level of work can vary significantly.

In many cases, sentences need to be restructured or rewritten to restore natural flow, tone, and meaning.

This means the process often goes beyond proofreading and involves full translation editing.

Because a good translation recreates the reading experience — not the exact wording.

Some sentences need to be rewritten so they work naturally in German while preserving tone, intent, and character voice.

Literal translation may be technically correct — and still sound unnatural or misleading.

Yes.

The goal is not to change your voice — but to make sure it reads naturally in German.

Tone, character voice, and narrative style are always preserved, while the language is adapted so it works for German readers.

A good translation should feel like your book — not like someone else rewrote it.

The required level of editing is assessed based on a sample or the full manuscript.

This includes evaluating language quality, consistency, and overall readability.

You’ll receive a clear recommendation for the most suitable approach before any work begins.

Yes.

If you already have a German translation, it can be reviewed and edited.

The level of work depends on the quality of the existing text.

Some translations only need refinement, while others require a full translation edit to restore natural flow, tone, and consistency.

You’ll receive a clear assessment and recommendation before any work begins.

In many cases, yes.

Language evolves — including spelling, usage, and what feels natural to readers.

Older texts may contain outdated phrasing, inconsistent terminology, or stylistic patterns that no longer match current expectations.

Even if the original version was professionally edited at the time, a revision can significantly improve readability, flow, and overall quality.

This is especially relevant for re-releases or updated editions (for example, if rights have reverted from a publisher and the book is being prepared for self-publishing). In these cases, tailored revision options can be discussed — especially for re-releases or projects transitioning from traditional publishing to self-publishing.

Yes — especially for new authors.

German readers rely heavily on Kindle Unlimited, often more than on direct purchases.

This is particularly true for authors who are not yet established in the German market.

A common approach is:

– start with KU to build visibility and readership

– then move the book out of KU later if needed

– or re-enroll after a break

Different strategies are possible, depending on your long-term goals.

Yes — ideally at the same time as the ebook or shortly after.

German readers are significantly more open to print than many US readers.

If they enjoy a book, they often want a physical copy while reading or immediately after finishing it.

If a print edition is not available at that point, the opportunity is often lost. Readers tend to move on to the next book rather than come back later.

This is normal — and does not directly reflect success.

The German market is significantly smaller than the US market, which means fewer readers overall. As a result, the total number of reviews is usually lower as well.

At the same time, review behavior differs. German readers tend to leave fewer reviews, and ratings often develop more slowly.

In addition, Amazon’s review system may delay, filter, or remove reviews and ratings. In some cases, reviews may take several weeks — or even longer — before they become visible.

Individual accounts may also be temporarily restricted from leaving reviews, which further affects the overall number.

Because of this, reviews and ratings cannot be compared directly between markets.

Direct comparisons between US and German review numbers are often misleading.

A lower number of reviews in Germany can still represent strong performance — sometimes even stronger, proportionally, than in the US.

(A more detailed breakdown of market differences is available separately.)

There is no single standardized solution in German.

Different approaches exist — such as “xier/xiem”, the use of “they/them”, or other emerging forms — but none of them are officially established or consistently used across all contexts.

In practice, this is handled individually in consultation with the author.

The goal is always to find a solution that is both appropriate for the text and natural for the reader.

Yes. The author always retains full rights to their work.

A contract simply ensures that the translation is created with your permission and defines how it can be used, so both sides are clearly protected.

A professionally drafted contract is always used, based on current legal standards for both US and European markets — ensuring clarity on rights, usage, and responsibilities from the start.

Yes.

I can review your title to check how it reads in German, whether it fits your genre, and whether similar titles already exist.

A title that works well in English may sound unclear, misleading, or simply unnatural in German. In some cases, it may also be too similar to existing titles and create confusion in the market.

I look at titles in context — considering tone, genre expectations, and how they will be perceived by German readers. If a change makes sense, I’ll suggest options that stay true to your original intent.

A strong title isn’t just translated — it needs to work for the target audience.

Different solutions are possible, and the best approach depends on the tone, genre, and target audience of your book. This is something we can discuss and decide together.

We usually start with a brief overview of your project.

This includes:

– title and genre

– blurb or short description

– approximate word count

– and what kind of service you’re looking for (translation, editing, or proofreading)

If I’m already familiar with your work or style, this helps speed things up.

Based on that, you’ll receive an initial assessment, a recommended approach, and a rough price range.

At this stage, we also clarify scope, expectations, and the overall workflow.

A tentative start window can be discussed early on.

A final timeline, however, depends on the manuscript itself — especially if research or specialized terminology is involved.

Once everything is agreed, the contract is finalized, details are confirmed, and the project can begin.

That depends on length, complexity, and the level of editing required.

A realistic timeline will always be discussed upfront, so you know exactly what to expect.

Yes. The focus is on romance and related genres where tone, voice, and reader expectations are especially important.

You can find more details on the Genre Focus page.